Photoshop CS Timesaving Techniques For Dummies [Electronic resources] نسخه متنی

List of Figures

Technique 1: Organizing Image Files and Managing Projects

Figure 1-1: The File Browser makes finding and opening images easy.

Figure 1-2: You select the location of the renamed image files and set how to modify the image file- names in the Batch Rename dialog box.

Figure 1-3: You select the filenaming variables you want to use with the drop-down lists.

Figure 1-4: Use the Show drop-down list to select whether you want to view flagged or unflagged files, or all files.

Figure 1-5: Rank image files with the Rank Files dialog box.

Figure 1-6: The Toggle Expanded View arrows hide the palettes and enlarge the Preview pane.

Figure 1-7: Adding notes to remind you of something.

Figure 1-8: Click Start to begin recording an audio annotation.

Technique 2: Creating Custom Palette Groups and Workspaces

Figure 2-1: By default, not all palettes are shown in the Photoshop

cs program window.

Figure 2-2: Select Save Palette Locations in the Preferences dialog box.

Figure 2-3: You can arrange palettes in palette groups.

Figure 2-4: Drag the palette’s tab out of the palette group.

Figure 2-5: Click the Minimize box to collapse a palette.

Figure 2-6: When you launch Photoshop for the first time, three palettes are docked in the Palette Well.

Figure 2-7: Enter a name for your workspace in the text box, and then click OK.

Figure 2-8: Choose a custom workspace from the bottom of the Workspace submenu.

Technique 3: Assigning Custom Keyboard Shortcuts

Figure 3-1: The Keyboard Shortcuts dialog box opens showing the loaded shortcut set.

Figure 3-2: Click the tiny arrow to access the commands in a menu or palette.

Figure 3-3: If you try to assign a custom shortcut that is unacceptable or creates a conflict, Photoshop tells you.

Figure 3-4: Click the Save Changes to Current Set button to add custom shortcuts to the selected set.

Figure 3-5: Click the Create New Set button to make a new shortcut set.

Figure 3-6: Enter the name for your custom shortcut set in the File Name text box (Windows, top) or Save As text box (Mac, bottom).

Figure 3-7: The shortcut list automatically opens in your default browser.

Figure 3-8: Click the trashcan to delete the selected shortcut set.

Technique 4: The Last Word about Color Management

Figure 4-1: Make sure to remove the check mark from the View Single Gamma Only check box.

Figure 4-2: Use the individual color channels to accurately calibrate your monitor.

Figure 4-3: The Open Monitor Profile dialog box provides color space information for many monitor models.

Figure 4-4: Use the Color tab in the Displays pane to access monitor calibration.

Figure 4-5: The Display Calibrator Assistant helps guide you through calibrating your monitor.

Figure 4-6: Use the sliders to make the apple match the background.

Figure 4-7: Use the sliders to make the apple’s brightness match the striped background.

Figure 4-8: Move the sliders to make the gray apple match the background.

Figure 4-9: Use the sliders to make the dark gray apple match the background.

Figure 4-10: Use the slider to set your monitor’s contrast.

Figure 4-11: Move the slider to select the tint of your monitor’s display.

Figure 4-12: If you have administrator privileges, you can give other users access to this calibration.

Figure 4-13: The final panel displays the settings you selected.

Figure 4-14: You can select the color management settings with the Color Settings dialog box.

Figure 4-15: Set how imported or opened images are handled in the Color Management Policies area.

Figure 4-16: The Embedded Profile Mismatch dialog box lets you choose how you want color space conversion handled.

Technique 5: Making Image Editing Easier

Figure 5-1: The Navigator palette is your key to quick zooming.

Figure 5-2: Zoom in or out by typing a percentage or ratio in the Magnification box, and then pressing Return/Enter.

Figure 5-3: Opening a second image window makes image editing and manipulation much easier.

Technique 6: Creating Your Own Tool Presets

Figure 6-1: By default, the Tool Presets picker and Tool Presets palette are both on the Options bar.

Figure 6-2: Select one of the tool preset libraries from the bottom of the Tool Presets palette menu.

Figure 6-3: Use this dialog box to set how you want the selected tool preset library loaded into the Tool Presets palette.

Figure 6-4: The Tool Presets palette is loaded with Crop tool and Rectangular Marquee tool presets.

Figure 6-5: Enter a descriptive name in the New Tool Preset dialog box.

Figure 6-6: The Preset Manager organizes all kinds of presets including tool presets.

Figure 6-7: Enter a name for the tool presets in the File Name text box.

