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What is Photoshop?
What is Photoshop?
Opening and Saving
Files Adobe Photoshop 7
General Preferences This subject teaches the fundamentals of Adobe Photoshop 7. This is a
graphics program, which allows you to manipulate elements of
photographs from all sources.
Content
With Photoshop you can manipulate images and retouch photos. You can
use Photoshop to create original art from scratch, or based on existing
photographs.
Delivery
Photoshop files can be delivered using multiple file formats. The direct
Photoshop Document file format is .psd.
Opening files
To open a file in Photoshop:
From the main menu, choose File > Open
OR press the Ctrl + O key combination
Lesson 1 - Introduction to Photoshop 7
• Use the Open dialog box to locate the file that you wish to work with.
• Under the Files of type, you can select to view All Formats or specific file format only (Example:
Photoshop file type):
• Select the file and double-click on it to open, or click the Open button.
Importing a file
• Importing a file lets you open files that have been saved in formats that use plug-in Import
modules. These include files saved with twain Interface, such as scanner programs and files, as well
as Scitex files, PICT resources (Macintosh), and files Imported directly from any digital camera that
has a Photoshop Plug-in import filter.
• To access the import selection, from the main menu, choose File > Import.
Saving a file
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Lesson 1 - Introduction to Photoshop 7
• When saving your work using the Save or Save as dialog box, Name your document and select an
appropriate Format to save your work in from the pull down menu.
• From the main menu, choose File > Save
OR press the Ctrl + S key combination
• When utilizing images for the web use these file formats:
.gif – If the picture is line art, has large areas of solid color and uses a limited color palette.
.jpeg – If the picture is a photograph or continuous tone art (lots of color).
.png - If the picture is a photograph or continuous tone art (lots of color).
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Lesson 1 - Introduction to Photoshop 7
.eps – For print using a Postscript compatible printer.
.tif – For print using most printers and page layout programs.
General Preferences
Using the General Preferences
• The General Preferences panel provides access to the most important environmental preference
settings:
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Lesson 1 - Introduction to Photoshop 7
• Select Nearest Neighbor to turn them off.
Exporting Clipboard
• The Export Clipboard, when selected, tells Photoshop to transfer a copied image from the
program’s internal clipboard to the operating system’s clipboard whenever you switch applications.
This enables you to paste the image into another running program:
Turn this option off if you plan to use copied images only within
Photoshop and you want to reduce time that occurs when you switch
from Photoshop to another program.
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Computer Literacy Program
Lesson 1 - Introduction to Photoshop 7
• The Show Tool Tips option displays little labels and keyboard shortcuts when you place your
cursor over a tool or palette option:
Ctrl + plus
OR Ctrl + minus
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Computer Literacy Program
Lesson 1 - Introduction to Photoshop 7
Showing Font Names in English
• When the Show Font Names in English is selected Photoshop displays foreign fonts names in the
Font menu on the Options bar and in the Character palette:
Tip It is recommend that you turn this option is turned off. One extra
keystroke per function adds up.
Some dialog boxes include a check box that you can select to tell
Photoshop that you don’t want to see the current warning any more.
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Computer Literacy Program
Lesson
Two
Photoshop 7 Interface
Photoshop Workspace
This Chapter contains
Photoshop Workspace
Contents selection – The Contents Selection allows you to select your Background Layer default
setting that you would like to start your new image with. The background can be White, Background
Color or Transparent:
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Lesson 2 – Photoshop 7 Interface
Using the Canvas
• The Canvas is where your work is displayed:
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Lesson 2 – Photoshop 7 Interface
Using the Tool Options bar
To select a tool, mouse click on an icon:
• The Tool Options bar is located at the top of the workspace, under the main menu headings. This
bar contains the tool controls that allow you to adjust and keep settings displayed while using the
selected tool.
The Tool Options bar changes with each different tool selected.
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Lesson 2 – Photoshop 7 Interface
Palette options – Each palette offers its own options. This may include icons, pop-up menus, or
slider bars.
Palette menu – Select the right-pointing arrowhead icon, on the top-right side of the palette, to
display a menu of commands specific to the palette. These commands will allow you to manipulate
the palette options and adjust preference settings:
Palette tabs – Select a palette tab and drag to move it to the front of the palette group:
Collapse button – Select the collapse button to decrease the amount of space taken by the palette:
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Computer Literacy Program
Lesson
Three
The Toolbox
Selection Tools
Selection Tools
Painting Tools
Path Tools
Type Tool
Shape Tool
Viewing Tools
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Computer Literacy Program
Lesson 3 – The Toolbox
• Then mouse click and drag to your desired location:
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Lesson 3 – The Toolbox
Using the Lasso Tools
• There are three options for the Lasso Tool. Right-click on the Lasso Tool to view the pop-up option
and select another lasso tool.
• The Lasso tool allows you to click and drag to select a free-form portion of pixels within your
image:
• The Polygonal Lasso tool allows you to click and drag to select a straight-edged selection of
pixels within your image. Each click will set a corner point in your selection:
• The Magnetic Lasso tool, when selected, as you drag will cause the selection outline to
automatically stick to the edge of the foreground image.
• Points are also laid down automatically as you drag:
• The Slice tool is used when creating web graphics. It allows you to cut images into rectangular
sections in order for you to apply web effect, link links, rollovers and animations to different areas of
the same image. Select the tool and drag over your image to define the area you want to slice:
• The Slice Select tool, when selected, will cause handles to appear on the corners of your just-
done slice, and you can drag to adjust the size, or relocate the entire slice.
• With the Eyedropper tool selected, click on a color in the image window to make that color the
Foreground color:
• With the Color Sampler tool, select as many as four locations in an image to evaluate the colors
of the pixels in the Info palette. After setting a point, move it by dragging to a different pixel.
• The Measure tool allows you to measure the distance and direction inside the image window.
• Select the Measure tool.
• Drag from one point to another and the measurement data will appear in the Info palette or the
Options bar.
• Drag the endpoints of your line to take new measurements.
• To change the unit of measurement, from the main menu, choose Edit > Preferences > Units and
Rulers, and then select the unit you require from the Rulers pop-up menu.
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Lesson 3 – The Toolbox
Painting Tools
• Right-click on the Paintbrush tool to view the pop-up option to select the Pencil tool.
• The Pencil tool allows you to draw/paint jagged, hard-edged lines. Typically used to clean areas of
individual pixels.
• Right-click on the Rubber Stamp tool to view the pop-up option for the Pattern Stamp tool.
• The Pattern Stamp tool allows you to paint with a pattern. To define the pattern:
• Choose Edit > Define Pattern.
• Begin painting with a selected paint tool.
• Right-click on the History Brush tool to view the pop-up menu containing the Art History
Brush tool.
• The Art History Brush tool allows you to paint with pixels from previous image states. There are a
variety of brush options available to use for painting.
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Lesson 3 – The Toolbox
Using the Eraser Tools
• There are three options for the Eraser Tool. Right-click on the Eraser Tool to view the pop-up
option and select another eraser tool.
• The Eraser tool allows you to paint in the background color or erase areas in a layer to reveal
layers below. You can also switch from the Erase to a History mode, which will revert the image to a
previous state the same way as if using the History Brush.
• The Background Eraser tool allows you take away the background from an image.
• Select the Background Eraser tool.
• Drag the tool along the border between the background and foreground.
• The Magic Eraser tool is much like the Magic Wand tool, except that the eraser allows you to
remove a range of similarly colored pixels.
Be very careful with this tool, as it is very easy to end up erasing both
the background and the foreground, wasting steps.
• Right-click on the Gradient tool to view the pop-up menu containing the Paint Bucket tool.
• The Paint Bucket tool allows you to fill a contiguous area of similarly colored pixels in the picture
with the foreground color, or a selected pattern.
• Right-click on the Blur tool to view the pop-up menu containing the Smudge tool.
• The Smudge tool allows you to smear the colors of your picture, creating a blurry look to the image.
• Select the Smudge tool
• Drag the tool over the area on the picture where you want the colors to smear:
• The Burn tool allows you to gradually darken pixels in the image.
• Right click on the Dodge tool to view the pop-up menu containing the Burn tool.
• Select the Burn tool.
• Drag the tool over the area in the picture that you want to darken:
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Lesson 3 – The Toolbox
• The Sponge tool allows you to decrease the amount of color saturation in a picture so the color
appears duller, and moves into a gray tone. To increase color saturation, change the setting in the
Sponge Options palette from Desaturate to Saturate.
• Right click on the Dodge tool to view the pop-up menu containing the Sponge tool.
• Select the Sponge tool.
• Drag the tool over the area that you wish to saturate or de-saturate:
Path Tools
• Right-click on the Path Component Selection tool to view the pop-up menu containing the
Direct Selection tool.
• The Direct Selection tool allows you to select and edit a segment in a selected path or shape.
• The Pen tool allows you to set points in the image window. Photoshop then draws an editable
path outline, where you can convert to a selection outline or stroke with color.
• The Freeform Pen tool allows you to draw freehand paths or vector masks. Photoshop will
automatically add points along the path.
• Select the Freeform Pen tool.
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Lesson 3 – The Toolbox
• Drag to draw your path.
• The Add Anchor Point tool allows you to insert a point in a path.
• Select the Add Anchor Point tool.
• Click a path segment to add an anchor point.
• The Delete Anchor Point tool allows you to remove the point without interrupting the outline
of the path. Photoshop will automatically draw a new segment between the neighboring points.
• Select the Delete Anchor Point tool.
• Click a point to remove that point without interrupting the outline of the path.
• The Convert Point tool allows you to change on kind of point to another.
• Select the Convert Point tool.
• Drag a point to convert it from a corner to an arc.
• Click a point to convert it from an arc to a sharp corner.
Type Tool
Using the Type Tool
• The Type tool allows you to add text to an image. Using the Option bar, you can select
whether to enter horizontal or vertical rows of type.
• Select the Type tool.
• Click on the image where you want to add text.
• Type your text:
Shape Tool
Using the Line Tool
• There are five options for the Shape Tool. Right-click on the Shape Tool to view the pop-up option
and select another shape tool.
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Lesson 3 – The Toolbox
• The Line tool allows you to create a straight line. The line thickness can be set at the Options
bar, and arrows can also be selected for the ends of the line.
• Select the Line tool.
• Click and drag to create a straight line.
• Arrowheads Options can be selected on the Options bar, when the Line tool is selected. Place
arrows on one or both ends of the line, as well as set the arrowhead dimensions:
• When the Rectangle tool is selected, the Rectangle Options can be set within the Option bar:
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Lesson 3 – The Toolbox
Viewing Tools
• Click once on the Foreground Color chip to view the Color Picker dialog box:
• Select a color and press the Enter key to change the foreground color. This is used by the Pencil,
Paintbrush, Airbrush, Gradient and Shape tools.
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Lesson 3 – The Toolbox
By clicking on the double-arrow in the top right-hand corner of the
Color Chip box, you can exchange the Foreground and Background
colors.
• Click once on the Background Color chip to view the Color Picker dialog box:
• Select a color and press the Enter key to change the background color. This is used by the Eraser
and Gradient tools.
Clicking the smaller foreground and background icons in the lower left-
hand corner, will cause your colors to return to the default foreground
and background colors, black and white.
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Lesson 3 – The Toolbox
Editing in Standard Mode
• Standard Mode is the default edit mode in Photoshop. Selecting the Standard Mode button allows
you to exit the Quick Mask Mode and view your selection outlines as animated dotted lines:
Jumping to ImageReady
• The Jump to ImageReady button allows you to automatically open the ImageReady application:
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Lesson 3 – The Toolbox
• The Marquee Tool Options bar
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Computer Literacy Program
Lesson 3 – The Toolbox
• The Slice Tool Options Bar
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Lesson 3 – The Toolbox
• The History Brush Tool Options Bar
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Lesson 3 – The Toolbox
• The Dodge Tool Options Bar
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Lesson 3 – The Toolbox
• The Rectangle Tool Options Bar
• The Drag Palette: The Drag palette is the docking station for the Palettes.
• The Tool Options Bar changes with each different tool selected.
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Computer Literacy Program
Lesson
Four
Palettes
Layers Palette
Using the Layers Palette
The Layers Palette allows you to make changes to an image without
This Chapter contains altering your original image data.
By default, a new image in Photoshop has a single layer. This is called a
Layers Palette Background layer.
All layers in a file have the same resolution, start with the same number of
Channels Palette channels, and have the same color mode (RGB, CMYK, or Grayscale).
Paths Palette From the main menu, choose Window > Show Layers to view the Layers
palette:
History Palette
Actions Palette
Info Palette
Navigator Palette
Color Palette
Swatches Palette
Styles Palette
Character Palette
Paragraph Palette
Lesson 4 – Palettes
• At the bottom of the Layers palette, you can access various layer options:
Channels Palette
Using the Channels Palette
• The Channels palette displays the different channels of the color mode used in a page. The
Channels palette; includes a thumbnail view of each channel, as well as any mask channels. Each
Channel is an independent grayscale version of the colors that an image is comprised of. This
allows you to edit each channel separately.
• From the main menu, choose Window > Show Channels to view the Channels palette:
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Lesson 4 – Palettes
To View Multiple Channels:
• Click on the far-left column of the Channels palette. Click on the eye icon, which will make it
disappear, also hiding the channel. Click again, and the channel will be displayed again:
• Channel Palette menu – Select the right-pointing arrowhead icon, on the top right side of the
palette, to display a menu of commands:
New Channel – Selecting this command will add a mask channel to the current image. The
Channel Options dialog box will appear, asking you to name the new channel. You can also create
a new channel by selecting the New Channel icon at the bottom of the Channels palette.
Duplicate Channel – Selecting this command will allow you to create a duplicate of the selected
channel, either inside the same document or within a new document.
Delete Channel – Click the channel name in the palette and choose this command from the
options menu. Only one channel can be deleted at a time.
New Spot Channel – Allows you to add spot color channels to an image. Each spot color
channel will print to a separate place. When selecting the New Spot color command, you have to
specify a color and Solidity. Click on the color square to open the Custom colors dialog box, select
a Pantone or other color. The Solidity option allows you to increase the opacity of the ink.
Merge Spot Channel – Allows you to merge in a spot-color channel the spot color with the
RGB, Lab or CMYK colors in an image. Color fidelity will be lost in the merge, as most spot
colors do not have precise RGB or CMYK equivalents. This allows you to proof an image when
using a typical midrange color printer.
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Lesson 4 – Palettes
Channel Options – Selecting this command or double-clicking the channel name will change the
settings assigned to a spot-color or mask channel. The Channel Options command will dim when
a regular, everyday color channel is active.
Split Channels – With this command, Photoshop will split each channel in an image to its own
independent grayscale image window. The channel color will be appended to the end of the
window name.
Merge Channels – This command allows you to merge several images into a single multi-channel
image. The images merging must be open, grayscale and equal in size – same number of pixels
horizontally and vertically. When selecting Merge Channels, the Merge Channels dialog box will
open; a color mode is assigned for the new image based on the number of open grayscale images
that contain the same number of pixels as the foreground image. Once completed, the Merge
CMYK Channels dialog box will open, where you can specify which grayscale image goes with
which channel.
Paths Palette
Using the Paths Palette
• The Paths Palette exists on the equivalent of a distinct, object-oriented layer, which sits in front of
the bitmapped image. Once a path is set the way you want, it can be converted into a standard
selection outline. The Paths palette allows you an easy way to save and organize various paths:
• From the main menu, choose Window > Show Paths to view the Paths palette.
• Tools used to created paths are
Pen
Freeform Pen
Magnetic Pen
Add
Delete Anchor Points
Convert Point
Along the bottom of the Paths palette are various tools to help in the
creation and manipulation of paths, such as Fill Path, Stroke Path,
Make Selection, Make Path, New Path and Delete Path.
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Lesson 4 – Palettes
History Palette
• From the main menu, choose Window > Show History to view the History palette.
• Each item in the list is called a State. Each item in the palette represents a moment in the
progression of the image development, one at a time. Each item is automatically named according
to the tool or command used to arrive at that state. An icon is also placed next to the name.
• Clicking on a state will cause Photoshop to undo all operations performed after the state selected
and takes you to that point so you can inspect in detail.
• To redo the operations, choose Edit > Undo State Change.
• Undone States – When clicking on a state, every subsequent state will turn gray to show that it
has been undone, as mentioned above. Redo a grayed state by clicking on it. But if you have
performed a new operation, all grayed states will disappear.
• Working with Non-Sequential States – To not lose your undone states, select the History
Options command, and select the Allow Non-linear History checkbox. Undone states will not
drop of the list when a new operation is performed. They will remain available in the event that
they may be needed again at a later point.
• Saving a State Permanently – To save a state permanently (between using the application, the
history is wiped clean for the next use), choose File > New Document, or click the bottom left-
hand icon in the History palette. Photoshop will duplicate the state to a new image window. Then
save it to any format.