Technique 7: Moving Back in Time: Getting Rid of Mistakes

Figure 7-1: Type a name for the duplicate image in the text box.

Figure 7-2: The Windows XP Save As dialog box (top) and the Mac OS Save As dialog box.

Figure 7-3: Photoshop warns you that you are going to save the copy over the original file.

Figure 7-4: The History palette records each action you make, allowing you to return to any given point in time.

Figure 7-5: Use the History Options dialog box to select snapshot settings.

Technique 8: Creating Actions

Figure 8-1: Use the Actions palette to create actions, mini-programs that can save you lots of time and increase productivity.

Figure 8-2: When the Actions palette displays in Button mode, just click a button to play an action.

Figure 8-3: Command mode gives access to all the commands within an action.

Figure 8-4: Use the New Action dialog box to name the action and assign a keyboard shortcut and color for the action.

Figure 8-5: You can use the actions that come with Photoshop to enhance your images.

Figure 8-6: The Batch dialog box is used to select a folder and an action.

Figure 8-7: Select an action set from the bottom of the Actions palette menu.

Figure 8-8: Check out the great actions that ship with Photoshop.

Technique 9: Automating Photoshop Functions

Figure 9-1: You can select where the renamed files are stored with the Batch Rename dialog box.

Figure 9-1: You can select where the renamed files are stored with the Batch Rename dialog box.

Figure 9-2: Locate the folder where the renamed files will be stored using the Browse For Folder dialog box (Windows, top) or using the Choose a Destination Folder dialog box (Mac, bottom).

Figure 9-3: In the File Naming area, select up to six naming options.

Figure 9-4: Select an action, folder of files to modify, and a folder destination for the modified files in the Batch dialog box.

Figure 9-5: The Create Droplet dialog box specifies which action is encapsulated in the droplet.

Figure 9-6: After you create a droplet, you can place it on your desktop for easy access.

Technique 10: Importing Images Using a Scanner

Figure 10-1: Increasing the magnification makes an image appear larger on-screen but doesn’t affect the printed image.

Figure 10-2: Check out the pixels: 96 ppi (top), 150 ppi (left), and 300 ppi (right).

Figure 10-3: The Import menu displays installed scanners and lets you choose between the TWAIN and WIA standards.

Figure 10-4: The WIA Support wizard makes importing images using a scanner easy.

Figure 10-5: In the Select Device dialog box, choose the device you want to use.

Figure 10-6: Check out the properties for your scanner to see if a color profile is loaded.

Figure 10-7: If you need to, find your scanner’s color profile on the Color Management tab in the Properties dialog box.

Figure 10-8: Select output settings using your scanner’s software.

Figure 10-9: The scanned image imports and opens in Photoshop.

Figure 10-10: The Import submenu shows the TWAIN compliant devices installed on your computer.

Figure 10-11: Use your scanner’s software to select settings and scan the image.

Figure 10-12: When scanning several images into Photoshop, they appear in one image window.

Figure 10-13: After the images separate and crop, they appear in their own image windows.

Technique 11: Getting Professional Results with the Camera Raw Format

Figure 11-1: The Camera Raw dialog box is used to process digital negatives.

Figure 11-2: The Title bar lists camera information as well as the image’s filename.

Figure 11-3: The Histogram determines the range for each color channel.

Figure 11-4: These drop-down lists are used to set the photo’s resolution and color space.

Figure 11-5: The Adjust tab panel lets you adjust the lighting quality and tonal values.

Figure 11-6: The White Balance drop-down list and sliders set lighting quality.

Figure 11-7: The Detail tab panel adjusts your photos’ sharpness and reduces noise.

Figure 11-8: The Lens tab panel helps you correct color and shadow problems created by the camera lens.

Figure 11-9: Shadowy vignettes at a photo’s edges (top) is a problem created by the lens that Photoshop can correct (bottom).

Figure 11-10: The sliders on the Calibrate tab pane adjust color and tone.

Figure 11-11: Click the tiny arrow button to open the dialog box menu.

Figure 11-12: Save your custom settings using the Save Raw Conversion Settings dialog box.

Figure 11-13: The Basic radio button is selected when the Apply Camera Raw Settings dialog box opens.

Figure 11-14: After selecting the Advanced radio button, all the Camera Raw settings are available.

Technique 12: Using Tablets and Pressure-Sensitive Devices

Figure 12-1: A drawing tablet and stylus can easily double your output and increase the overall speed and quality of your Photoshop work.

Figure 12-2: This is the Windows configuration dialog box for the Wacom Intuos 2 tablet.

Figure 12-3: Tap your tablet to access tab panels for stylus features.

Figure 12-4: When your tap matches the setting, a thumbs-up gives confirmation.

Figure 12-5: The Tip Feel tab is used to configure the pen’s pressure sensitivity.

Figure 12-6: Stroke on the grid to adjust your maximum stroke.

Figure 12-7: Your stroke pressure is automatically recorded in the Manual area grid and Tip Force text boxes.

Figure 12-8: Doodle in the Test area to make sure that the pressure sensitivity setting is right.

Technique 13: Printing to a Desktop Printer

Figure 13-1: The same image saved at 72 ppi (top), 150 ppi (middle), and 300 ppi (bottom).

Figure 13-2: Use the Image Size dialog box to find out the resolution of your image.

Figure 13-3: Use the Auto Resolution dialog box to let Photoshop calculate a resolution for you.

Figure 13-4: Use the Scaled Print Size area to let Photoshop figure out the resolution.

Figure 13-5: Windows XP users can set a default printer with the Printers and Faxes dialog box.

Figure 13-6: Right-click the printer that you want to use as the default and choose Set as Default Printer.

Figure 13-7: The Print & Fax dialog box lets you install printers and select a default printer.

Figure 13-8: Use the Printer List to designate a default printer.

Figure 13-9: Use the Page Setup dialog box to set paper size and orientation.

Figure 13-10: Special printing options can make your printed project perfect.

Figure 13-11: This Print dialog box is used to set printer options and how many copies are printed.

Technique 14: Getting Files Ready for Offset Printing

Figure 14-1: The Color Settings dialog box is used to enter custom CMYK prepress settings.

Figure 14-2: Select one of the prepress settings that matches the press and paper type that you’re using.

Figure 14-3: Use the Custom CMYK dialog box to select the amount of ink coverage.

Figure 14-4: Saving your custom CMYK color settings.

Figure 14-5: An opaque gray mask covers the out-of-gamut colors.

Figure 14-6: Use the Color Range dialog box to select the out-of-gamut areas.

Figure 14-7: By selecting the out-of-gamut areas, the printable colors are protected from editing.

Figure 14-8: The Proof Setup dialog box is used to select soft proofing options.

Figure 14-9: Use the Save dialog box to enter a name for your custom soft proof settings.

Figure 14-10: The selected soft proof setting appears in the image’s title bar.

Figure 14-11: Printer’s marks tell the pressman and other workers at the printing company how to align, calibrate, trim, and fold your project.

Figure 14-12: Use the Print dialog box to set up printer’s marks.

Figure 14-13: Click Show More Options to see added options in the Print dialog box.

Figure 14-14: Use the Save As dialog box to save a copy of your image in EPS file format.

Figure 14-15: The EPS Options dialog box is used to set how the file is saved.

Figure 14-16: Type is automatically placed on its own type layer.

Figure 14-17: Choose New Spot Channel from the Channels palette menu.

Figure 14-18: The New Spot Channel dialog box is used to select a spot color.

Figure 14-19: Use the Color Picker to select an ink manufacturer and ink type.

Figure 14-20: The spot color channel appears in the Channels palette.

Figure 14-21: Use the Save As dialog box to save a copy of the image in DCS 2.0 or PDF format.

Figure 14-22: Use the DCS 2.0 Format dialog box to set how the image and spot color channels are saved.

Technique 15: Working with and Organizing Layers

Figure 15-1: Notice how the separate layers are stacked in the Layers palette and the order in which they appear in the image.

Figure 15-2: The checkerboard areas of the separate layers indicate transparency.

Figure 15-3: Use the Color drop-down list in the Layer Properties dialog box to color code the selected layer.

Figure 15-4: By using the Lock buttons at the top of the Layers palette, you can protect your work.

Figure 15-5: Alt+click/Option+click the Create New Set button to access layer set properties.

Figure 15-6: Use the New Layer Set dialog box to name and color code the layer set.

Figure 15-7: Use the dialog box to select how you want to delete a layer set.

Technique 16: Getting to Know Layer Comps

Figure 16-1: The same image is viewed with two different layer comps.

Figure 16-2: Use the Layer Comps palette to create and manage layer comps.

Figure 16-3: Use the New Layer Comp dialog box to select layer comp options.

Figure 16-4: The tiny warning icon tells you that a layer comp is out of date.