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Lesson 4 – Palettes
• Trashing States – To delete any state and any that follows, drag the state to the trash icon at the
bottom of the palette. Your image will update accordingly. If the Allow Non-Linear History
checkbox is selected, clicking on the trashcan will automatically delete the selected state.
Actions Palette
Using the Actions Palette
• The Actions Palette allows you to record, play, edit, and delete individual actions.
• From the main menu, choose Window > Show Actions to view the Actions palette:
Info Palette
Using the Info Palette
• The Info palette displays information about the color values beneath the pointer and, depending
on the tool in use, other useful measurements.
• The first section of the Info palette displays the color values of the image area beneath your cursor
(R, G and B values). The second section shows the related CMYK colors (when used). When
moving a selection, the other items in the palette will monitor the movement.
• From the main menu, choose Window > Show Info to view the Info palette:
• X, Y – These values show the coordinate position of your cursor on the image window. The
distance is measured from the upper-left corner of the image in the selected current unit of
measure.
• W, H – these values indicate the width and height of your selection.
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Lesson 4 – Palettes
Navigator Palette
Using the Navigator Palette
• The Navigator palette is the best tool to use for zooming and scrolling needs when working with
large pictures.
• From the main menu, choose Window > Show Navigator to view the Navigator palette:
• View Box – (red outline) Dragging the view box inside the image thumbnail will reveal hidden
portions of the picture. Photoshop will track your adjustments in the image window.
• Magnification Box – Enter a new zoom ratio and press Enter to increase or decrease your
magnification.
• Zoom Out – Select the zoom out button beside the magnification box, to reduce the view size
in the same increments as the zoom tool. This does not alter the size of the image window.
• Zoom Slider – Dragging the zoom slider to the left will zoom out, dragging to the right will
zoom in. Photoshop will again track your adjustments in the image window.
• Size Box – Dragging the size box will enlarge the palette and the thumbnail to a larger size if you
have a larger monitor and wish to have a larger view.
• Box Color – The View Box outline color can be changed by choosing Palette
Options command from the Navigator palette menu (triangle in circle at top right-hand corner):
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Lesson 4 – Palettes
Color Palette
Using the Color Palette
• The Color Palette is a very useful and easy tool to use for selecting colors.
• There are multiple elements and options contained in the palette to select from.
• From the main menu, choose Window > Show Color to display the Color palette:
Foreground Color/Background Color – Select either the foreground or background color icons
to specify with color you want to edit. If selecting either icon when surrounded by a double-frame,
the Color Picker dialog box will open.
Sliders – Dragging the triangles under the Slider Bar allows you to edit the highlighted color. By
default, red, green and blue are the colors represented when a color image is open. The slider bar
colors can be altered easily, by selecting a different Color Model from the palette menu. Open the
Palette Menu by clicking on the arrow in the circle at the top right-hand corner of the palette.
Option Boxes – The Option boxes (fields) are located at the end of each slider bar. Entering
numerical values in the boxes to adjust color.
Alert Triangle – The Alert triangle appears when the selected color is outside of the CMYK color
options. A color swatch appears next to the triangle showing the closest CMYK equivalent. Click
the triangle or the color swatch to replace the current color with the CMYK equivalent.
Alert Cube – The Alert Cube appears if you select the Web color sliders option from the palette
menu, and the colors selected are not included in the Web-safe palette. To limit the palette so that
it will only display Web-safe colors, select Make Ramp Web Safe from the palette menu.
Color Bar –The Color Bar resides at the bottom of the Color Palette. This displays all of the
colors contained in the CMYK spectrum. Click or drag inside the color bar to select a color and
make it the current foreground or background color. The slides will update as you drag. You can
adjust the color spectrum displayed by opening the palette menu and selecting a new spectrum
from RGB, black-to-white gradation (Grayscale Ramp), or a gradation from the currently
foreground color to the current background color (current Colors).
Swatches Palette
Using the Swatches Palette
• The Swatches Palette allows you to collect colors for future use. A holding tank for favorite colors.
The foreground and background colors can also be set with this palette.
• From the main menu, choose Window > Show Swatches to view the Swatches palette:
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Lesson 4 – Palettes
• Click a color swatch to change the foreground color.
• Alt + click a color swatch to change the background color.
• Click an empty swatch place to add the new foreground color to the palette.
• Your cursor will change to a paint bucket, and you’ll be asked to name the swatch.
• Shift + click a color swatch will allow you to replace one color with another.
• Double-click a swatch to see its name.
• Right-click to insert a new swatch anywhere in the palette. A drop-down menu appears, select Add
New Color, and name the color. The other colors will move to make room.
• Ctrl + click on a color to delete that color from the panel. Your cursor will change to scissors.
• Select the New icon on the bottom bar of the palette, beside the trashcan. This allows you to add a
new swatch in the current foreground color.
• Click and drag a swatch to the trashcan icon to delete it from the palette.
• Load Swatches – This option from the Palette menu allows you to switch swatches stored in a
swatches file to the current set of swatches.
• Replace Swatches – This option from the Palette menu allows you to replace the current
swatches with ones in the file.
• Save Swatches – This option from the Palette menu allows you to create a new swatch collection
and save it to a disk file.
• From the main menu, choose Edit > Preset Manager, and select Swatches from the Preset Type
pop-up menu to display the Swatches presets panel:
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Lesson 4 – Palettes
Styles Palette
Using the Styles Palette
• With the Styles Palette you can save layer effects and blending options by creating layer styles.
• From the main menu, choose Window > Show Styles to view the Styles palette:
• Click and drag a style onto your image window to use as a foreground or background color.
• From the main menu, choose Edit > Preset Manager, and select Styles from the Preset Type pop-
up menu to display the Styles presets panel:
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Lesson 4 – Palettes
Character Palette
Using the Character Palette
• The Character Palette provides options for formatting characters.
• From the main menu, choose Window > Show Character to view the Character palette:
Font – This drop-down menu allows you to select the typeface. Very typical to other applications,
with more selection.
Style – This drop-down menu is very similar to all other applications in the choices. Some fonts
have different selections:
Faux Bold and Faux Italic – Allows you to apply bold and italic effects to letters when the font
does not have them as a type style. Only use these if the pop-up menu doesn’t offer bold or italic
setting.
All Caps and Small Caps – Allows you to convert the case of the type. Capital letters cannot be
converted to Small Caps if created by using the Shift or Caps Lock keys.
Superscript and Subscript – Allows you to shrink selected characters and move them above or
below the text baseline. Useful for mathematical equations. If they don’t position as you want, use
the Baseline option mentioned below.
Underline Left and Underline Right – This applies to vertical type only, and allows you to add a
line to the left or right of the selected characters. When working with horizontal type, the option
changes to Underline and only does that.
Size – This drop-down menu allows you to select the size of your type characters. You can also
manually enter any size, and Photoshop will adjust the sizing. The measurements can be points,
pixels or millimeters, which you can adjust in the Units and Rulers panel in the Preferences
dialog box.
Leading – This is a line-spacing function, as it allows you to adjust the vertical distance between
the baseline of one line of type and the baseline of the next line of type. The drop-down menu
allows you to select several of spacing options. The leading is measured in the unit selected from
the Type pop-up menu in the Preferences dialog box.
Kerning – Kerning allows you to set the spacing between characters of type. This is especially
useful as you can manually adjust spacing between particular characters that in certain fonts fit too
closely together, or look further apart.
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Tracking – This pop-up menu allows you to affect character spacing, measured in spaces.
Tracking can be applied to multiple characters at a time. A Tracking value can also be applied on
top of either automatic or manual kerning.
Horizontal and Vertical Scaling – These value fields allow you to alter the vertical or horizontal
size of text in correlation with the baseline. If creating vertical type, the Vertical field will affect the
width of the column of letters, and the Horizontal field will change the height of each character.
Baseline – This value field will raise or lower selected text in respect to the baseline. Raising type
will result in a superscript, and lowering type will result in a subscript.
Color – Clicking on the color field will open the Color Picker dialog box. You can apply color on
a per-character basis. The color selected will affect the next character typed and any selected text.
Paragraph Palette
Using the Paragraph Palette
• There are multiple options to use within the Paragraph Palette, and all affect text created inside a
bounding box.
• From the main menu, choose Window > Show Paragraph to view the Paragraph palette:
Alignment – Allows you to control how lines of type will align with each other. Choose from left,
center or right. These change depending if you’re formatting vertical or horizontal type:
Roman Hanging Punctuation – This option in the Paragraph Palette menu allows you to
choose whether or not to have punctuation marks fall outside of the bounding box so that the first
and last characters in all lines of type are letters or numbers. This causes a much cleaner and
smoother look to the block of text.
Justification – Allows you to adjust text so that it stretches evenly depending on which edge of
the bounding box to choose to justify to:
Left Justify will align the text to the left of the box:
Right Justify will align the text to the right edge of the box:
Center Justify will place the line equally between the left and right edges:
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Force Justify has Photoshop adjusting the spacing of the last line of text so that it fills the
entire width of the bounding box, not matter what the length of the line is. This is not
aesthetically pleasing, especially with short lines, as it will cause the huge spacing between
words:
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Lesson
Five
Layers
Using Layers
Reordering Layers
This Chapter contains The order of layers can be changed once you view them in the Layers
palette.
This can be used if you want one layer to appear on top of another, but
Using Layers
they weren’t created in that order.
Working Multiple Layers Click to the right of the thumbnail of the active layer and hold. The active
layer will change color:
Lesson 5 – Layers
• While still holding down the mouse button, drag the layer up to the top of the stack:
Tip To move a layer up or down one level, select the layer and press Ctrl + ]
to raise the layer up one level, or press Ctrl + [ to lower the layer down
one level.
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• If you click once on the eye, the eye icon will disappear and the layer is hidden:
Removing Layers
• The easy way to remove a layer is to select layer to make it active, then click the trashcan icon at
the bottom left-hand corner of the Layers palette:
• Another way to delete a layer is to open the Layer Options Palette menu by selecting the triangle
within the circle at the top right-hand corner of the Layers palette, and then select the Delete Layer
command:
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Working with Multiple Layers
Setting Layer Opacity
• The Opacity slider at the top of the Layers Palette allows you to control the opacity of the active
layer.
• To make the Slider Knob appear, mouse click the triangle to the right of the percentage window.
Adjust opacity from 5% to 100% by dragging the slider.
• You can also enter a value and not use the slider at all. 0 = 100%, 1 = 10%, 2 = 20%, etc. For
more precise control, type in the digits of the measurement you want:
• Slider Knob:
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• The Layer Style dialog box will appear, here you can set various Blending Options, such as Blend
Modes:
• Normal – This is the default mode. The blend color replaces the base color:
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• Dissolve – A random amount of pixels become the blend color. Typically has a splattered or “dry
brush” effect:
• Multiply – Allows you to multiply the base color by the blend color, giving a darker resulting
color. The effect is like drawing over a picture in marker:
• Screen – Allows you to multiply the base color by the inverse of the blend color, giving a lighter
resulting color:
• Overlay – Allows you to either multiply or screen, depending on the originalbase color. This will
preserves the highlights and shadows of the base color:
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• Soft Light – Allows you to darken or lighten depending on the blend color. The effect is similar
to shining a diffused spotlight on the image:
• Hard Light – Allows you to multiply or screen the colors, depending on the blend color. The
effect is similar to shining a bright spotlight on the image:
• Color Dodge – Allows you to brighten the base color to match the value of the blend color:
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• Color Burn – Allows you to darken the base color to match the value of the blend color:
• Darken – This mode will evaluate the color information in each channel and assign either the base
or blend color, whichever one is darker, as the result color. Lighter pixels will be replaced, but the
darker ones are not affected:
• Lighten – This mode will evaluate the color information in each channel and assign either the
base or blend color, whichever one is lighter, as the result color. Darker pixels will be replaced, but
the lighter ones are not affected:
• Difference – This mode will compare brightness values in the base and blend colors, and
subtracts whichever is the lighter. Overlaps will cancel the previous action:
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• Exclusion – The same as the Difference mode, but with a softer effect:
• Hue – The result combines the luminance and saturation of the base color and the hue of the
blend color:
• Saturation – The result is a color with the luminance and hue of the base color, and the saturation
of the blend color. Unless the saturation of the blend color is reduced significantly, nothing will
show:
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• Color – This mode will combine the luminance of the base color with the hue and saturation of
the blend color. This is useful for coloring monochrome images, as the Color mode will retain gray
levels:
• Luminosity – This mode will end up with a result color from the hue and saturation of the base
color and the luminance of the blend color. This is the opposite effect of the Color Blend mode:
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OR From the main menu, choose Layer > Layer Style > Blending Options to open the
Blending Options dialog box. This dialog box gives you control over the way you’re blending will
occur:
Linking Layers
• To Link Layers that are not active, click in the box on the Layers palette next to the eye icon and a
piece of linked chain will appear.
• This means that the inactive layer is now linked to the active layer. If the contents of the active
layer are moved, the linked layers will move with it:
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Assigning a color to a layer set can make it easier to locate. All of the
thumbnails in the Layers palette show the assigned color as a
background.
Merging Layers
• Merging Layers or flattening layers has to happen when you have multiple layers in an image and a
large file. This file has to be merged or flattened to be able to use it for anything like publishing in
print, or for the Web.
• The only way that the multi-layered image can be saved without merging or flattening is in a
Photoshop format (.psd), which is not useful if you want to do anything else with the file.
• Merging – Merging groups of layers conserves memory space and still allow you to work on the
layers not yet finished.
• If you don’t have any linked layers, from the main menu, choose Layer > Merge Down, or select
Merge Down from the Layers Palette menu, to merge a selected layer with the one directly below
it.
• If you have one or more linked layers, the Merge Down option will change into Merge Linked.
This will merge the selected layer with all linked layers (the ones marked with the chain icon):
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• You can also select Merge Visible to merge all visible layers (the ones marked with the eye icon).
Flattening Layers
• Flattening – Flattening will compress all visible layers down to one layer. Any layers that were
invisible at the time of flattening will be lost.
• From the main menu, choose Layer > Flatten Image, or select Flatten Image from the Layers
Palette menu, to flatten an image. Do not do this step unless you are completely finished editing
the image. Transparency will be lost and all layers will be merged into the single, background layer:
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• All layers, layer masks, layer effects and adjustment layers are preserved.
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Lesson
Six
Color
Color Modes
Using the Bitmap and Grayscale
The Bitmap mode only uses two color values, black and white, whereas the
Grayscale mode has 256 shades of gray, which range from white to black.
This Chapter contains To convert an image to a Bitmap mode, from the main menu, choose
Image > Mode > Bitmap:
Color Modes
Color Models
A Bitmap dialog box will open asking for you to choose the Resolution
and the Method. Note: If you are using multi-layered image, you will need
to Flatten the image first:
Lesson 6 – Color
• A Bitmapped image has very jagged edges, and no smooth quality. Shading details are lost:
• A Grayscale image has a very smooth transition between values, smoothing edges and showing more
definition. When working on a black and white image, it makes more sense to work on it in the
Grayscale mode:
• To convert a color photo to Grayscale, from the main menu, choose Image > Mode > Grayscale:
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• A permission box will open asking for you to OK discarding the color information.
• Click OK.
• The picture has been converted to grays.
• From the main menu, choose Image > Mode > RGB Color to change your image color mode to
RGB.
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• From the main menu, choose Image > Mode > Indexed Color to view the Indexed Color dialog
box:
Exact – The colors that are in the RBG version of the image are taken for its palette. This only
works if there are less than 256 colors in the original image.
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System – This option uses the Mac OS or Windows System palette.
Web – The Web palette uses the colors that are used the most by Web browsers. This is the best
palette to use if you are publishing your work on the Web, otherwise, there may be problems with
incompatible colors dropping out when the image is viewed with a Web browser.
Uniform – This option bases the colors in the palette on a strict sampling of colors across the color
spectrum.
Perceptual – This option will create a custom palette by giving priority to colors that the human eye
has a greater sensitivity to.
Selective – This option will create a color table similar to the Perceptual, but will favor broader
areas of color and will preserve the Web colors.
Adaptive – This option is the best companion to working in Indexed Color mode. During
conversion, the most frequently used colors are sampled from the original. Adaptive will usually
provide the closest match to the original picture color.
Previous – This option will remember and revert to whatever option you chose the last time you did
a conversion to Indexed color.
Dithering – Certain colors are combined, or, adjacent pixels are interspersed, visually blending
onscreen to create a new color, even though the pixels retain their original color when viewed at
intense magnification.
• From the main menu, choose Image > Mode > CMYK Color to change your image color mode to
CMYK.
The term Gamut refers to the range of colors that the combination of
CMYK inks can print. There are typically quite a few warnings that are
triggered when working with oranges and greens, as they are out of
gamut, and cannot be printed very accurately.
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Converting Between Modes
• From the main menu, choose Image > Mode and select what you want to convert your picture to. In
some cases you will need to Flatten the image before you can change the color mode:
Color Models
RGB Model
• The RGB (Red, Green, Blue) model assigns color values on a scale of 0 to 255 for each of the RGB
three primaries. Computer monitors and TV screens for display purposes typically use the RGB
model.