Technique 17: Enhancing Images with Blending Modes

Figure 17-1: Whenever you encounter the Blending Mode drop-down list, you see that it’s organized into six categories. Here the drop-down list is shown in the Layers palette.

Figure 17-2: For this example, I’m combining these two images.

Figure 17-3: I dragged the layer containing the fly to the Moon image window.

Figure 17-4: After the fly is scaled and rotated, it fits into the moon area.

Figure 17-5: Lowering the opacity of the Sly Fly layer makes the moon’s texture and lighting visible.

Figure 17-6: The window image is contained on one layer.

Figure 17-7: Use the Fade dialog box to select a blending mode.

Figure 17-8: The Vivid Light blending mode adds more contrast to the image.

Figure 17-9: Use the Drop Shadow area to create your drop shadow.

Figure 17-10: Dissolve mode changes the shadow into a spray of pixels.

Technique 18: Transforming Images, Layers, and Selections

Figure 18-1: Use the Rotate Canvas menu to transform entire images.

Figure 18-2: Use the commands on the Edit>Transform menu to transform layers and selections.

Figure 18-3: This brave lad is ready to be transformed.

Figure 18-4: The brave lad is enclosed within a bounding box.

Figure 18-5: Drag a handle or part of the bounding box to scale the layer or selection.

Figure 18-6: Slide the bounding box right or left to skew the layer or selection vertically.

Figure 18-7: Drag in any direction to distort the layer or selection.

Technique 19: Going Transparent with Opacity and Fill

Figure 19-1: The Opacity and Fill text boxes set layer opacity in different ways.

Figure 19-2: With layer styles applied to the quilt pieces, the Fill slider doesn’t change the opacity of the layer effects (bottom).

Figure 19-3: With Fill set to 0%, the layer disappears entirely, leaving only the layer styles.

Figure 19-4: Use the Layer’s palette to place the layers next to one another.

Figure 19-5: Use the slider to set the layer’s opacity.

Technique 20: Creating Great Effects with Layer Styles

Figure 20-1: The Layer Style dialog box is special effects central.

Figure 20-2: Choose a special effect from the menu.

Figure 20-3: In the Bevel and Emboss panel, use the Style drop-down list to select a bevel and emboss type.

Figure 20-4: The five types of bevel and emboss.

Figure 20-5: Use the Shading area to set how the shadows and highlights look.

Figure 20-6: Use the Gloss Contour Picker to select highlight and shadow shape.

Figure 20-7: Inner and outer glow layer styles.

Figure 20-8: The settings are divided into three areas.

Figure 20-9: Color overlays can change a layer’s color radically.

Figure 20-10: The Color Overlay settings are pretty straightforward.

Figure 20-11: Use the New Style dialog box to save a layer style as a preset.

Figure 20-12: The new layer style preset appears at the end of the list in the Styles palette.

Figure 20-13: Right-click/Control+click the layer style that you want to copy.

Figure 20-14: The layer styles applied to this vector shape can be separated into layers.

Figure 20-15: When the layer style is separated into individual layers, you can really get a good idea how each effect works.

Technique 21: Recoloring with Fill Layers

Figure 21-1: I selected the white blouse with the Magnetic Lasso and Lasso tools.

Figure 21-2: Choose Solid Color from the Create New Fill or Adjustment Layer menu.

Figure 21-3: You can use the Color Picker to select a custom color.

Figure 21-4: The new color appears in the image window, though it may not blend well, yet.

Figure 21-5: The right blending mode makes the fill layers pixels blend with the image pixels.

Figure 21-6: Use the Hue/Saturation dialog box to shift the color in the image.

Figure 21-7: Using Hue/Saturation, I shifted the blouse color from blue to tan.

Technique 22: Working with Adjustment Layers

Figure 22-1: This photograph is way underexposed.

Figure 22-2: Choose an adjustment command from the New Fill or Adjustment Layer menu.

Figure 22-3: For this example, I used the Levels command.

Figure 22-4: The Levels adjustment layer corrects the photograph’s underexposure.

Figure 22-5: Altering the attached layer mask targets the adjustment layer’s correction.

Technique 23: Everything You Ever Needed to Know about Creating Brushes

Figure 23-1: The Brush Preset picker is used to select brush presets and change brush size and hardness.

Figure 23-2: The Brushes palette is the central station for brush selection and creation.

Figure 23-3: Select a brush preset in the Brushes palette.

Figure 23-4: Click the tiny padlock to freeze brush settings.

Figure 23-5: The Brush Tip Shape settings are used to set brush diameter and spacing.