For example:
• Pure Red has Green and Blue values of 0, and a Red value of 255.
• Pure White has all three RGB values set at 255.
• Pure Black has all three RGB values set at 0.
CMYK Model
• The CMYK (Cyan, Magenta, Yellow, Black) model defines colors according to the percentage of the
colors contained.
• These four colors are the four printing ink colors, for home inkjet printers as well as high-resolution
color laser printers.
HSB Model
• The HSB model consists of three portions:
Hue – This is the basic color from the color wheel, ex. Red, blue or yellow. The Hue is expressed in
degrees (0-360) corresponding to the positions on the color wheel of the various colors.
Saturation – Means the strength of the color, is a percentage of the color minus the amount of gray
in it. Pure color pigment with no gray is 100% saturated. Neutral gray, without color, is 0%
saturated. Saturated colors are at the edge of the color wheel and saturation decreases approaching
the center of the wheel.
Brightness – Means the relative tone or lightness of the color. Brightness is also measured in
percentages, from 0% (black) to 100% (white). Brightness can be equivalent to the value used by
the RGB model.
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Lesson
Seven
Artwork
Brushes
Although each tool has its own set of options, the Brushes palette works
with all art tools, from the Airbrush to the Dodge tool. You can select one
of the preset brush shapes or create your own.
Click to select a brush shape. The size and shape viewed in the thumbnail
boxes are what the size and shape of your brush will be. The brushes with
the numbers under them indicate the diameter of the brush in pixels.
Brushes
• Select a color.
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• Select the Airbrush tool from the toolbox.
• Open the Brushes palette on the Option menu.
• Choose a Brush shape.
• On your image, press and hold down the mouse as you move the mouse over the page:
• Select a color.
• Select the Paintbrush tool from the toolbox.
• Open the Brushes palette on the Option menu.
• Choose a Brush shape
• On your image, press and hold down the mouse as you move the mouse over the page:
Pressure Slider – Controls how much is erased. Useful for blending parts of images.
Fade – After a certain number of steps, which you specify, the Eraser no longer erases. This is
useful when creating feathering around irregularly shaped images.
Erase to History – Allows the Eraser to work with the history palette, which means you are erasing
to an earlier version of the picture. Before you begin to erase or make any other changes, you can
take a snapshot of the picture by choosing New Snapshot from the History palette.
Tip To undo an eraser movement, choose Edit > Undo to restore the
portion you may have accidentally removed.
• The Pencil tool is very much like the Paintbrush tool, except that the lines created are hard-
edged. They don’t fade at the edges like a paintbrush line would.
• Right-click on the Paintbrush tool to see the drop-down tool menu, and select the Pencil tool.
• Set the diameter of the Pencil in the Brushes Options palette, but setting the hardness is not an
option with the Pencil.
• When the Pencil tool is selected, a new option appears in the Tool Options bar, Auto Erase. When
this is selected, when you start to draw on a part of the canvas that already has a pencil line, your
current Pencil drawing will become an Eraser and will erase until you release the mouse button.
Graphic Shapes
• There are a multiple of preset graphic shapes provided by Photoshop. They can be used as paths and
be filled or stroked when needed. The shapes can be resized, reshaped to a certain extent, and placed
anywhere on the page:
Rectangle
Rounded Rectangle
Ellipse
Polygon
Line
Custom Shape
• Select the required Shape tool. If using the Custom Shape tool, click the Shape.
• Window on the Tool Options bar and select an available shape:
• Mouse click on the image window and hold down the mouse button.
• Drag the mouse on the stage to draw your shape:
Holding down the Shift key as you drag will force a Rectangle or
Rounded Rectangle into a square, and force the Ellipse into a circle.
Dragging as you draw will determine the size and orientation of a shape.
• Add to Shape Area – When selected it will enable you to draw a second shape that is touching the
first, both shapes will be filled.
• Subtract from Shape Area – When selected it will enable you to cut out part of the filled shape.
• With the shapes on the same layers and the Shape tool selected, hold down the Ctrl key and choose
either Intersect Shape Areas or Exclude Overlapping Shape Areas options in the Tool Options bar:
• Intersect Shape Areas – When selected it will enable you to fill the shapes where they overlap.
• Exclude Overlapping Shape Areas – When selected it will enable you to remove the color where
two shapes overlap.
• To manipulate the shape that you created select the Shape tool in your Toolbox and hold the Ctrl
key down while selecting your shape and the nodes will appear:
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• To select and move the shape around you will need to use The Path Component Selection tool.
• To select and manipulate the shape utilize The Direct Selection Tool and select only on the outer
parts of the shape.
• To Add and Delete nodes you will have to use The Pen Tool
The Ctrl key has to be held down to select a shape on the canvas with
the layer selected to acquire the nodes.
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Lesson
Eight
Image Manipulation
Selecting Colors
Selecting Colors
Blending
Smudging
Focusing
• The Color Picker opens in the HSB mode by default, this causes the color field to show you all of
the possible saturation and brightness of the particular hue selected.
• Clicking anywhere in the color field, the Saturation and Brightness numbers may change, but the
Hue setting will remain the same.
• Clicking the Saturation button will cause the color field to show all of the possible hues at the
designated saturation value. Clicking anywhere in the color field will cause the other number to
change, but the Saturation will remain the same.
• RGB mode can be selected to work from as well. Colors in the RGB mode are made from three
components: Red, Green and Blue. The best way to learn to use the Color Picker in the RGB mode
is to practice, and play with the color possibilities.
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Lesson 8 – Image Manipulation
Blending
Blending images
• The Blending modes control the various factors involved in painting. Located on the Tool Options
bar in a drop-down menu, Blending modes can be applied to all tools that can draw or paint,
including the Pencil, Rubber Stamp and Gradient tools.
• Working with two colors, a base color already in place, and a blend color, which is applied with each
Blending mode enabled. The result is a third color, a result that will vary according to how you blend
the first two.
• The various options in the Blending Modes are:
Normal – This is the default mode. The blend color replaces the base color.
Dissolve – A random amount of pixels become the blend color. Typically has a splattered or “dry
brush” effect.
Behind – This only works on transparent portions of a layer. Behind is not available if nothing is
transparent, or if there is only the background layer.
Multiply – Allows you to multiply the base color by the blend color, giving a darker resulting color.
Screen – Allows you to multiply the base color by the inverse of the blend color, giving a lighter
resulting color.
Overlay – Allows you to either multiply or screen, depending on the original base color. This will
preserves the highlights and shadows of the base color.
Soft Light – Allows you to darken or lighten depending on the blend color.
Hard Light – Allows you to multiply or screen the colors, depending on the blend color.
Color Dodge – Allows you to brighten the base color to match the value of the blend color.
Color Burn – Allows you to darken the base color to match the value of the blend color.
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Darken – This mode will evaluate the color information in each channel and assign either the base
or blend color, whichever one is darker, as the result color. Lighter pixels will be replaced, but the
darker ones are not affected.
Lighten – This mode will evaluate the color information in each channel and assign either the base
or blend color, whichever one is lighter, as the result color. Darker pixels will be replaced, but the
lighter ones are not affected.
Difference – This mode will compare brightness values in the base and blend colors, and subtracts
whichever is the lighter. Overlaps will cancel the previous action.
Exclusion – The same as the Difference mode, but with a softer effect.
Hue – The result combines the luminance and saturation of the base color and the hue of the blend
color.
Saturation – The result is a color with the luminance and hue of the base color, and the saturation
of the blend color. Unless the saturation of the blend color is reduced significantly, nothing will
show.
Color – This mode will combine the luminance of the base color with the hue and saturation of the
blend color. This is useful for coloring monochrome images, as the Color mode will retain gray
levels.
Luminosity – This mode will end up with a result color from the hue and saturation of the base
color and the luminance of the blend color. This is the opposite effect of the Color Blend mode.
Smudging
Smudging images
• The Smudge tool looks and works like a finger rubbing across your picture.
• Color is picked up from where you start dragging the tool, and moved in the direction of dragging.
Each stroke starts with the foreground color:
• Right-click on the Blur tool to select the Smudge tool in the drop-down menu:
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Setting Smudge Options
• Use the Tool Options bar to set the Pressure of the smudge. At 100% the paint is wiped away. At
25% the smear is much smaller.
• Click and hold the arrow next to the pressure setting to access the setting slider, and drag the slider
to set the pressure.
OR
• Type a single digit in the Pressure field to set it to a multiple of 10. Typing 5 will set the pressure to
50%:
• Check Finger Painting if you want to use the Smudge tool to add some smudged color while
dragging.
• Blending modes are available on the Mode drop-down menu:
• The Smudge tool is considered a brush, therefore the width of the smudge can be selected by
choosing a brush size from the Brush palette:
Focusing
The Focus Tools allow you to increase or decrease the contrast between neighboring pixels,
sharpening or blurring the image.
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Lesson 8 – Image Manipulation
Blurring images
• The Blur tool allows you to create blurs in images. This is a softening or evening out of pixel
values.
The Sharpen tool can temporarily be selected when using the Blur tool
by pressing the Alt key. The Use All Layers option is only available if
the image has more than one layer. Options for the Blur and Sharpen
tools are basically the same for the Smudge tools.
Sharpening images
• The Sharpen tool is the opposite of the blur tool. This tool will harden pixel values and bring
them into greater detail by increasing the contrast between adjacent pixels. Going over a section too
much, or with the pressure set too high, the color can be burned out of an image.
Dodging images
• The Dodge tool allows you to lighten an area of an image. There are three options for the
Dodge tool in the Tool Options bar:
Shadows – Allows you to adjust the shadows, like making them lighter and leaving the lighter pixels
untouched.
Midtones – This is the default option. Allows you to affect the mid-tone pixels, or when you’re
unsure of how to proceed.
Highlights – Allows you to lighten already light-colored areas, leaving the darker areas untouched.
Sponging images
• The Sponge tool allows you to either increase or decrease the color saturation in the area that it
is applied to.
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To Use the Sponge tool:
• Right-click on the Dodge tool in the toolbox to view and select the Sponge tool.
• Select the options for the Sponge tool in the Tool Options bar.
• Drag your cursor over the areas of the areas that you want to increase or decrease color saturation in.
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Lesson
Nine
Type
Type Tools
The Character palette gives you control over letter spacing, kerning,
tracking and shifting the baseline. As well as the typical options of the font,
This Chapter contains style, color and size options. (Also found on the tool bar):
Type Tools
Shadows
Glow Effect
Warp Text
Type options can be set with the Character palette before type is set on the
page, or the palette can be used to reformat type already entered.
Flush Left – Text will stream right from the insertion point.
Centered – Text will center on the insertion point.
Flush Right – Text will align to the right side of the insertion point.
OR
• Create a bounding box when you have a lot of type to set, or when you need to fill a specific area.
• Select the Type tool, click on the corner point of the window, or where you want the type to be set,
and drag until the box is the required size and shape.
• The box can be resized after type has been entered.
• Enter text by typing or by copying and pasting from another program.
• Type layers will be named according to the first word typed in a line:
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To Edit a Type Layer:
• Double-click the Type layer in the Layers palette that you want to edit. This will also select the Type
tool and the Tool Options set for that line.
• Make sure that you select the correct layer you want to edit, if you have several type layers.
• You can edit the text, insert new text or delete text. All options can be applied from font to the
paragraph spacing. You can also move layers, change the layer options, and apply Layer Effects.
Rendering Type
• The type must be rendered before it becomes a part of your page, or picture.
• You also cannot apply the full range of filters to the type until it has been rendered.
• Rendering – Sticks the type to its layer. Type cannot be edited after it has been rendered.
To Render a Type:
• Select the type layer to render and from the main menu, choose Layer > Rasterize >Type
OR
• Select the type layer in the Layers Palette, right-click on the layer’s name and choose Rasterize Layer.
• Type layers can be rendered individually, or all together.
After placing the type on the screen you can now apply filters, pour
paint into selected letters, distort type, etc.
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Shadows
Using Shadows
• A Drop Shadow is basically a shadow that has been placed behind text to give more emphasis and an
added dimension to direct the eye to a specific line.
• An Inner Shadow is a shadow that has been placed inside text to give text some depth – or illusion
of being pushed-in.
• The Drop and Inner Shadow are tools, along with Glow, Bevel, Emboss, Satin and Overlay tools,
and can also be used on objects:
Remember that it can only be used on something that is its own layer.
Painting on the background, and then trying to add the effect will not
work.
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• Check the Preview box to view your work while creating.
• Set the Blend Mode to Normal, Multiply or Darken to be able to see the shadow.
• Click in the color swatch next to the Mode menu to change the color of the shadow. This will also
open the Color Picker.
• Adjust the shadow’s Opacity and Angle as needed. Click the slider and drag on the clock face to
change the angle, or type numbers into the fields.
• Set the Distance to how far away you want the shadow to be from the word or object.
• Set the Size according to the amount of shadow you want to see.
• Set the Spread according to how distinct you want the edges of the shadow to be.
• Click OK when completed.
• The shadow options can be changed even after this point. Only after the layers have been merged or
rendered the type, are you unable to change any options.
Glow Effect
Adding Glows
• The Glow effect adds emphasis around a portion of text and can make it stand out from a busy
picture background:
• Double-click on the type layer in the Layer palette to open the Layer Style dialog box, where you can
select Outer Glow or Inner Glow options:
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Bevel and Emboss Effects
Creating Bevel and Emboss Effects
• Bevel affects the edges of the type, producing a raised, but flat letter surface.
• Double-click the type layer in the Layer palette that you want to Bevel or Emboss, to open the Layer
Style dialog box:
• Inner Bevel
• Outer Bevel
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• Emboss – Causes the letters to appear curved or rounded.
Warp Text
Warping Text
• From the main menu, choose Layer > Type > Warp Text OR click on the
• Warp Text icon in the Tool Options bar to open the Warp Text dialog box.
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• Use the sliders to increase the amount of Bend applied to the text path. Moving to the slider to the
right will bend words up; moving to the slider to the left will bend words down.
• Distortion will cause the line of type to flare out on one end or from the top to bottom.
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Lesson
Lesson
Ten
Printing
Printing Images
This Chapter contains Setting Up the Page
From the main menu, choose File > Page Setup to open the Page Setup
Printing Images dialog box:
Lesson 10 – Printing
• Printer – Allows you to select the appropriate installed printer under the Name drop-down menu.
• Properties – Allows you to access a dialog box, where you can change items like paper size, layout,
and printer resolution and halftone settings.
• Paper Size – Allows you to select the size of paper that you are printing on.
• Paper Source – Allows you to select the paper source you want to use if the printer has multiple
paper trays.
• Orientation – Allows you to select how you want the printed image to be placed on the page.
• Screens – The Use Printer’s Default Screens is the default selection, and when selected, will not let
you change anything else. Un-checking this option will allow you to customize the other halftone
options. It is usually better advised to leave this on the default setting.
• Transfer – Allows you to change the transfer functions, usually used to improve the dot quality
when an image is transferred to film, as a preparation for PostScript printers.
• Background – Allows you to print a background color around your image. Selecting this button will
open the Color Picker. The color selected is used only for printing and will not affect the image file.
• Border – Allows you to print a border around your image. Selecting this button will open the Border
dialog box. Here, you can set the width of the printed border in inches, millimeters, or points. The
border will always be black, and this cannot be changed.
• Bleed – Bleeding means that a part of the image will run right off the edge of the paper. There is no
border or empty space between the image and the edge of the page. Selecting the Bleed button
allows you to define the bleed area of an image in inches, millimeters, or points. Higher values will
move the crop marks within the boundaries of the image so that less of the image will get printed.
An image cannot bleed more than an eighth of an inch.
• Caption – Select this box, and on the printed page you will see the text that appears in the Caption
area of that File Info dialog box for that file. To open the File Info dialog box choose File > File
Info and make sure that Caption is selected in the top pull-down menu.
• Calibration Bars – Selecting this box will print Calibration and Color bars next to your image. A
Calibration bar is a row of 22 gray squares of different values, and a Color bar is a row of 11 colors.
These bars will help when you’re trying to calibrate to a specific printer or if you want to see how a
specific printer is printing. This option is only available when using a PostScript printer.
• Registration Marks – Activating this feature will allow you to print a variety of registration marks
around the image. Depending on your printer, you may get bull’s-eyes, star targets (two crossed lines
in a circle), and/or precise pinpoint marks (two crossed lines). These marks can be helpful when
aligning color separations.
• Corner Crop Marks – Allows you to add crop marks around each corner of your image, defining
where it should be trimmed. They appear as horizontal and vertical lines.
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• Center Crop Marks – Allows you to add crop marks centered along each side of the image,
defining the exact center of the image. They will appear as two crossed lines.
• Labels – Selecting this box will allow you to print the filename next to the image. If printing color
separations, the name of the appropriate color channel is also printed on each color plate.
• Negative – Selecting this box will cause the printer to reverse the values of the image. White will
become black, black becomes white and everything between changes accordingly. This makes your
image end up as a negative image. This option can be useful when printing to film for commercial
offset printing, as these images will usually need to be negatives.
• Emulsion Down – Selecting this setting will print your image as a horizontal mirror image of the
original. Everything will be flipped left-to-right.
• Interpolation – Interpolation refers to some printers’ capability to resample an image as they print
it. Any PostScript Level 2 printer can take a lo-resolution image and resample it, improving the
resolution so that the printout is a better quality. This is a good tool only when dealing with low-
resolution images. Interpolation is available only on PostScript printers.
• This dialog box looks different depending on the type of Printer being used, what platform the
program is running on, and the mode of the image. Every dialog box requires same basic
information to be entered.
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• Print Range – Allows you to specify the range of pages to be printed. This is irrelevant if there is
only one page to be printed.
• Print Quality (Can also be called Mode) – Allows you to specify a printer resolution, usually from
300 up to 1200 dpi.
• Copies – Allows you to select the number of copies to print of the document.
• Destination – Besides print to a Printer, you can also Print to File. This will save the printed output
as a PostScript or EPS file, or as and Adobe Acrobat PDF. This option will only work if you’ve
selected a PostScript-compatible printer.
• Encoding (May also be a checkbox for ASCII format) – This area is where you tell Photoshop
which encoding methods to use when it send the image data to the printer.
Binary encoding is more compressed and can be faster, but does not work on
all printers.
JPEG encoding is even faster, but it’s results in some lost data because of a messy compression
scheme. JPEG encoding will only work with PostScript Level 2 printers.
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Lesson
Eleven
Transformations
Resizing
This Chapter contains
Resizing an Image
When resizing an image for printing, a higher resolution will translate into a
Resizing sharper image with a much greater clarity.
Rotating
To Alter the Resolution of an Image:
Flipping From the main menu, choose Image > Image Size to open the Image Size
Selection
dialog box:
Transformations
Liquify
Lesson 11 – Transformations
• Adjust the Height and Width fields as required to either enlarge or shrink the image.
• Adjust the Resolution box, to determine how many pixels per inch or pixels per centimeter you want
your image to be displayed in.
• A good option is to leave the Resample Image check box unselected. When selected, Photoshop may
add or subtract pixels automatically. When unselected, this will instruct Photoshop to leave the pixels
as is, and will merely change how many of them print per inch:
Resizing a Canvas
• The Canvas Size dialog box allows you to scale the canvas that the image rests on, separately from
the image itself.
• From the main menu, choose Image > Canvas Size to open the Canvas Size dialog box:
• When enlarging the canvas, the image will be surrounded with a white background (if the
background color is white):
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• When reducing the canvas, the image will be cropped:
• Click inside the Anchor Grid in the Canvas Size dialog box to specify the placement of the image on
the new canvas:
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• The Anchor grid has arrows that show how the canvas will shrink or grow:
Rotating
Rotating a Canvas
• From the main menu, choose Image > Rotate Canvas to view the submenu with the rotation
options:
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• 90° CW – Will rotate an image scanned on its side, clockwise:
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When using Arbitrary, Photoshop has to expand the canvas size to
avoid clipping any portions of the image. This will result in background-
colored wedges at each of the four corners of the image. To remove
these, either clone portions of the image with the rubber stamp tool to
fill in the wedges, or clip them away with the crop tool.
Flipping
Flipping a Canvas
• From the main menu, choose Image > Rotate Canvas > Flip Horizontal to flip the image from left
to right:
• From the main menu, choose Image > Rotate Canvas > Flip Vertical to flip the image upside down:
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Selection Transformations
Using Free Transform
• The Free Transform submenu allows you to scale, flip, rotate, slant, distort and move a selection or
layer in one continuous operation. This one command allows you to apply transformations exactly
right before having to press Enter which will apply the final changes.
• From the main menu, choose Edit > Free Transform or press the Ctrl + T key combination, the
layer or selection will be surrounded with an eight-handle marquee. This is the Free Transform
mode, and there are a multiple of transformations that can be done in this mode:
• To Scale – Drag one of the eight square handles to scale the image inside the marquee. To scale
proportionally, Shift + drag a corner handle. To scale about the central transformation origin (by
default – this is at the center of the marquee), Alt + drag a corner handle:
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• To Rotate – Select a corner handle and drag in the direction that you want the image to rotate to.
Your cursor will appear as a curved double-ended arrow:
• To Skew – Press Ctrl and drag a side handle (including the top or bottom sides) to slant the image.
To constrain the slant (perspective effects) press Ctrl + Shift then drag a side handle:
• To Distort – Pressing Ctrl and dragging a corner handle, you can stretch the image in any of the
four directions. To stretch two opposite corner handles in symmetrical directions, press Ctrl + Alt
and drag either of the corner handles:
• Perspective – For a one-point perspective effect, press Ctrl + Shift and drag a corner handle. To
move two points in unison, press Ctrl + Shift + Alt and drag a corner handle:
• Move – Click and drag inside the marquee to move the image. This is useful when tying to align the
selection or layer with a background image, and matching transformations.
• Undo – To undo the last modification without leaving the Free Transform mode, press Ctrl + Z:
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• Zoom – Alter the view size by either using one of the commands in the View menu, or shortcuts:
Ctrl + Spacebar + click to zoom in, Alt + Spacebar + click to zoom out, or Ctrl + Plus symbol to
zoom in and Ctrl + Minus symbol to zoom out.
• Apply – Press Enter to apply the final transformation and to interpolate the new pixels. Double-
clicking inside the marquee will accomplish the same thing.
Liquify
Using Liquify
• The Liquify command allows you to paint and erase distortions inside a separate window. The image
can be dragged to warp, shift, twirl, expand, contract and even copy pixels. Liquify allows you to
distort pixels by pushing them around with a brush.
• From the main menu, choose Image > Liquify
OR press the Ctrl + Shift + X key combination to open the Liquefy image window.
• Warp – Dragging will shove the pixels under your cursor around the image:
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• Twirl clockwise – Click or drag to spin pixels under your cursor in a clockwise direction, to
the right:
• Twirl counter-clockwise – Click or drag to spin pixels under your cursor in a counter-
clockwise direction, to the left.
• Pucker – Drag to send pixels moving toward the center or the tool cursor. Holding the mouse
button down, without dragging, will cause Photoshop to steadily increase the extent of the distortion
the mouse button is released:
• Bloat – Drag or mouse down and the pixels under the brush cursor will move outward. As in
Pucker, the longer the mouse button is held down, the more bloating that happen:
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• Shift pixels – Drag to move pixels under the cursor in a direction perpendicular to the drag.
• Reflection – Drag to create a reflection. While dragging, Photoshop will copy pixels from the
area perpendicular to the direction the cursor is moving in. So if dragging down, pixels to the left of
the cursor will be coned onto the area underneath the cursor.
• The Brush Pressure option controls tool impact; higher values will produce more pronounced
effects. If working with a pressure-sensitive table, select the Stylus Pressure check box to adjust the
tool pressure based on the amount of pressure placed on the pen stylus.
• Using screen-resolution data, Photoshop will distort the image in the dialog box to speed up the
performance of the Liquify filter. When clicking OK or pressing Enter, the program will apply the
warp to the full resolution image. This design will not allow you to zoom in or out on the image in
the Liquify window. To get a closer look at the image, exit the dialog box, and select the area to alter,
Photoshop will then display only the selected area at a larger size inside the Liquify window when
you re-open the Liquify dialog box.
• Any deselected areas of the image are considered frozen, with mean that they will be unaffected by
the distortion tools. Thawing a portion of the image means that you are making that area available to
be distorted. You can freeze, and then thaw portions of the image.
• By default, frozen regions are covered with a red translucent coating, just like the quick mask mode.
The appearance of the overlay can be adjusted by selecting a new color from the Freeze Color pop-
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up menu at the bottom of the Liquify window. Deselect the Show Frozen Areas checkbox if you
don’t want to see the coating at all.
• Select the Show Mesh checkbox to display gridlines on top of the image. The gridlines can be used
as a guide for applying very precise distortions. Deselect (unchecked) the Show Image checkbox to
distort an image while viewing only the grid. Select the Mesh Size and Mesh Color options to set the
grid size and color.
• Press the F key to select the Freeze tool, and drag over areas that you want to protect during
the distortion process. The brush size and pressure can be adjusted the same as when working with
the distortion tools, except that the pressure setting will determine how deeply frozen the pixels will
become. Less than 100% and the pixels will become partially distorted when dragging over them
with a distortion tool. A 50% setting will cause a distortion to be applied with half the pressure as in
unfrozen areas:
• If a mask channel was created before choosing the Liquify command, the masked area can be frozen,
by selecting that masked channel from the Channel pop-up menu.
• To thaw frozen areas, paint over them with the Thaw tool. The Brush Pressure setting will
affect this tool the same as it does to the freeze tool.
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Reversion Possibilities:
• To undo your last drag, press Ctrl + Z. Press again to undo the undo.
• To return everything to its original setting before the Liquify window was opened, Alt + click the
Cancel button, which will turn into the Reset button, then Alt +click the Reset button.
• To revert unfrozen areas to their original appearance, select the Revert button in the Mode menu on
the right side of the Liquify window.
Reconstruction Possibilities:
• The Reconstruct button will affect all unfrozen areas, but dragging with the reconstruct tool will alter
only the pixels under your cursor, subject to the limits of the Brush Pressure setting.
• Select one of the following options from the Mode menu in the Liquify window will allow you to
reconstruct a distortion so that it extends from a frozen area into neighboring unfrozen pixels.
Rigid – Will extend the distortion only as needed to maintain right angles in the mesh where frozen
and unfrozen areas collide. Any unaffected unfrozen areas will revert to there original appearance.
This result in unfrozen areas that look almost but not exactly as they originally did.
Stiff – Will interpolated the distortion so that the effect lessens as you move farther from the
boundary between the frozen and unfrozen areas.
Smooth and Loose – Both will extend the distortion from the frozen areas fully into the unfrozen
areas. With Loose – there is a little more continuity in the distortion between the frozen and
unfrozen regions.
Displace, Amplitwist, and Affine – These work only with the reconstruct tool. With these, one or
more distortions can be applied that are in force at a specific reference point in the image. Click to
set the reference point and then drag through unfrozen areas to distort them. Displace mode will
move pixels to match the displacement of the reference point. Amplitwist mode will match the
displacement, rotation and scaling at the reference point. Affine mode will match all distortions at
the reference point.
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Lesson
Twelve
Masks
Applying Masks
This Chapter contains
Using Masks
Applying Masks
A Mask is a selection outline expressed as a grayscale image. With a mask, you
Quick Mask can create free-form selections, select areas of color and generate precise
selections. A mask is essentially an independent grayscale image, which can be
Layers Masks editing using paint and edit tools, filters, color correction options, and almost
every other Photoshop feature available. Masks are the most accurate selection
mechanism within Photoshop.
Selected areas will appear white:
Quick Mask
Using Quick Masks
• The Quick Mask mode is the fastest and most straightforward environment for creating a mask. A
selection in the quick mask mode is expressed as a rubylith overlay, which means that the deselected
areas will appear to be coated in red, and the selected area will appear without the red coating:
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• The mask can be edited as desired and exiting the quick mask mode will return you to the standard
selection outline. The quick mask mode is fast and convenient, with none of the extras or
permanence of the more conventional masks.
• Click on the Quick Mask mode button in the toolbox
OR press the Q key to Edit in Quick Mask Mode:
• The selection outline will disappear when entering the quick mask mode because the outline will
actually temporarily cease to exist. Any operations applied will affect the mask itself and leave the
underlying image untouched.
• Select the Standard mode button next to the Quick Mask button in the toolbox to have Photoshop
convert the mask back into a selection outline, which will allow you to edit the image:
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When in quick mask mode, you can edit the mask in a multiple of ways:
• Subtracting from a selection – Paint with black to add red coating, which will deselect areas of the
image. This allows you to selectively protect portions of your image by merely painting over them:
• Adding to a selection – Paint with white to remove the red coating, which will add to the selection
outline. Assuming the background color is set to white, you can use the eraser tool to whittle away at
the masked area. Or swap the foreground and background colors to paint in white with one of the
painting tools.
• Adding feathered selections – Paint with a shade of gray to add feathered selections. Feather an
outline by painting with black or white with a soft brush shape:
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Layer Masks
Masking Layers
• Layers offer special masking options in their own regard. You can paint inside the confines of a layer
like it was a selection mask, a special mask can be added for a single layer, or multiple layers can be
grouped and the bottom layer in the group can serve as the mask.
• Masks can be added to a layer to make certain pixels in the layer transparent. When erasing, pixels
are deleted permanently, whereas by creating a layer mask, the pixels can be made temporarily
transparent. This allows you to return at a later time and be able to bring those pixels back by simply
adjusting the masks.
Locking Transparency
• The Lock Transparency checkbox is one of the most useful lock options, as when it is selected, you
are prevented from painting inside the transparent portions of a layer. With a two-layered image, a
picture sitting on top of a different layer background, a permanent selection outline is set around the
top image, telling Photoshop which pixels are transparent and which are opaque.
• This is a Transparency Mask and one accompanies each layer created. The transparent areas outside
the mask appear as a checkerboard pattern in the layer thumbnail in the Layers palette. When the
Lock Transparency check box is turned off (unchecked), it is possible to paint anywhere inside the
layer. Selecting the Lock Transparency checkbox will activate the transparency mask and place the
checkerboard area off limits:
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Creating and Removing Layer Mask
To Create a Layer Mask:
• Select the layer you want to mask.
• From the main menu, choose Layer > Add Layer Mask > Reveal All
OR click the layer mask icon at the bottom of the Layers palette.
• A second thumbnail preview will appear to the left of the layer name, and a second outline around
the preview indicates that the layer mask is active:
If the second outline is hard to see, look at the icon directly to the left of
the layer name. If the icon is a paintbrush, the layer is active – not the
mask. If the icon is a dotted circle, the mask is active.
• An Alert box will open asking whether you ant to discard the mask, or permanently apply it to the
layer.
• Click on the button that relates to what you want to do with the layer mask.
Editing Masks
• To edit the mask, simply paint in the image window.
• Painting with black will make pixels transparent as black represents deselected pixels in an image.
• Paint with white to make pixels opaque.
• The default foreground color in a layer mask is white and the default background is black. This
ensures that painting with the paintbrush or airbrush will make pixels opaque, and painting with the
eraser will make them transparent.
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Choose Layer > Add Layer Mask > Reveal Selection.
• Hide Selections – Allows you to reverse the prospective mask, making the area inside the selection
transparent and the area outside opaque.
• Hide Everything – Allows you to begin with a black mask that hides everything.
• View the Mask – Photoshop considers a layer mask as a layer-specific channel. It is listed in italics
in the Channels palette. To view the mask as a black and white image on its own, press Alt and click
the layer mask thumbnail in the Layers palette. Press Alt and click again to view the image instead.
• Layer Mask Rubylith – To view the mask as a red overlay, press Shift + Alt and click the layer
mask icon, OR press the backslash key ( \ )above the Enter key. You can hide the mask by pressing
the backslash key again ( \ ) or you can hide the layer ad view only the mask by pressing the tilde key
(~).
• Change the Overlay Color – Double-click the layer mask thumbnail to open the Layer Mask
Display Options dialog box, which allows you to change the color and opacity of the rubylith.
• Turn off the Mask – Temporarily disable the mask by pressing Shift and clicking on the mask
thumbnail. A red X will cover the thumbnail when it’s disabled, and the masked pixels in the layer
will appear opaque. Press Shift and click again to turn the mask back on.
• Switch between Layer and Mask – This will occur once familiarity with layer masks is achieved,
and you’ll switch back and forth between layer and mask to edit the layer, then to edit the mask.
Switching between layer and mask is as easy as clicking on their respective thumbnails. Look to the
icon to the left of the layer name to see whether the layer or the mask is active. Press Ctrl + tilde (~)
to make the layer active, and press Ctrl + backslash ( \ ) to switch to the mask
.
• Link Layer and Mask – A small link icon appears between the layer and mask thumbnails in the
Layers palette. When the link icon is visible, the mask and layer can be moved or transformed as one.
Click the link icon to turn it off and the layer and mask will move independently.
• Convert Mask to Selection – With all masks, a layer mask can be converted to a selection. Press
Ctrl and click the layer mask icon. Use the Shift key to add or the Alt key to subtract the layer mask
with an exiting selection outline.
• With Photoshop 7, a mask can be applied to a set of layers. Set the set and click the layer mask icon.
The mask will affect all layers in the set. If a layer in the set already contains its own mask,
Photoshop will mix them together. See below for more information.
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• Press Alt and click the horizontal line between any two layers to group them into a single unit.
• The cursor will change to the group cursor when you press Alt:
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Lesson
Thirteen
Intermediate Type
Manipulating Type
This Chapter contains
Cutting and Filing Type
Type cannot only be filled with color, but also with pictures.