Figure 23-6: A: 0% Hardness, 100% Roundness, 25% Spacing. B: 100% Hardness, 50% Roundness, 25% Spacing. C: 100% Hardness, 100% Roundness, 125% Spacing.

Figure 23-7: Shape Dynamics are used to vary the width and shape of a brush stroke.

Figure 23-8: A: 90% Hardness, 120% Spacing, 0% Size Jitter. B: 75% Size Jitter, 10% Minimum Diameter. C: 75% Angle Jitter. D: 100% Roundness Jitter, 1% Minimum Roundness.

Figure 23-9: Use the Scattering brush settings to splatter the paint around the brush stroke.

Figure 23-10: A: 0% Scatter. B: 150% Scatter. C: 150% Scatter with Both Axes checked.

Figure 23-11: The Texture brush settings changes the surface quality of your strokes.

Figure 23-12: A: Original stroke, no texture. B: Metal Landscape pattern applied. C: Herringbone 2 pattern applied.

Figure 23-13: By using the Dual Brush settings, you can stroke with two brush tips at the same time.

Figure 23-14: A: First brush selected. B: Grass brush added to A, 0% Scatter. C: Fuzzball brush added to A, 150% Scatter.

Figure 23-15: Use the Color Dynamics settings to change your strokes from mono-color to multicolor.

Figure 23-16: A: Original stroke without Color Dynamics applied. B: Stroke with 100% Foreground/Background Jitter applied.

Figure 23-17: A single click of the mouse creates a dab that can be used to create a brush tip.

Figure 23-18: The modified brush dab.

Figure 23-19: Enter a name for your custom brush.

Figure 23-20: Use the Preset Manager to save brush libraries.

Figure 23-21: Choose a brush library from the menu.

Figure 23-22: Use this dialog box to select how the brush library is loaded into the Brushes palette.

Technique 24: Creating a Painting by Using an Image

Figure 24-1: For this example, this photograph is the basis for a painting.

Figure 24-2: Use the Add Noise dialog box to create a speckled appearance.

Figure 24-3: You’re going to paint on the upper, empty layer.

Figure 24-4: As you stroke with the Smudge tool, the color from the image layer is painted onto the empty painting layer.

Figure 24-5: Select the Emboss settings to add more texture to the brush strokes.

Figure 24-6: After adding the two new layers, you should have five layers in your painting.

Figure 24-7: Select the settings that create a canvas texture.

Figure 24-8: After you add the embossed paint strokes and the canvas texture, the painting looks pretty good.

Technique 25: Painting Back in Time

Figure 25-1: The History palette records everything that affects the image window.

Figure 25-2: Select an image to use as the basis for a painting.

Figure 25-3: The ballerina photograph looks quite different after the Watercolor filter is applied.

Figure 25-4: Click the left column to select the previous history state as the source for the History Brush.

Figure 25-5: After stroking the ballerina’s face and arms with the History Brush, the skin tones are returned to the previous history state.

Technique 26: The Big Color Swap Meet

Figure 26-1: The selected area of the man’s face is going to be used as the color source.

Figure 26-2: This dark photograph is going to change dramatically when the color source is applied to it.

Figure 26-3: The Match Color dialog box is divided into two areas: Target settings are on the top, and source settings are on the bottom.

Figure 26-4: When the colors from the selected source area are applied to the photograph of the woman, the colors change dramatically.

Figure 26-5: After the color and tone in this image are adjusted, the photograph looks quite different.

Technique 27: Recoloring with Gradients

Figure 27-1: In the Gradient Map dialog box, the gradients are selected with the Gradient picker.

Figure 27-2: My pal the vulture dressed in his original feathers (left) and recolored with a Copper gradient (right).

Figure 27-3: Select a gradient library to load from the bottom of the Gradient picker menu.

Figure 27-4: The vulture is recolored by using various gradients and blending modes.

Technique 28: Creating Custom Patterns

Figure 28-1: Use the Texturizer filter to create a texture for a pattern.

Figure 28-2: The image window now looks like a brick wall.

Figure 28-3: Type a name for the pattern in the Pattern Name dialog box.

Figure 28-4: The brick pattern applied to type by using layer styles.

Figure 28-5: I’m using this fabric to create some patterns.

Figure 28-6: In the Pattern Maker dialog box, the controls are on the right side.

Figure 28-7: The rendered pattern appears in the Preview pane.

Figure 28-8: Choose a pattern library from the bottom of the Preset Manager menu.

Figure 28-9: Click OK or Append to load the patterns into the Pattern picker.