Start with a picture on your screen that you want to have the letters filled with:
Manipulating Type
Select the Type tool, and select the outline icon on the Tool Options bar.
Select a font that will be large enough to see the portions of the picture in the
type. Select any style you want the type to appear as:
Lesson 13 – Intermediate Type
• Position your cursor on the image, and start to place your letters. The screen will move into Quick
Mask mode, and turn pink. After the type has been entered and you deselect the Type tool, the
letters turn into paths and the temporary mask will go away. The type will be outlined as active
selections:
• Open a new page and paste the letters on the new page. You should have letters filled with the
picture you typed them on top of:
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• Choose Image > Adjust to use the various options to work on the letters and have them appear as
you would like:
• You can also copy and paste them back onto the original picture over the area you had cut out to
show a white shadow:
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Lesson
Fourteen
Paths
This Chapter contains
Creating Paths
Creating Paths with Pen tools
Creating Paths When drawing with the regular Pen tool, a path is built by creating individual
Editing Paths
anchor points. Photoshop then automatically connects the points with
segments, which are straight or curved line.
Using Paths
All paths in Photoshop are called Bézier Paths, they rely on the same
mathematical curve definitions that make up the core of the PostScript printer
language. The Bézier curve model allows for zero, one or two levers to be
associated with each point in a path. These levers are called Bézier control
handles, or more simply, handles. Each handle can be moved in relation to a
point, allowing you to bend and tug at a curved segment like a piece of soft
wire.
Adding segments – To build a path, create one point after another until the
path is the desired length and shape. Photoshop will automatically draw a
segment between each new point and its predecessor.
Closing the path – If planning to convert the path to a selection outline, the
outline needs to be completed by clicking again on the first point in the path.
Every point will then have one segment entering it and another segment exiting
it. This is called a closed path because if forms one continuous outline.
Leaving the path open – If planning to apply the Stroke Path command, you
may not want to close a path. To leave a path open, meaning that it has a
specific beginning and ending, deactivate the path by saving it. Choose Save
Path command from the Paths palette menu.
Lesson 14 – Paths
• Extending an open path – To reactivate an open path, click or drag one of its endpoints.
Photoshop will draw a segment between the endpoint and the next point created.
• Joining two open subpaths – To join one open subpath with another, click or drag an endpoint in
the first subpath, then click or drag an endpoint in the second.
• Specifying path overlap – The path tools can be set to one of four settings, which control how
Photoshop will treat overlapping areas in a path when the path is converted to a selection.
Subtract – Allows you to draw a subpath that will eat a hole in an existing path. And areas enclosed
the subpath are not selected. If a path is selected and the Make Selection command is dimmed in the
Paths palette, it’s probably because the path was drawn with the subtract option selected.
Invert – The opposite of Restrict, any overlapping regions are not included in the selection.
• Edit the path if adjustment is required. Reshape using the other path tools:
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• Save the path either by choosing Save Path command from the Paths palette menu, or by double-
clicking the Work Path item in the scrolling list:
• Convert the path to a selection by choosing the Make Selection command from the Paths palette or
by pressing Enter on the numeric keypad when a path or selection tool is active.
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Editing Paths
Using Path Tools
• After creating a path, it can be selected or editing by using two tools on the fly out directly above the
Pen tools fly out:
• Path component selection tool (black arrow) – Allows you to select an entire path. Click inside
the path to select it. If sub paths were created, this tool selects only the one underneath your cursor.
• Direct selection tool (white arrow) – Allows you to drag point and handles to reshape a path.
Press and hold Ctrl when any other path tool is active to access this tool.
• Pen – Allows you to draw path one point at a time. Click to create a corner in a path, drag to make a
smooth point that will result in a continuous arc.
• Freeform Pen – Allows you to drag to create a path that automatically follows the twists and turns
of your drag. Very simple, as well as very little control is contained with this tool.
• Magnetic option – Select the Freeform Pen tool, and then select the Magnetic check box on the
Options bar. This allows you to click on the edge of the foreground element you want selected and
move the cursor along the edge of the shape. Photoshop will automatically assign point as
appropriate.
• Delete anchor point – Click on an existing point in a path to delete the point without creating a
break in the path’s outline.
• Convert point – Click or drag a point to convert it to a corner or smooth point. You can also drag a
handle to convert the point. Press Alt when the pen is active, or press Ctrl + Alt when an arrow tool
is active.
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• Straight segment – Click at two different locations to create a straight segment between two corner
points. Shift and click to draw a 45-degree-angle segment between the new corner point and its
predecessor:
• Smooth point – Drag to create a smooth point with two symmetrical Bézier control handles. A
smooth point ensures that one segment meets with another in a continuous arc:
• Curved segment – Drag at two different locations to create a curved segment between two smooth
points:
• Curved segment followed by straight – After drawing a curved segment, press Alt and click the
smooth point just created to delete the forward Bézier control handle. This will convert the smooth
point to a corner point with one handle. Click at a different location to append a straight segment to
the end of the curved segment:
• Straight segment followed by curved – After drawing a straight segment, drag from the corner
point just created to add a Bézier control handle. Drag again at a different location to append a
curved segment to the end of the straight segment:
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• Cusp point – After drawing a curved segment, press Alt and drag from the smooth point just
created to redirect the forward Bézier control handle, which will convert the smooth point to a
corner point with two independent handles, known as a cusp point. Drag again at a new location to
append a curved segment that proceeds in a different direction than the previous curved segment:
• Closing an open path – Select one endpoint, click or drag it with the Pen tool to activate it, then
click or drag the opposite endpoint. Photoshop will draw a segment between the two endpoints,
closing the path and eliminating both endpoints by converting them to interior points, which means
that the points are bound on both sides by segments.
• Joining two open sub paths – To join two open sub paths to create one longer open path, activate
an endpoint of the first sub path, then, using the Pen tool, click or drag an endpoint of the second
sub path.
• Inserting a point in a segment – Click anywhere along an open or closed path with the add point
tool, to insert a point and divide that segment into two separate segments. Photoshop will
automatically insert a corner or smooth point, depending on how it reads the path. If the point is not
what you needed, use the Convert Point tool to alter it.
• Deleting a point and breaking the path – Select the point with the white arrow and press Delete
or Clear. You can also choose Edit > Clear. When deleting an interior point, both of the segments
associated with that point are deleted as well, which results in a break in the path. If deleting an
endpoint from an open path, only the single segment associated that that point is deleted.
• Removing a point without breaking the path – Select the Remove Point tool and click a point in
an open or closed path to delete the point and draw a new segment between the two points that
neighbor it. The Remove Point tool is what ensures that no break will occur in the path. When using
one of the pen tools, to access the Remove Point tool, select the Auto Add/Delete checkbox on the
Options bar, and hover your cursor over a selected interior point in an existing path. A minus sign
will appear next to the cursor, indicating the remove point tool is active. Clicking the point will
remove it.
Converting Points
• Smooth to Corner – Click an existing smooth point to convert it to a corner point with no Bézier
control handle.
• Smooth to Cusp – Drag one of the handles of a smooth point to move it independently of the
other, converting the smooth point to a cusp.
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• Corner to Smooth – Drag from a corner point to convert it to a smooth point with two
symmetrical Bézier control handles.
• Cusp to Smooth – Drag one of the handle of a cusp point to lock both handles back into
alignment, converting the cusp to a smooth point.
Press Alt to access the Convert Point tool temporarily when one of the
three Pen tools is active and positioned over a selected point. To access
the Convert Point tool when an Arrow tool is active, press Ctrl + Alt.
Reshaping Paths
• The white Arrow tool (direct selection tool) is the foremost path-reshaping function in Photoshop.
Press Alt and click on the black arrow in the toolbox to select this tool. There are many functions
that can be completed with the white arrow:
Selecting points:
• Click a point to select it independently of other points in a path.
• Press Shift and click to select an additional point, even if the point belongs to a different sub path
than the other selected points.
• Press Alt and click a path to select all of its point in one move.
• Points can also be marquee by dragging in a rectangle around them.
• No commands from the Select Menu can be applied to the selection of paths:
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Drag a straight segment:
• Reshape a path by dragging its segments.
• When dragging a straight segment, the two corner points on either side of the segment will move as
well.
• The neighboring segments will stretch, shrink or bend to accommodate the drag.
• This works best with straight segments drawn with the default pen tool.
• Segments created by pressing Alt ad clicking with the freeform or magnetic option may include trace
control handles, which could make Photoshop think the segment is actually curved:
Deactivating Paths
• Click the check-mark button at the right end of the Options bar, or press Enter to dismiss, or
deactivate, the path. Photoshop will hide the path from view.
• To retrieve the path – click the path’s name in the Paths palette.
If an unsaved path is dismissed, and you start to draw a new path, the
dismissed one can be lost.
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Using Paths
Turning Paths into Selections
• Choose the Make Selection command in the Paths palette menu
OR press Alt and click the Make Selection icon to open the Make Selection dialog box.
Other Methods:
• Press Ctrl + Enter – If a Path, Shape or Selection tool is active, this shortcut will convert the path
to a selection.
• Press Ctrl and click the path name – If anything other than a Path, Shape or Selection tool is
active, pressing this in the paths palette will convert the path to a selection. The path does not need
to be active.
• Press Ctrl + Shift + Enter or Ctrl + Shift and click – To add the path to an existing selection,
press Shift with one of the previous techniques.
• Press Ctrl + Alt + Enter or Ctrl + Alt and click – To remove the path from an existing selection,
press Alt with one of the previous techniques.
Filling a Path
• The Fill Path command and/or icon allow you to paint the interior of a path.
• After drawing a path, it can be converted to a selection outline, or it can be painted.
• After drawing a path, choose the Fill Path command from the Paths palette menu
OR press Alt and click on the fill path icon in the lower-left corner of the Paths palette (filled
circle), to open the Fill Path dialog box.
• Enter a value in the Feather Radius option box to blur the edges of the fill.
• Select the Anti-aliased checkbox to soften the outline of the filled area.
• If selecting one or more subpaths, the Fill Path command will change to the Fill Subpaths command,
allowing you to fill the selected subpaths only. The fill path icon will also affect only the selected
subpaths.
• When applying the fill, Photoshop will adhere to the overlap option used when the path was created.
Stroking a Path
• The Stroke Path command and/or icon allow you to paint the outline of a path.
• After drawing a path, choose the Stroke Path command from the Paths palette menu
OR press Alt and click on the stroke path icon (unfilled circle) at the lower-left corner of the Paths
palette, to open the Stroke Path dialog box.
• Choose the paint or edit tool require to stroke the path. (Basically, drawing a brush stroke along a
path).
• Photoshop will drag the selected tool along the exact route of the selected path, retaining any tool or
brush shape settings that were set when the tool was selected.
• If one or more subpaths are selected, the Stroke Path command will becomes a Stroke Subpath
command. Photoshop will stroke only the selected path, and not all the paths saved under the
current name.
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Lesson
Fifteen
Improving Images with
Filters
Sharpen Filters
This Chapter contains Applying Sharpen and Sharpen More filters
The Sharpen and Sharpen More filters allow you focus blurry images by
increasing the contrast of adjacent pixels. Basically, both commands focus on
Sharpen Filters
an image and improve the clarity of the image. The Sharpen More filter applies
Blur Filters a stronger sharpening effect than the Sharpen.
From the main menu, choose Filter > Sharpen > Sharpen to apply the Sharpen
filter:
From the main menu, choose Filter > Sharpen > Sharpen More to apply the
Sharpen More filter:
Lesson 15 – Improving Images with Filters
Applying the Sharpen Edges filter
• The Sharpen Edges filter allows you to sharpen certain areas in the image where significant color
changes occur. The Sharpen Edges filter will only sharpen edges, while at the same time preserving
the overall smoothness of the image.
• From the main menu, choose Filter > Sharpen >Sharpen Edges to apply the Sharpen Edges filter:
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Amount – Allows you to specify the degree that you want to sharpen the selected image to. Higher
value will produce a more pronounced effect. Values from 1 to 500 can be entered.
Radius – Allows you to determine the thickness of the sharpened edge. Low values will produce
crisper edges. High values will produce thicker edges with more of a contrast throughout the image.
Threshold – Allows you to control how Photoshop will recognize edges in an image. Entering a
value between 0 and 255 will indicate to Photoshop the numerical difference between the brightness
values of two neighboring pixels so that the pixels can be sharpened. A low value will sharpen a lot
of pixels; a high value will exclude most pixels from the sharpening.
The dialog box also contains a Preview option, which allows an essential visual aid to watch your
image while applying the filter.
Blur Filters
Applying Blur and Blur more filters
• The Blur filters allow you to smooth transitions within an image by averaging the pixels next to the
hard edges of defined lines and shaded areas.
• From the main menu, choose Filter > Blur > Blur to apply this filter:
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• The Blur More filter allows you to produce a blurring effect up to three or four times stronger than
the Blur filter.
• From the main menu, choose Filter > Blur > Blur More to apply this filter:
Both are tools used to eliminate jagged edges where significant color transitions occur in an image.
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• Under Radius, enter a value from 0.1 to 250.0. Values of 1.0 and smaller will blur an image slightly,
and the higher the value, the blurrier the image. At the highest value, the image will be
unrecognizable:
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• You specify the origin of the blur by dragging the pattern in the Blur Center box:
Blur Methods:
• Spin – Allows you to blur along concentric circular lines. Also, allows you to specify the degree of
rotation.
• Zoom – Allows you to blur along radial lines, the effect being of zooming in or out of the image.
Also, allows you to specify the blur amount from 1 to 100.
Blur Quality:
• Draft – Allows you to apply quality ranges for the fastest but grainy results.
• Good – Allows you to apply quality ranges for a smoother result than Draft.
• Best – The same as Good, allows you to apply quality ranges for smoother, but only visible as being
better than Good in a large selection.
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• Radius – Allows you to specify a radius to determine how far the filter will search for dissimilar
pixels to blur.
Threshold – Allows you to determine how different the pixels' values should be before they are
eliminated.
Blur Quality – Allows you to select the quality of the blur from a drop-down menu of Low,
Medium and High.
Mode – You can set the mode for the entire selection by choosing Normal.
Edge Only and Overlay are applied for the edges of color transitions. When there is a significant
contrast, Edge Only will apply black-and-white edges, and Overlay Edge will apply white edges.
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• From the main menu, choose Filter > Artistic > Plastic Wrap to open the Plastic Wrap dialog
box.
• Set the Highlight Strength, Detail and Smoothness options as required:
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Applying the Rough Pastels filter
• The Rough Pastels filter will cause an image to appear as if stroked with a colored pastel chalk
on a textured background. In areas that have bright color, the chalk will appear thick with a little
texture; in darker areas, the chalk will appear scraped off to reveal the texture.
• From the main menu, choose Filter > Artistic > Rough Pastels to open the Rough Pastels dialog
box.
• Set the Stroke Length, Stroke Detail, Texture, Scaling, Relief and Light Direction options as
required:
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Applying the Sponge filter
• The Sponge filter will assist in creating images that have highly textured areas of contrasting
color. Those images will appear to have been painted with a sponge.
• From the main menu, choose Filter > Artistic > Sponge to open the Sponge dialog box.
• Set the Brush Size, Definition and Smoothness options as required:
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Brush Stroke Filters
Using Brush Stroke Filters
• The Brush Stroke Filters allow you to apply various brush and ink stroke effects to give your
image a painterly or fine-arts look. Many of the filters add grain, paint, noise, edge detail, or
texture to an image.
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Applying the Crosshatch filter
• The Crosshatch filter will preserve details and features of an original image while adding texture
and roughening the edges of the colored areas in the image, using a simulated pencil hatching.
The Strength option controls the number of hatching passes, from 1 to 3.
• From the main menu, choose Filters > Brush Strokes > Crosshatch to open the Crosshatch
dialog box.
• Set the Stroke Length, Sharpness and Strength options as required:
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Sketch Filters
Using Sketch Filters
• Sketch Filters are used to add texture to images, often for a 3D effect. These filters are also used
in creating a fine-arts or hand-drawn look. Many of the Sketch filters use the foreground and
background color as they redraw the image.
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Applying the Chalk and Charcoal filter
• The Chalk and Charcoal filter will redraw the highlights and midtones of an image using a solid
midtone gray back-ground drawn in coarse chalk.
• Shadowed areas are replaced with black diagonal charcoal lines. The charcoal is drawn in the
foreground color, the chalk in background color.
• From the main menu, choose Filters > Sketch > Chalk and Charcoal to open the Chalk and
Charcoal dialog box. Set the Charcoal Area, Chalk Area and
• Stroke Pressure options as required:
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Applying the Chrome filter
• The Chrome filter will alter the image to look as if it were a polished chrome surface. Highlights
are high points and shadows are low points in the reflecting surface. After applying the filter, the
Levels dialog box is used to add more contrast to the image.
• From the main menu, choose Filter > Sketch > Chrome to open the Chrome dialog box.
• Set the Detail and Smoothness options as required:
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Applying the Halftone Pattern filter
• The Halftone Pattern filter will simulate the effect of a halftone screen while maintaining the
continuous range of tones.
• From the main menu, choose Filter > Sketch > Halftone Pattern to open the Halftone Pattern
dialog box.
• Set the Size, Contrast and Pattern Type options as required:
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Applying the Photocopy filter
• The Photocopy filter will simulate the result of photocopying an image. Large areas of darkness
will tend to copy only around their edges, and midtones will fall away to become either solid
black or white.
• From the main menu, choose Filter > Sketch > Photocopy to open the Photocopy dialog box.
• Set the Detail and Darkness options as required:
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Applying the Reticulation filter
• The Reticulation filter will simulate the look of controlled shrinking and distorting of film
emulsion. This creates an image that appears clumped in the shadow areas and lightly grained in
the highlights.
• From the main menu, choose Filter > Sketch > Reticulation to open the Reticulation dialog box.
• Set the Density, Black Level or White Level options as required:
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Applying the Torn Edges filter
• The Torn Edges filter will reconstruct an image as ragged, torn pieces of paper.
• The image is then colorized using the foreground and background colors. This filter is useful for
images that consist of text or high-contrast objects.
• Choose Filter > Sketch > Torn Edges to open the Torn Edges dialog box.
• Set the Image Balance, Smoothness and Contrast options as required:
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Distort Filters
Using Distort Filters
• Distort Filters are used to distort an image, to create 3D or other reshaping effects. Keep in
mind that these filters in particular can take up quite a bit of memory.
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Applying the Displace filter
• The Displace filter uses an image, called a displacement map, to determine how to distort a
selection. For example, using a parabola-shaped displacement map, you can create an image that
appears to be printed on a cloth held at its corners.
• This filter will create displacement maps, by using a flattened file that has been saved either in
Photoshop format (except Bitmap mode images) or with the Include Composite Image With
Layered Files option selected in the Saving Files preferences. You can also use the files included
with your software (search for the Displacement Maps folder).
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• Enter the scale values to specify the size of the displacement. When the horizontal and vertical
scales are both set to 100%, the greatest displacement is 128 pixels (because middle gray
produces no displacement).
• Choose Stretch to Fit to resize the map, or Tile to fill the selection by repeating the map in a
pattern if the displacement map is not the same size as your selection.
• Choose Wrap Around or Repeat Edge Pixels to define how the undistorted areas of the image
will be treated.
• Click OK.
• Select and open the displacement map. The distortion is applied to the image.
• The Displace filter will shift a selection using a color value from the displacement map - 0 is the
maximum negative shift, 255 the maximum positive shift, and a gray value of 128 produces no
displacement.
• If a map has one channel, the image will shift along a diagonal, which is defined by the
horizontal and vertical scale ratios in the dialog box.
• If the map has more than one channel, the first channel is what controls the horizontal
displacement and the second channel is what controls the vertical displacement.
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Applying the Ocean Ripple filter
• The Ocean Ripple filter will add randomly spaced ripples to the image's surface, making the
image look like it is under water.
• From the main menu, choose Filter > Distort > Ocean Ripple to open the Ocean Ripple dialog
box.
• Set the Ripple Size and Ripple Magnitude options as required:
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Applying the Pinch filter
• The Pinch filter will basically squeeze a selection. Entering a positive value in the Amount field
up to 100% will shift a selection toward its center; a negative value up to -100% will shift a
selection towards the edges.
• From the main menu, choose Filter > Distort > Pinch to open the Pinch dialog box.
• Set the Amount option as required:
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Applying the Polar Coordinates filter
• The Polar Coordinates filter will convert a selection from its rectangular to polar coordinates,
and vice versa. This filter can be used to create a cylinder anamorphous - art popular in the 18th
century - were the distorted image will appear to be normal when viewed in a mirrored cylinder.
• From the main menu, choose Filter > Distort > Polar Coordinates to open the Polar
Coordinates dialog box.
• Set the Options: Polar to Rectangular or Rectangular to Polar as required:
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Applying the Ripple filter
• The Ripple filter will create an undulating pattern on a selection or image, creating a look like
ripples on the surface of a pond. For greater control, use the Wave filter.
• From the main menu, choose Filter > Distort > Ripple to open the Ripple dialog box.
• Set the Amount and Size options as required:
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Applying the Shear filter
• The Shear filter will distort an image along a curve. Drag the line in the box at the top of the
dialog box, to form and specify a curve for the distortion effect.
• You can adjust any point along the curve. Click Default to return the curve to a straight line.
• From the main menu, choose Filter > Distort > Shear to open the Shear dialog box.
• Set the Undefined Areas options as required:
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Applying the Spherize filter
• The Spherize filter will give objects and images a 3D effect by wrapping a selection around a
spherical shape, thus distorting the image and stretching it to fit the selected curve.
• From the main menu, choose Filter > Distort > Spherize to open the Spherize dialog box.
• Set the Amount and Mode options as required:
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Applying the Twirl filter
• The Twirl filter will rotate a selection more sharply in the center than at the edges, causing a
hurricane funnel effect. Specify an angle to produce a twirl pattern.
• From the main menu, choose Filter > Distort > Twirl to open the Twirl dialog box.
• Set the Angle option as required:
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Applying the Wave filter
• The Wave filter is similar to the Ripple filter, but with much greater control as mentioned above.
The Wavelength – defines the distance from one wave crest to the next. The Amplitude –
defines the height of the wave. The Type – defines the type of wave: Sine (rolling), Triangle, or
Square. The Randomize option applies random values. You can also define undistorted areas.
• From the main menu, choose Filter > Distort > Wave to open the Wave dialog box.
• Set the Number of Generators, Wavelength, Amplitude, Scale, Type, and Undefined Areas
options as required:
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Applying the ZigZag filter
• The ZigZag filter will distort a selection radically, depending on the set radius of the pixels in
your selection.
• From the main menu, choose Filter > Distort > ZigZag to open the ZigZag dialog box.
• Set the Amount, Ridges and Style options as required:
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Ridges – Sets the number of direction reversals of the zigzag from the center of the selection to
its edge.
Pond Ripples – Displaces pixels to the upper left or lower right
Out From Center – Displaces pixels toward or away from the center of the selection.
Around Center – Rotates pixels around the center.
Pixelate Filters
Using Pixelate Filters
• The Pixelate Filters are used to sharply define a selection by clumping pixels of similar color
values in cells.
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• Enter a screen-angle value (the angle of the dot from the true horizontal) for one or more
channels:
• Click Defaults to return all the screen angles to their default values.
• Click OK:
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Applying the Facet filter
• The Facet filter will clump into blocks of like-colored pixels, any pixels of solid or similar colors.
This filter can be used to make a scanned image look like it is hand painted or to make a realistic
image resemble an abstract painting.
• From the main menu, choose Filter > Pixelate > Facet to apply the Facet filter:
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Applying the Mezzotint filter
• The Mezzotint filter will convert an image into a random pattern of black-andwhite areas or into
fully saturated colors in a color image.
• From the main menu, choose Filter > Pixelate > Mezzotint to open the Mezzotint dialog box:
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Applying the Mosaic filter
• The Mosaic filter will clump pixels into square blocks. All of the pixels in a given block are the
same color, and the colors of the blocks represent the colors in the selection.
• From the main menu, choose Filter > Pixelate > Mosaic to open the Mosaic dialog box.
• Set the Cell Size option as required:
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Applying the Pointillize filter
• The Pointillize filter will break up color in an image into randomly placed dots, as in a pointillist
painting, and will use the background color as a canvas area between the dots.
• From the main menu, choose Filter > Pixelate > Pointillize to open the Pointillize dialog box.
• Set the Cell Size option as required:
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Stylize Filters
Using Stylize Filters
• Stylize filters produce a painted or impressionistic effect on a selection by displacing pixels and
by finding and heightening contrast in an image. After using filters like Find Edges and Trace
Contour that highlight edges, you can apply the Invert command to outline the edges of a color
image with colored lines or to outline the edges of a grayscale image with white lines.
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Applying the Emboss filter
• The Emboss filter will cause a selection to appear raised or stamped, by converting the fill color
to gray and tracing the edges with the original fill color. Options include an embossing Angle
(from -360° to lower (stamp) the surface, to +360° to raise the surface), Height, and setting the
percentage (1% to 500%) to set the Amount of color within the selection. To retain color and
detail when using this filter, use the Fade command after applying the Emboss filter.
• From the main menu, choose Filter > Stylize > Emboss to open the Emboss dialog box.
• Set the Angle, Height and Amount options (as mentioned above) as required:
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• Choose a 3D Type:
Blocks – Will create objects with a square front face and four side faces.
Pyramids – Will create objects with four triangular sides that meet at a point.
• Enter a value in the Size text box to determine the length of any side of the object's base, from 2
to 255 pixels.
• Enter a value in the Depth text box to indicate how far the tallest object appears to protrude
from the screen, from 0 to 255.
• Select Mask Incomplete Blocks to hide any object that is extended beyond the selection.
• Click OK:
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Applying the Glowing Edges filter
• The Glowing Edges filter will identify the edges of color and add a neon-like glow to them.
• From the main menu, choose Filter > Stylize > Glowing Edges to open the Glowing Edges
dialog box.
• Set the Edge Width, Edge Brightness and Smoothness options as required:
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Applying the Tiles filter
• The Tiles filter will break up an image into a series of tiles, causing the selection to be off-set
from its original location. Choose either: Background Color, the Foreground Color, Inverse
version of the image, or an Unaltered version of the image to fill the area between the lines. This
will place the tiled version on top of the original and reveal part of the original image underneath
the tiled edges.
• From the main menu, choose Filter > Stylize > Tiles to open the Tiles dialog box.
• Set the Number of Tiles, Maximum Offset and Fill Empty Area With options as required:
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• Choose an Edge option to outline areas in the selection:
Lower – Allows you to outline where the color values of pixels will fall below the specified level.
Upper – Allows you to outline where the color values of pixels will fall above the specified level.
• Enter a threshold (Level) for evaluating color values (tonal level), from 0 to 255. Experiment to
see what values bring out the best detail in the image.
• Use the Info palette in Grayscale mode to identify a color value that you want traced. Then enter
the value in the Level text box.
• Click OK:
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Lesson
Seventeen
Intermediate Printing
This Chapter contains Preparing the Image
Setting the Working Spaces
Preparing the Image The Working Spaces settings in the Color Settings dialog box are not
very complicated:
Printing the Image
The RBG field will ask you for what kind of monitor you are
working on from the drop-down menu, or by selecting the monitor
profile you made using the Adobe Gamma control panel. If not sure
of what to select, choose Generic RGB.
The CMYK field will ask you to choose what kind of printer you are
working on. Again, if not sure, select Generic. If using a home inkjet,
try U.S. Sheet fed Uncoated.
To set the Gray field, select 2.2, as this is the basic setting for the
method that the system will use to display grayscale image.
Spot refers to any pages printed with black and one or two spot
colors, like duotones, or illustrations with black and white and
limited PANTONE colors. The standard setting is Dot Gain 20%.
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Lesson 17 – Intermediate Printing
Setting the Color Management Policies
• The Color Management Policies refer to how Photoshop will handle files created in another
application or in an earlier version of Photoshop:
• Photoshop can also be directed to warn when a color management mismatch occurs when
opening a file and will ask you what to do.
Usually, you will not need the advanced options. This can de-saturate
your monitor or change to color-blending gamma, and only expert users
of Photoshop will use this mode.
Selecting Paper
• What you print on is just as important as what you are printing, and can make a big difference.
There are specific papers for ink jet and laser usage.
• To have the picture resemble a photograph, use “photo weight” glossy paper.
• Using coasted paper for printing color on inkjet printers will give photo-quality prints with a
matte surface rather than glossy as mentioned above.
• Transparency paper is clear acetate film, specially treated to accept ink. This is used to make
overhead projection slides and overlays.
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• Sample with various “Art” paper, as different printers may not accept the heavier stocks. Fine
art paper like Somerset Smooth and Somerset Velvet are ideal to printing pictures, which have
been converted to imitate watercolors, pastel drawings, etc.
• When using a heavier paper, feed one page at a time, and if the printer has the option, set it for
thicker paper.
• Label stock paper comes in various sizes and shapes. There are hundreds of different weights
and kinds of paper for inkjet and laser printers.
• Iron-on transfer paper allows you to print your image, and then place it on materials like shirts,
bags, etc.
• The dialog box looks different depending on the type of printer being used, what platform the
program is running on, and the mode of the image. Example:
• Copies – Allows you to select the number of copies to print of the document.
• Print Range – Allows you to specify the range of pages to be printed. This is irrelevant if there
is only one page to be printed.
• Media Type – enter what kind of paper or transparency film that you are printing on. This
setting determines how much ink will be applied as different papers have different absorbency
rates.
• Print Quality (Can also be called Mode) – Allows you to specify a printer resolution, 300 up
to 600 dpi.
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• Destination – You cannot only print to Printer, but also to a File. This will save the printed
output as a PostScript or EPS file, or as and Adobe Acrobat PDF. (This option will only work if
you’ve selected a PostScript-compatible printer):
You can also choose an encoding scheme – ASCII is best for PostScript files, and Binary will
speed things up on printers that accept binary data.
Level 1 Compatibility means that the file will print on all PostScript printers.
Level 2 Only means that the file will work only on PostScript Level 2 printers.
Lastly, you can specify whether you want font information to be embedded in the file, and for
which fonts.
• Print Selected Area – When the box is selected and there is a rectangular area selected in your
image, just that area can be printed. This will only work with rectangular selections created with
the Marquee tool, and will not work for feathered selections.
• Encoding (May also be a checkbox for ASCII format) – This area is where you tell
Photoshop which encoding methods to use when it send the image data to the printer.
Binary encoding is more compressed and can be faster, but does not work on all printers.
JPEG encoding is even faster, but it results in some lost data because of a messy compression
scheme. JPEG encoding will only work with PostScript Level 2 printers.
• Print In – Allows you to decide how to print the image, either in Grayscale, RGB color or
CMYK colors. For some desktop printers, RGB will give a better result. If unsure, try both and
see which is preferred.
• Print Separations – This option will appear in place of the Print In option only if the image is
currently in CMYK or Duotone mode and the composite color channel is active. When selecting
this option, Photoshop will print each channel as a separate color plate. E.g. – A CMYK
document would print as four separate pages, one for each color.
• Options – This is not always available for you to choose from. Only on a non-PostScript printer
will this option button appear.
Intensity
Half-toning
Color Matching.
• If printing a photograph, choose Photographic from the Color Matching menu to get the best
possible color reproduction, otherwise, leave the options at Auto.
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Lesson
Eighteen
Photo Repair – Black
and White
Easy Fixes
This Chapter contains Fixing images
Photoshop is the best tool to fix old, torn, and faded photographs, and can fix
almost all flaws in photographs. You can edit out any items that spoil the
Easy Fixes
landscape of a picture, or even remove people from it.
Cleaning Pictures
Using the Eyedropper Tool
Applying Tints
The Eyedropper Tool allows you to select any color from an image, either to
fill in scratches, or even to remove lines or spots:
Click the Eyedropper Tool on any shade of gray in the image that you want to
replicate, and the color selected will become the foreground color.
Apply this with the Paintbrush, Airbrush or any chosen painting tool:
Holding down the Alt key when a painting tool is selected will turn it
temporarily into an Eyedropper, allowing you to change colors while painting.
Lesson 18 – Photo Repair – Black and White
• Click and hold the Eyedropper Tool to open the Eyedropper Options toolbar, where a pop-up
menu will give you a choice of using a single pixel color sample with a Color Sampler Tool:
OR select the Measure Tool to take an average color from either a 3x3 or 5x5 pixel samples:
• Sample from a chosen point in the image and duplicate the selection to fill in portions where it
would be appropriate.
• You can choose a brush shape, blending mode, and opacity for the Clone Stamp tool:
• With the Aligned checkbox selected, when selecting a reference point, the Clone Stamp will create a
duplicate of the image where you start to paint, expanding on the duplicated portions of the image as
you paint:
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To define a pattern and stamp it:
• Select the Rectangular Marquee tool, and select a piece of an image to use as a pattern.
• From the main menu, choose Edit > Define Pattern.
• Name your pattern in the Pattern Name dialog box:
• Select the Pattern Stamp Tool and select the Aligned checkbox in the options bar, the pattern will be
tiled from the upper left corner of the document, no matter where the stamp is dragged:
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• When you deselect the Aligned box it will cause the pattern to tile from wherever you start dragging:
Vignetting images
• Vignetting allows you to apply a “look” to a picture; making photo’s surrounding edges feathered. It
applies a cameo look to the photo with the main focus in the photo coming to the front, and the
background fading to nothing.
• Draw an oval marquee around the portrait subject:
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• Press the Ctrl + Shift + I key combination to invert the selection, causing the background to be
selected:
• Press the Ctrl + Alt + D key combination to open the Feather Selection dialog box:
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OR go to the Option Bar and enter the amount of Pixels in there:
• Then press the Backspace or Delete key to delete the selected parts of the image, until the edges of
the oval is all that shows:
Cleaning Pictures
Cleaning up a picture
• Pictures that have been folded, ripped, faded and just old can not only be fixed, but portions can
also be recreated within Photoshop.