Technique 29: Filling and Painting with Patterns

Figure 29-1: Select a pattern in the Fill dialog box.

Figure 29-2: Choose Pattern Overlay from the Add Layer Styles menu.

Figure 29-3: The Layer Styles dialog box opens with Pattern Overlay selected.

Figure 29-4: A flower pattern and drop shadow applied to type.

Figure 29-5: For this painting example, I’m using a scan of some fabric and a heart paperweight.

Figure 29-6: Use the Add Noise dialog box to create a speckled appearance.

Figure 29-7: You should now have three layers: the image layer, noise layer, and painting layer.

Figure 29-8: The completed pattern painting.

Technique 30: Enhancing Tone and Color

Figure 30-1: The Auto Color Correction Options dialog box is used to automatically enhance photos.

Figure 30-2: Use the sliders in the Levels dialog box to adjust highlights, midtones, and shadows.

Figure 30-3: Adjust isolated areas of the tonal range using curves.

Technique 31: Be Your Own Plastic Surgeon

Figure 31-1: Even though she doesn’t know it, this woman is going to have her wrinkles and blemishes removed and her skin texture smoothed out.

Figure 31-2: The Clone Stamp tool works really well for removing spots and blemishes.

Figure 31-3: The Healing Brush makes wrinkle removal pretty easy.

Figure 31-4: The Dust & Scratches filter is great for smoothing skin texture.

Figure 31-5: Select a wide area around the nose.

Figure 31-6:

A copy of the nose area appears on a new layer.

Figure 31-7: A bounding box appears around the layer you’re going to modify.

Figure 31-8: After altering the shape of the copied nose, a few creases and shadows may need fixing.

Figure 31-9: Performing a virtual nose job is really painless.

Technique 32: Getting Rid of Red Eye

Figure 32-1: My little guy’s eyes are distinctly luminous.

Figure 32-2: Zoom in so that you can see what you’re doing.

Figure 32-3: Use the Color Picker to select black as the replacement color.

Figure 32-4: The Color Replacement tool takes the red out in no time.

Technique 33: Adding Professional Photo Filter Effects

Figure 33-1: I’m adjusting the tone of this photograph using photo filters.

Figure 33-2: Choose Photo Filter from the menu.

Figure 33-3: Use the Photo Filter dialog box to apply different color tones to your photograph.

Figure 33-4: Photo filters change the color tone of a photograph.

Figure 33-5: Use the Hue/Saturation dialog box to adjust the photograph’s tone.

Figure 33-6: Click the tiny arrow next to the Default Actions set to view the actions in that set.

Figure 33-7: The original photograph (top) and the sepia-toned aged photograph (bottom).

Technique 34: Creating Grayscale Images: Your Choices and the Results

Figure 34-1: Converting a color image to grayscale using color modes works pretty well, but the overall cast can be a bit dark.

Figure 34-2: You can select a channel for use as a grayscale image.

Figure 34-3: The three channels that make up the Arches National Park photograph.

Figure 34-4: The solid black fill layer appears in the Layers palette.

Figure 34-5: An image converted to grayscale using the Color blending mode retains its fine detail.

Technique 35: Coloring and Tinting Black and White Photographs

Figure 35-1: This photograph was originally in color. Here it’s reproduced as a grayscale image.

Figure 35-2: The Hue/Saturation dialog box is used to colorize the black and white photograph.

Figure 35-3: Click the Create New Snapshot button.

Figure 35-4: Click the column to the left of the Color snapshot.

Figure 35-5: This grayscale image is ready for transformation into a duotone.

Figure 35-6: Use the Duotone Options dialog box to select ink colors.

Figure 35-7: : Drag the curve to adjust how much ink prints on the shadows, midtones, and highlights.

Technique 36: Stitching Photos to Create Panoramas

Figure 36-1: Five photographs of the camphor tree outside my house.

Figure 36-2: Use this Photomerge dialog box to select the photos for the panorama.

Figure 36-3: The Photomerge dialog box attempts to match all the selected images together.

Figure 36-4: Photomerge adds perspective to shape the combined photographs.

Figure 36-5: Photomerge is one smart plug-in! It combined my tree photos into one giant tree mural.

Technique 37: Accenting with Sharpening or Blurring

Figure 37-1: This blurry pasta is going to become clearer.

Figure 37-2: The Unsharp Mask dialog box is your key to sharper images.

Figure 37-3: Different settings create more contrast at the edges.

Figure 37-4: Applying filters after sharpening can increase the effects of the filters.