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• Drag it across the picture, while holding down the mouse button.
• Use the handles on the Crop bounding box to fine-tune the selection, and when finished, double-
click inside the bounding box to crop the image, or press the Enter key:
• From the main menu, choose Image > Mode > Grayscale to set the mode to Grayscale, and remove
any colored stains:
• From the main menu, choose Image > Histogram to open the Histogram dialog box. This dialog
box allows you to see what needs to be done in terms of equalizing the contrast in the picture. This
is done in the Levels window:
• From the main menu, choose Image > Adjust > Levels to open the Levels window. Adjust the levels
by dragging the various points. Drag the dark point to the right until the point is just under the
beginning of the dark peak of the histogram. Drag the white point to the left until the point is just
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under the beginning of the white peak:
• From the main menu, choose Filters > Noise > Dust & Scratches to use the Dust & Scratches filter.
This is your choice in terms of what you want to do with the picture. Sometimes using this filter will
remove more detail than you want:
If the Dust & Scratches filter does not work as you want, remove the
dust and scratches with the Clone Stamp tool.
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• From the Options Bar, choose a small brush and set the Opacity to 90%, and uncheck the Aligned
option.
• Choose an area to be cloned, pick the dark tone closest to the scratch, and begin stamping it out.
• To remove scratches from across faces, use the Paintbrush tool and repaint each face, rather than
stamping them. Select the Magnifying Glass tool in the toolbox to enlarge the picture to at least
200% to ease the task.
• Select the Eyedropper tool and click on the closest gray beside the scratch. Select a small Paintbrush
and paint over the scratches, adjusting the shades of gray with the Eyedropper as needed.
• Use the Smudge tool to remove any light spots and to fill in the background between any Clone
Stamp impressions.
• Apply the Dodge and Burn tools to bring out any details, as you may need. Dodging will lighten the
image, and burning will darken it. Sponging will increase or decrease the saturation of the gray
colors:
• Select the Dodge tool and set the exposure to 25%, and this will make the effect gradual:
Applying Tints
Duotones
• The Duotone mode allows you to create a richer tone in the image, as it combines the grayscale
image with a colored ink. Duotones will extend the gray rage for a photograph.
Creating a Duotone
• From the main menu, choose Image > Mode > Duotone to open the Duotone Options dialog box.
• Monotone is the default active Type option, and the Ink 2, Ink 3, and Ink 4 options will be dimmed:
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• Select Tritone from the Type drop-down list to access the Ink 2 and 3 option:
• Select Quadtone from the Type drop-down list to access the Ink 2 to Ink 4 options:
• Choose the color of each ink that you want by clicking the color box associated with the ink option
selected. When defining colors for the first time, Photoshop will display the Color Picker dialog box:
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• Define colors either in the Color Picker,
OR click Custom to select a color from the Custom Colors dialog box.
• Photoshop will preview the settings in the image window when the Preview checkbox is selected.
The preview may not match your output exactly when certain Pantone inks are used.
• Photoshop will always display the same colors defined from the last visit to the Duotone Options
dialog box.
• When creating a duotone, priorities the inks in order from the darkest at the top to the lightest at the
bottom. This is because Photoshop will print inks in the order they appear in the dialog box.
• After choosing a color, use one of two methods to specify exactly how the different colored inks will
blend:
• Click the curve box associated with the desired ink option. Photoshop will display the Duotone
Curve dialog box, which allows you to emphasize specific inks in different portions of the image
relative to the brightness values:
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• Click the Overprint Colors button to open the Overprint Colors dialog box. This dialog box shows
you how each pair of colors will mix when printed. This method is not highly effective as it
complicates the editing process. Photoshop will not actually change any of the ink colors or curve
setting according to your new specifications. It will only apply the new overprint colors without any
logical basis. Also, all changes will be lost when made with the Overprint Colors dialog box when
adjusting any of the ink colors or any of the curves:
Reproducing a Duotone
• When having a commercial printer reproduce your duotone image, the image must first be printed to
color separations, just like a CMYK image.
• Choose the printer being used.
• Set the page size, orientation and printer marks options.
• Adjust the halftone screens, if needed.
• From the main menu, choose File > Print.
• Set the brush Opacity to 100% and begin to paint your tints.
• If there is a large and relatively uncomplicated area to be tinted, use either the Lasso or Magic Wand
tools to select the entire area:
• Select a foreground color and from the main menu, choose Edit > Fill to open the Fill dialog box.
• In the Contents Use pop-up menu select Foreground Color:
• Set the Opacity to 25% and choose Multiply from the Blending Mode option.
• Click OK, and all the selected areas will be filled with the chosen color at that opacity:
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• Adjust by reopening the Fill window and applying again, or undoing and setting either higher or
lower percentages.
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Lesson
Nineteen
Photo Repair - Color
Image Retouching
This Chapter contains
Fixing Red Eye
There are times when you have a great picture of a special event, or pet, and
Image Retouching
the red eyes staring back at you ruin the entire effect. Photoshop can be used
Advanced Editing to remove this offending feature very easily.
Open the image that you want to fix the red eyes on.
Selecting the Magnifying Glass tool and zoom in on the eye region.
Use the Magic Wand tool to select the areas that you want to correct.
Select the Paint Bucket tool, and set the Foreground color to black.
Double-click on the Magic Wand tool icon to open the Tool Options bar.
Set the Paint mode to Darken and the Opacity to about 80%. These settings
will darken the eye, but will still maintain the detail.
Pour the paint very carefully into the selected areas in the eyes, being careful
not to hit any white or colored areas in the pupil. You may need to click other
selected parts of the pupil in order to cover the area as carefully as you want.
To accent the highlights more, simply use a single pixel pencil and touch up as
required.
Press the Ctrl + H key combination to hide the selection so you can evaluate
the effect of the change:
Lesson 19 – Photo Repair – Color
Using the Drag and Drop method
• This method is good to use when you have a perfect photograph, with one glaring item standing
out in the photo that really doesn’t belong there. This technique works well when you have
enough area in the photograph that you can use to cover the offending item.
• Select the Lasso tool from the toolbox.
• Open the Feather dialog box from the options bar and set the feather Radius to between 3 and 6
pixels.
• Select an area elsewhere in the picture that you want to replace the original image with.
• When the dotted line Marquee is flashing, choose the Move tool and press the Alt key while
dragging.
• Repeat as required, selecting various different pieces of the picture to drag over what you want to
cover.
• Press the Ctrl + D key combination to deselect the selection:
Cropping a picture
• There are times when there is a larger selection in the photograph that you want to remove, and it
can’t be done simply by covering it from the rest of the photograph.
• Select the Crop tool from the toolbox and drag a rectangle to include the area that you want to cut
out of the photograph.
• From the main menu, choose Image > Crop to remove the non-selected portion of the
photograph.
• Use the various tools to manipulate the remaining items in the photograph, altering as required:
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Advanced Editing
Removing a person
• Sometimes a person has appeared in a photograph that you would consider perfect, without that
person. With Photoshop, you can remove the person from the picture and it’s like they were never
there!
• Crop out any portions of the photograph that may not need to be there, like a table in front of a
group of people.
• Place a selection rectangle around just the one person you want to crop out of the image. For
example, the person in the middle.
• Delete the selection.
• Cut the people on the left of where the person was cut out, and Paste the new layer. Slide the layer
over to match with the next person, who was on the right of the cut-out person.
• Use various tools as the Clone Stamp, copying and pasting to fix the details in the image. Use the
Airbrush tool to even out any differences left by the Clone Stamp:
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Table
20
Lesson
Twenty
Compositing
Open the second picture, copy the image, and paste it into the second picture
where you want it to appear:
Lesson 20 – Compositing
• Now apply various tools, filters and shadows to blend the image into its new background.
Blending Layers
• When you can combine multiple pictures into one, you can change the compositing effect by
blending layers.
There are two ways to control the way the layers blend:
Opacity Slider – Set any degree of opacity from 100% to 0%. At 0% the image on that layer will have
completely disappeared:
Blending Modes Menu – Apply different modes to different layers to control the way each layer will
overlay the others:
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Making realistic composites
• Creating a realistic composite can be quite difficult, as you are trying to make a fake picture with
multiple images look real. There are some simple tasks to consider while creating a composite:
Erasing Backgrounds
Using the Background Eraser Tool
• Use the Background Eraser tool for an image when the edges of an image are too complicated to
remove with the Magic Wand, or to erase slowly bit by bit. The Background Eraser tool makes this
erasing process much simpler.
• Go to the Layers palette and select the layer that contains the areas you want to erase:
• Right-click on the Eraser tool icon to view and select the Background Eraser tool:
• Set your required brush size and shape in the Brush menu in the tool Options bar:
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• Select an erasing Limits mode from the drop-down list:
Discontiguous – Will erase the sampled color wherever it appears in the layer.
Contiguous – Will erase the areas containing the sampled color and are connected to one
another.
Find Edges – Will erase any connected areas that contain the sampled color, and will better
preserve the sharpness of the object’s edges.
• Set the Tolerance either by entering a value in the field, or dragging the slider. A low tolerance
setting will limit erasing to only areas that are similar to the sampled color. A high tolerance setting
will allow you to erase a broader range of colors:
• Select a Sampling option to determine how the erased colors will be treated:
Continuous – Will sample colors continuously while you are dragging. Use this option when you
want to erase adjacent areas that are different colors.
Once – Will allow you to erase areas that only contain the color that was clicked first. This option
is used to erase a solid-colored area.
Background Swatch – Will allow you to erase only the areas that contain the current background
color.
• Check Protect Foreground Color to protect the areas that match the foreground color in the
toolbox:
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• Drag the eraser through the area that you want to erase. If the Brush Size Cursors were set in the
Preferences box, the cursor will appear as a brush shape with a crosshair to indicate the tool’s hot
spot. If not, the cursor will appear as a block eraser with a pair of scissors on the top – just like its
relative icon.
Alternative Composites
Creating composites from nothing
• Photoshop can be used to create art “from scratch”, and a composite can also be created from
nothing, not just by combining images being worked on.
• Select the Gradient tool to apply a gradient background on a new page:
• Choose a linear blend, which will apply colors in a straight line from one point to another. Then
select a simple dark-to-light gradient from the pull-down menu in the tools Options bar:
• Set the foreground color to a medium dark color, and the background color to white:
• Position the crosshair cursor at the top of the screen and drag a line straight down.
• From the main menu, choose Filter > Render > Clouds to add a cloudy sky, which will cover up
the gradient:
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• From the main menu, choose Edit > Fade Filter to fade out the effect. Set the fade to 25%:
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• Place any image you would like above the sky portion of the image:
• Paste the image on the background and use the various tools and filters toadjust the image to your
requirements:
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Lesson
Twenty-one
Photoshop for the Web
GIF Setting for To open the ImageReady from within the Photoshop:
Optimization From the main menu, choose File > Jump to > Adobe ImageReady 7.0
JPEG Setting for
OR click on the Jump to ImageReady button on the bottom of the Toolbox:
Optimization
Optimization Menu
Output Settings
Saving PNG images This will open the ImageReady application and all currently opened documents
from inside the Photoshop will now be opened inside the ImageReady as well.
File Formats
JPEG (Joint Photographic Experts Group)
• The JPEG (Joint Photographic Experts Group) compression creates smaller
file sizes with less impact than reducing the color palette and saving in GIF.
• This format is used mostly for photographic images - where you will have a
high range of colors.
Lesson 21 – Photoshop for the Web
GIF (Graphics Interchange Format)
• The GIF (Graphics Interchange Format) format was created when individuals owned 1200-bps
modems.
• GIF (Graphics Interchange Format) supports a maximum of 8 bits per pixel (256 colors), and it uses
LZW compression.
• GIF comes in two varieties, 87a and 89a. GIF 89a supports transparent pixels.
• This format is used mostly for the clip art and logo images - where you will use mostly limited
number of solid colors.
• The PNG (Portable Network Graphics) (pronounced ping) format uses 8-bit color.
• Like the GIF format, PNG compresses solid areas of color while maintaining sharp detail.
Transparent Pixels
Making Colors Transparent
• Colors can be made transparent within the GIF file setting.
• After indexing colors in an image, from the main menu, choose Image > Mode > Color Table to
open the Color Table dialog box and make all occurrences of one specific color transparent.
• Select the Eyedropper tool in the Color Table dialog box:
• Click a color within the palette or in the image itself. The color will become transparent:
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• The Color Table command has the limitation of only being able to make one color transparent at a
time. To make a second color transparent, press Enter to exit the dialog box, then from the main
menu, choose Image > Mode > Color Table to open the dialog box again.
• From the Format pop-up menu, select CompuServe GIF. It is important to turn off any image
previews, icons and thumbnails. This will then assume that the Image Previews option was set to
Ask When Saving inside the Preferences dialog box.
• Press Save and Photoshop will display the GIF Options dialog box, offering two options:
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Normal – Displays the image without Interlacing, and appears normal. This is typically the best
method to use.
Interlaced – Allows the Web browser to display the image in step-by-step passes.
• Press Save again and Photoshop will save the GIF file to disk.
• If a file is saved to the GIF format before the colors are indexed, you don’t have to cancel out and
backtrack your steps. The indexing is done as part of the save process.
• The on-screen image will remain an RGB image, however; the image will not be completely
converted to the indexed mode until the file is closed.
• After the GIF file is created, the open image window will still have the name and extension as
before. This is because a copy of the image was saved; not the open version of the file.
• If any changes are made to the image, the GIF copy needs to be resaved so it can be updated.
• When opening a GIF file containing transparency, the transparency will be displayed as a
checkerboard pattern:
Optimizing Images
Saving for Web
• The Save for Web command allows you to compare different settings to find which provides the
best quality and size that you need.
• From the main menu, choose File > Save for Web and this will allow you to index colors, add
transparency, and save an image to GIF or JPEG at the same time. With this command, there is no
need to use the Indexed Color or Color Table commands.
• Save for Web will work best if starting from a full-color, RGB image:
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• Save for Web also allows you to save image slices, which can be created using the Slice tool in
Photoshop, as well as ImageReady:
• When saving the image, Photoshop will save each slice as an individual image file within the Slice
options pop up window. This will generate the HTML file for your browser to rebuild the image on
a Web page:
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Web Settings for Optimization
Optimizing a Web image
• From the main menu, choose File > Save for Web
OR press the Ctrl + Shift + Alt + S key combination to open the Save for Web dialog box:
• Select one of the four tabs for the display you want to use:
• Optimized – Will show you the image as it will appear if saved by using the current optimization
settings:
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• 2-Up – Will show you the original and optimized images beside each other:
• 4-Up – When you select 4-Up it will show you two additional optimized images, generated from
settings that will create smaller versions of the files. The settings for these two additional previews
are created based on the settings selected for the primary optimized view:
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• To get a closer look of your image in the dialog box previews, use the Zoom and Hand tools to
zoom and scroll through the previews. The zoom ratio can also be used with the zoom pop-up
menu in the bottom-left corner of the window:
Zoom Tool
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Hand Tool
• Mouse click on a preview and choose the optimization settings you want to apply. The settings down
the right side of the dialog box will change according to the file format selected. Most options are
the same as the ones in the JPEG and GIF Options dialog boxes:
• After a setting is changed, Photoshop will rebuild the preview to show the result. To compare the
results with another group of settings, click on another preview and apply the new settings. You can
keep adjusting the settings until you are satisfied with the outcome of your image.
• If your image contains slices, only selected slices can be optimized. With the slice preview turned on,
click the Slice Select tool, and click on the slice you want to optimize. Press the Shift key and click to
select additional slices.
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• If your image does contain slices, click the Output Settings button to open the Output Settings
dialog box. In this dialog box, specify how you want to create the required HTML code, set up
automatic naming of the slice files, select the folder where the slices will go, and more. Preview the
image in your Web browser to confirm that the settings are correct before saving the image, by
selecting the browser from the Browser Preview pop-up menu, then click on the Browser Preview
button:
• If your image does contain slices, click the Output Settings button to open the Output Settings
dialog box. In this dialog box, specify how you want to create the required HTML code, set up
automatic naming of the slice files, select the folder where the slices will go, and more. Preview the
image in your Web browser to confirm that the settings are correct before saving the image, by
selecting the browser from the Browser Preview pop-up menu, then click on the Browser Preview
button:
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Saving optimized files
• From the preview window, click on the preview image you like best to select it.
• Click the OK button
OR press the Enter key to open the Save Optimized As dialog box, a variation of the Save As
dialog box:
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• Specify whether you want to create an image file, an HTML page, or both, from the Save as Type
pop-up menu:
• If the image has slices, choose to save only selected slices or all slices from the bottom pop-up
menu.
• Lastly, name the image and select a storage location.
• Click Save
OR press the Enter key to finish the process.
• Lossy - GIF files rely on “lossless” compression, which means that no data is lost when saving a file.
By raising the Lossy value, the pixels can be rearranged in an image so they compress better. Values
as high as 30 will bring down the file size and cause little damage to the appearance of an image.
Higher values are rarely acceptable, so watch your image preview carefully:
• Web Snap - This option allows you to replace a set percentage of colors in an image with colors
from the 216-color Web-safe palette. You are able to lock down some colors so they’re compatible
with older 8-bit monitors and permit other colors to roam free so that the image still looks great on
24-bit screens:
• Color Table - This option will show all the colors in an image. Below the colors, are four small
icons:
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The first icon will change a selected color to the nearest Web-safe equivalent.
The second icon will lock the selected color so it can’t be changed.
The third icon will add a color that is selected with the Eyedropper tool to the palette.
The fourth icon will delete a selected color.
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• The fourth icon will delete the selected color.
• Double-click on a color to display the Color Picker, which will have three Webspecific options:
• Select the Only Web Colors check box to select only from the 216-color Websafe palette. When the
check box is turned off, the cube icon will alert you that the selected color is not included in the
Web-safe palette.
• Click on the color swatch below the color you have chosen to replace the color with its nearest Web-
safe equivalent:
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• Color Table menu - With this tab selected, you can modify selected colors, sort colors, and load
and save palettes from commands in this menu. Click the arrowhead to the right of the tab to set
your requirements:
• Image Size - This tab allows you to make an image smaller if it is too large to fit well on the Web
page, by adjusting the Width, Height, and Percent values:
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JPEG Settings for Optimization
Optimizing a JPEG Image
• Most of the JPEG controls in the Save For Web dialog box are also found in the JPEG Options
dialog box.
• The following options are only available if using Save for Web:
ICC Profile - This check box allows you to embed a color profile with the JPEG image. This will
add about 3K to the file size, which will mean extra time downloading. It is usually better to leave
this option off.
Optimized - This option allows you to optimize the compression built into a JPEG image. It has
very little impact on file size, and can make the image incompatible with some other image editors,
so it is recommended to leave this option off.
Quality - This Quality pop-up menu allows value ranges from 0 to 100. If your image contains a
mask channel, click on the channel icon to the right of the Quality menu to apply compression
selectively.
In the resulting dialog box, select the channel to display the channel thumbnail.
Adjust the Minimum and Maximum values, either by entering values into the option boxes or
dragging the sliders above.
• Where the mask is white, Photoshop will apply the Maximum quality setting, resulting in the
minimum amount of compression. Where the mask is black, the Minimum quality setting will be
applied, resulting in the maximum amount of compression. Gray areas of the mask receive treatment
somewhere in the middle of the two.
Blur - This option is best set to 0, as it will blur your image to reduce file size, destroying the detail
of your image.
Color Table - This tab allows you to modify selected colors, sort colors, and load and save palettes
from commands in the color table menu.
Image Size - This tab allows you to change the image size and resolution, just like working with
GIF images.
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Optimization Menu
Using the Optimize Menu
• The Optimize Menu has some new options allowing you to optimize your image to it’s best possible
final look:
• Save Settings - This setting will save the current optimization settings as a preset. The same settings
can then be applied by selecting the preset from the Settings pop-up menu:
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• Delete Settings - This setting will delete the current preset:
• Optimize to File Size - This setting allows you to enter a target file size:
After selecting this command, a dialog box will open where you can specify the following:
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• Repopulate Views – When making optimization changes, this option allows you to update the two
alternative previews in the 4-UP preview.
Preview Menu
Using the Preview Menu
• The Preview Menu icon is located at the top of the Save For Web dialog box, and its options allow
you to control the appearance and feedback provided by the previews. Click the arrowhead in the
Save For Web dialog box to open the Preview menu to view its three sections:
• Browser Dither - This option allows you to see how a selected preview will look when displayed on
an 8-bit monitor. This is a very useful method to use when determining if you need to go with a
Web-safe palette and to gauge the performance of the Web Snap value:
• Color Compensation - The default setting for this option is Uncompensated Color, which means
that you cannot see what the colors may look like on a different system or monitor. The Standard
Windows Color or Standard Macintosh Color settings allow you to see how the colors might look on
another platform. The Use Document Color Profile setting will show you the colors as they
normally appear when opening in your version of Photoshop, using your defined color-profile
settings:
• Download Rate - These final commands will change the modem speed on which Photoshop
calculates the estimated download times listed below each preview. These commands are unusual in
that they affect all previews, not just the selected one:
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Output Settings
Applying Output Settings
• Select the Output Settings button under the Cancel button in the Save For Web dialog box to open
the Output Settings dialog box. Within the various panels in this dialog box, you can control how
Photoshop saves slices as individual graphic files, generates code related to links and HTML text that
is added to slices, and other options.
• Click on the Next and Prev buttons on the right side of the dialog box to move between panels, or
simply choose the panel from the pop-up menu in Settings.
• HTML - Only if you’re an experienced HTML user can you use this panel to get specific about how
you want Photoshop to generate the HTML page. It is recommended that you use the default
settings:
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• Background - This option allows you select and have a background image or solid color appear
behind the selected slice or image on the Web page:
• To use an image as a background, click on the Choose button to select the file. Photoshop will
automatically create a tiled background based on the image selected, and will set it as the Web page
background.
• To use a solid color as a background, select a color from the Color pop-up menu or choose Custom
to select a color from the Color Picker.
• You can also select both a background color and image. The color will appear while the image is
loading and will fill the transparent areas when done.
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Lesson 21 – Photoshop for the Web
Filename Compatibility - Leave these check boxes turned on. When files are named by
Photoshop, this option will ensure that it uses names that can be recognized on Windows, Mac, and
UNIX systems. You can use the nine pop-up menus in the File Naming section to specify exact
image information and punctuation you want Photoshop to use when naming the files.
Put Images in Folder - When selected, this option will allow you to keep all images related to an
HTML page within a separate subfolder.
Copy Background Image When Saving - When selected, this option will allow you to save a copy
of the background image selected along with the other images. If the option is off, the HTML code
for the background will point to the original file location. It is recommended to leave this option
checked, as it makes copying all files associated with a page much easier.
Include Copyright - When selected, this option will embed any copyright information into the File
Info dialog box for both GIF and PNG images.
• Slices - If specific names have not been assigned to your slices in the Slice Options dialog box,
Photoshop will automatically name each slice. Choose how the program generates the names by
using the pop-up menus in this panel:
• PNG format supports 8-bit and 24-bit images, it allows you to include mask channels for gradual
transparency control, and is not patented:
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• PNG files are typically larger than comparable JPEG or GIF images because a PNG file does not
include JPEG’s lossy compression, and can contain more colors than a GIF image. Because of this,
the PNG format is best suited for small images with fine details that you don’t want mangled by
JPEG compression.
• Photoshop will support any RGB, grayscale, or indexed image in the PNG format.
• PNG doesn’t support layers, but will permit you to include a single mask channel. If the browser
supports extra PNG channels, the mask will define the opacity and transparency of the image on the
page.
• PNG graphics can also be translucent; the gray areas in the mask channel; a great advantage over
GIF and JPEG, which cannot.
• When saving a PNG image, a small dialog box will open to give you the option of applying
interlacing or not.
Not all browsers may support the PNG format. If including a PNG
image on your page, visitors may have to install a third-party plug-in,
such as Siegel and Gale’s PNG Live.
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Lesson
Twenty-two
Indexed Color
Exact - This option appears by default if the image already contains less
than 256 colors. This will only occur if an extremely high-contrast image
is created, like a screen shot, or if you are working from an image that
originally began as a grayscale. If Exact is selected, press the Enter key
and let the command work:
Lesson 22 – Indexed Color
• System - There are two System options, and selecting either of these options allows you to add
some imagery to the system. It is recommended to select the System (Windows) option when
creating a background pattern, a wallpaper image, or another item appearing at the desktop level:
• Web - Web browsers subscribe to their own variety of color palette. The Web palette includes 216
colors whose R, G, and B values are divisible by 51. This means that each primary color can be set to
0, 51, 102, 153, 204, or 255. When calculating all possible combinations, you will get 216 colors.
When an image is displayed on an 8-bit screen, the browser will change all colors to match those in
the Web palette. Converting colors to the Web palette will make sure that what you see on your
screen is what visitors will see as well. When indexing an image, it makes sense to use an adaptive
palette, as it will look far better on 16-bit and better monitors:
• Uniform - This option will only retain a uniform sampling of colors from the spectrum. Technically,
not a widely used option:
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Lesson 22 – Indexed Color
• Adaptive - This option allows you to select the most often used colors in your image, which tends
to deliver the best possible results. As all system and Web palettes are ignored, images downsized
with Adaptive look best on high-color monitors. Adaptive allows you two choices:
Local - Will have Photoshop to consider the colors only in the current image. Select an area of your
image before choosing the Indexed Color command, and this will influence the performance of
Adaptive by causing Photoshop to favor the selected area when creating the palette:
Master - Allows you to have several images open and create a palette based on all the images.
Photoshop will consider the selection in the active image and the entire palettes in the other images.
• Perceptual and Selective - These two options are variations on Adaptive, Perceptual will sample
the colors that produce the best transitions, and Selective will try to maintain key colors, including
those in the 216 Web-safe palette. It is recommended to select Perceptual for images when smooth
transitions are more important than color values, and choose Selective when an image contains
bright colors or sharp, graphic transitions. If an image contains only a few colors and you want to
maintain those colors as closely as possible, select Adaptive.
• Custom - Choosing this option will open the Custom Table dialog box, where a look-up table can
be loaded from disk, or you can create and save a custom table. This is a recommended tool for
when you are creating multimedia content, but not necessarily for Web graphics:
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Lesson 22 – Indexed Color
• Previous - This option allows you to create a series of high-contrast graphics by using the last look-
up table created by the Indexed Color command. The Previous option will not be accessible
(dimmed) unless the Indexed Color command has been used at least once during the current session:
Using Color
• Photoshop measures color in terms of bit depth, and as mentioned before, an 8-bit image translates
to 256 colors. Photoshop computes this by taking the number 2 and multiplying it by the number of
times specified by the bit depth. 24-bit means 2 to the 24th power, which is 16 million; 4-bit means 2
to the 4th power, which equals 16. Simply enter the actual number of colors into the Colors option
box:
Forcing Color
• When using Custom, you can select the colors and lock them in. Select Custom to open the Forced
Colors dialog box. A color swatch appears for each color locked by the previously selected setting:
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Lesson 22 – Indexed Color
To add another color:
• Click on an empty swatch in the Forced Colors palette:
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Lesson 22 – Indexed Color
• Apply the Indexed Color command with the Transparency check box selected, and a checkerboard
pattern will appear in the transparent portion of the image.
• Photoshop will flatten the file when the Indexed Color command is first chosen, and you cannot add
new layers to the file. This makes an indexed image the only kind of Photoshop document that can
accommodate transparency without layers.
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None - This option will have Photoshop map each color in the image to its closest equal; in the
look-up table, pixel for pixel. This will result in a very harsh color transition. However, it is
frequently the preferable option.
Diffusion - This option will dither colors randomly in order to create a natural effect.
Pattern - This option will dither colors in a geometric pattern, which can be very ugly.
Noise - This option will mix pixels throughout the image, not only in areas of transition.
• Lower values will produce harsher color transitions, but lower the file size. It depends on what you
are looking for.
• When selected and on, this option will turn off dithering inside areas of flat color that match a color
in the active palette exactly. You may have better-looking images if you don’t apply any dithering,
but if you do decide to dither, turn Preserve Exact Colors on. The difference may not be visible to
you, but it could be to others.
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Lesson 22 – Indexed Color
• From the main menu, choose Image > Mode > Color Table,
OR choose Custom from the Palette pop-up menu in the Indexed Color dialog box to open the
Color Table dialog box:
• This will allow you to replace all appearances of one color in an indexed image with a different color.
To edit a color:
• Click on the color to display the Color Picker dialog box.
• Select a different color and press the Enter key to go back to the Color Table dialog box.
• Press the Enter key again to close the Color Table dialog box; this will change every pixel of the old
color to the new color.
• The Color Table dialog box will also allow you to open and save palettes and select predefined
palettes from the Color Table pop-up menu.
The Color Table dialog box doesn’t allow you to identify a color from
the image. If you’re trying to fix a color in your image, you can’t display
the Color Table dialog box, so click on the color in the image, and have
the dialog box show you the corresponding color in the look-up table.
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Lesson
Twenty-three
Web Page Layout
Create Slices
Creating Slices
This Chapter contains Select the Slice tool from the toolbox,
OR press the K key:
Create Slices
Edit Slices
Slice Options
Save Slices
The Slice Select tool shares the space with the Slice tool, the difference
being that the Slice Select tool includes an arrow cursor:
As all images are rectangular, all slices are rectangular. Draw a rectangle
Marquee around the shape that you want to slice:
Press the Shift key and drag an edge to constrain the slice to a square.
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• For each slice created, a slice number will appear in the upper-left corner of
the slice. You can turn the numbers off by deselecting the Show Slice
Numbers check box on the Options bar:
• From the main menu, choose Layer > New Layer Based Slice.
• If the layer’s contents are changed later on, Photoshop will redraw the slice
boundary if new pixels need to be included. This technique should be used
when saving slices that contain layer effects, such as drop shadows, as you will
be able to edit the effect without having to worry about redrawing the slice
manually if the new effect takes up more space.
• Use the Line Color pop-up menu on the Options bar to set the color for user
slices. This same color scheme is used on the slice numbers:
• Press the Ctrl + H key combination to hide and show the slice boundaries,
and the on-screen aids, including guides and selection outlines.
• From the main menu, choose View > Show > Slices to toggle the slice
boundaries on and off independently.
• From the main menu, choose View > Show > Show Extras Options to
specify which on-screen aids you want Photoshop to display at all times:
• If slice boundaries overlap, the slices will be stacked according to the order
that they were drawn, with the most recent slice at the top. Only the top slice
can be edited, but the stacking order can be rearranged to access a lower slice.
• From the main menu, choose View > Lock Slices to make your slices
uneditable after you are done creating them. By locking them, it won’t be
possible to accidentally alter a slice boundary.
• From the main menu, choose View > Unlock to unlock the locked slices.
Edit Slices
Editing Slices
To change to a slice boundary:
• Choose the Slice Select tool and click on the slice to select it:
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• Click on the handles around a slice to modify the size or shape of the slice
boundary:
• To duplicate a slice, put the tool cursor on the slice boundary, then press the
Alt key and drag the slice. Click on the Slice Options button on the Options
bar to name the slice, add a link, and apply other slice attributes. This dialog
box can also be accessed from inside the Save For Web dialog box; by
selecting the slice and double-clicking the Slice Select tool icon:
If overlapping slices were created, access the top most one with the Slice
Select tool. Use the four stacking order buttons near the left end of the
Options bar, to change the stacking order. You can move a selected slice to
the bottom of the stack, the top of the stack, or up or down individual levels:
Slice Options
Applying Slice Options
• After a slice is created, you can give the slice a specific name, create a link to a
Web page, etc. These functions were only available in ImageReady before,
now the data can be entered within Photoshop.
• Select the slice you want to format:
• Slice Type - Allows you to either fill a slice with an image or with HTML
text:
The No Image option for the HTML text. The dialog box options will
change, giving you only a text-entry box into which you can type HTML text.
The text can be formatted using standard HTML tags. The text cannot be
previewed in Photoshop; the browser has to be used to view the text.
The Image option will save the image data for the slice along with any linking
data or alternative text assigned to the graphic.
• Name - The slices are automatically named in the order they appear. To
override the automatic naming system, enter your slice names in this option.
This option and the following four only apply when Image is selected as the
slice type:
• URL - This option allows you to enter a URL that you want to link a button
to, and will turn a slice into a button. A simple file name is enough to link to a
page stored in the same folder as the slice. For files inside other folders, enter
the path name. To link to an outside Web page, enter the full URL name:
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• Target - Enter the appropriate frame tag into this option box if your page
includes frames:
• Message Text - This field allows you to enter a message, which will appear
at the bottom of the browser window when a visitor hovers the cursor over
the button:
• Alt Tag - This field allows you to provide a text alternate for a button. Simply
enter text into the field:
• Dimensions - These fields allow you to specify the exact placement and size
of a slice boundary. Enter the pixel coordinates into the X and Y options and
the dimensions into the W (width) and H (height) options. Access to these
options is available even when No Image is selected as the slice type. When
using the Save For Web dialog box to save your image, two additional options
will appear. Inside the dialog box, double-click the slice with the slice select
tool. You will get the same options as just described plus the two below:
Save Slices
Saving Slices
To save your original image with all slice information intact:
• From the main menu, choose File > Save As and select either the Photoshop
or TIFF format.
• Select the Layers check box, or the slice data will get dumped:
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• When reopening the image, choose the Slice Select or Slice tool to redisplay
the slice boundaries and make any further changes.