Figure 37-5: I’m blurring the bicycle area to make the viewer immediately look at the girls face.

Figure 37-6: Move the Radius slider to adjust the blur.

Figure 37-7: Instead of just being another part of the photograph, the girl’s face is really the focal point now.

Figure 37-8: Blurring only one channel creates the effect of a slight glow.

Technique 38: Painting Watercolors with Filters

Figure 38-1: This photograph could certainly make a nice watercolor painting.

Figure 38-2: You should have three identical layers in the Layers palette.

Figure 38-3: Use the settings at the right side of the dialog box to adjust the Watercolor filter.

Figure 38-4: Now that I have a watercolor “base,” I’ll use other filters to restore the detail.

Figure 38-5: Use the settings to adjust the Underpainting filter.

Figure 38-6: The Watercolor and Underpainting layers blended together with the Soft Light blending mode.

Figure 38-7: Use these settings to adjust the effects of the Note Paper filter.

Figure 38-8: The completed watercolor painting.

Technique 39: Making Images Look Like Pressed Tin

Figure 39-1: This lace doily is going to become pressed tin.

Figure 39-2: You should have two identical layers in the Layers palette.

Figure 39-3: Setting the depth of the embossing.

Figure 39-4: The effect of the Emboss filter on the Emboss layer.

Figure 39-5: Use the settings at the right side of the dialog box to adjust the Bas Relief filter.

Figure 39-6: The Emboss and Bas Relief layers blended together by using the Overlay blending mode.

Figure 39-7: The lace doily turned into pressed tin.

Technique 40: Creating Photo Silkscreens

Figure 40-1: These lizards are going to be silkscreened.

Figure 40-2: Set the Radius to 3 in the High Pass dialog box.

Figure 40-3: In the Threshold dialog box, set the Threshold Level to 125.

Figure 40-4: After applying the Threshold command to the Red channel, the lizards are starting to look like a silkscreen.

Figure 40-5: Set the Radius to 5.

Figure 40-6: The lizards definitely look reminiscent of a Warhol silkscreen.

Technique 41: Sketching with Filters

Figure 41-1: The settings for each Sketch filter are pretty much the same.

Figure 41-2: The Sketch filters in action.

Figure 41-3: When the Charcoal filtered layer is blended with the original photograph, the result is quite lovely.

Figure 41-4: The same photo with the Graphic Pen filter applied to the upper layer instead and the layer’s Opacity set to 60%.

Figure 41-5: When the Rough Pastel filter is applied to the lower layer, the blended layers create a really stunning drawing.

Technique 42: I’ve Been Framed!

Figure 42-1: These sock monkeys are going to be framed.

Figure 42-2: Two layers should be in the Layers palette: the image layer on top and the fill layer on the bottom.

Figure 42-3: The selected area is going to create the layer mask.

Figure 42-4: You’re using the linked layer mask to create the frame.

Figure 42-5: The Gaussian Blur filter creates a soft blurred frame.

Figure 42-6: The finished, framed sock monkeys.

Figure 42-7: Photo/Graphic Edges 6.0 by Auto FX is a really great framing tool.

Technique 43: Dunking Images in Liquid

Figure 43-1: For this example, I’m making this key look like liquid.

Figure 43-2: Choose Duplicate Channel from the menu.

Figure 43-3: Type the name for the copied channel.

Figure 43-4: The inverted Liquid channel appears at the bottom of the Channels palette.

Figure 43-5: Type the Input Levels into the text boxes.

Figure 43-6: The Liquid channel with grays reduced.

Figure 43-7: The selection fills with black.

Figure 43-8: Set the angle to match the light source in your image.

Figure 43-9: After applying the Emboss filter, the Water layer should look like this.

Figure 43-10: Use the Fade dialog box to fade the black fill.

Figure 43-11: The Water layer is an embossed gray on gray layer.

Figure 43-12: Click the line to add five points.

Figure 43-13: Drag the second point up and the fourth point down.

Figure 43-14: The Water layer is looking more and more like liquid.

Figure 43-15: Set the Plastic Wrap filter settings.

Figure 43-16: Use the sliders to set the drop shadow settings.

Figure 43-17: The liquid key with the drop shadow applied.

Figure 43-18: The two Water layers shown with a white fill layer.

Technique 45: Knock-Out Type

Figure 45-1: For this example, I’m using a zebra photo for the knock-out type filler.

Figure 45-2: You should now have two layers, the upper one with a linked layer mask.

Figure 45-3: The Horizontal Type Mask tool creates type-shaped selections.

Figure 45-4: The black type-shaped areas on the layer mask hide the Type Cut-Out layer and let the zebra layer show through.

Figure 45-5: Adding fade outs above and below the text lets more of the zebra layer show.

Technique 46: Pouring Liquid Metals

Figure 46-1: I’m turning this bomb into chrome.

Figure 46-2: Use the settings in the Structure area to create the bevel.

Figure 46-3: Use the default Gradient Overlay settings, but create a custom gradient.

Figure 46-4: You use the Gradient Editor to create a custom gradient for this effect.

Figure 46-5: The color stops are on the bottom of the Custom Gradient Bar.

Figure 46-6: Add color stops at uneven intervals to create different width stripes.

Figure 46-7: The type is beveled and striped with a gray and white gradient.

Figure 46-8: You use curves to create the chrome effect.

Figure 46-9: Create a curve with steep mountains and deep valleys.

Figure 46-10: Using curves, the gray and white stripes turn into chrome.

Figure 46-11: Adding a second curves adjustment layer turns the chrome into super chrome.

Figure 46-12: I’m turning this phone from black to copper.

Figure 46-13: Use the sliders to set the Bas Relief filter.

Figure 46-14: Use the settings in the Structure area to shape the drop shadow.

Figure 46-15: Set the Color Overlay to look like copper.

Figure 46-16: The image looks copper-colored, but it doesn’t shine — yet.

Figure 46-17: The telephone now looks like molten copper.

Technique 47: Going Up in Flames

Figure 47-1: Use the Horizontal Type tool to create some type.

Figure 47-2: Use the sliders and color square to set the Neon Glow filter.

Figure 47-3: The type is starting to glow like smoldering embers.

Figure 47-4: The Sprayed Strokes filter makes the text appear to move like flames.

Figure 47-5: Set the Outer Glow to bright red.

Figure 47-6: The Outer Glow makes the text look like it’s on fire.

Figure 47-7: Use the Horizontal Type tool to create some type.

Figure 47-8: Use the Liquify filter to make the type look like it’s melting.

Figure F: igure 47-9: Use the Freeform Pen tool to draw lava-shaped drips.

Figure 47-10: The lava drips that you drew are temporarily saved as a Work Path in the Paths palette.

Figure 47-11: Fill the path with bright red.

Figure 47-12: Use the settings to select how the Outer Glow is applied.

Figure 47-13: Select a Texture to make the lava lumpy.

Figure 47-14: The lava type really burns!

Technique 48: Going Translucent: Clear Type and Jelly Type

Figure 48-1: Select a background image or pattern for the type.

Figure 48-2: The type layer appears above the background image.

Figure 48-3: Select the Bevel and Emboss settings so that the clear type stands out from the background image.

Figure 48-4: The Gloss Contour affects how the highlights and shadows are shaped on the letters.

Figure 48-5: The clear type looks really great.

Figure 48-6: Enter 10 pixels in the Contract Selection dialog box.

Figure 48-7: Use the sliders to select Plaster filter settings.

Figure 48-8: The clear type has a slight white sheen for added clarity.

Figure 48-9: Create some type in a nifty font.

Figure 48-10: Use the Color Overlay to select a color for the type.

Figure 48-11: Use the Drop Shadow options to set the color and size of the drop shadow.

Figure 48-12: Select a color and blending mode for the Inner Shadow.

Figure 48-13: Select a color and blending mode for the Outer Glow.

Figure 48-14: Use the Inner Glow settings to add extra brightness.

Figure 48-15: The Bevel and Emboss adds a rounded shape to the type and white highlights.

Figure 48-16: The Contour adds extra shape to the Bevel and Emboss.

Figure 48-17: The Satin layer style is going to add a mottled effect.

Figure 48-18: The jelly type is looking pretty wiggly at this point.

Figure 48-19: Use the sliders to set the Chrome filter.

Figure 48-20: The type really looks like jelly.

Technique 49: Working with Layer Masks

Figure 49-1: This happy looking fellow is going to help with the layer mask demonstration.

Figure 49-2: The layer mask appears linked to the layer.

Figure 49-3: Painting with black reveals the layer below. Notice where the black area is on the layer mask and the corresponding area in the image window.

Figure 49-4: Painting with different shades of gray makes the layer mask more or less transparent.

Figure 49-5: Under the hood, a layer mask is really a grayscale channel.

Figure 49-6: The Pen tool can be used to create precise selections.

Figure 49-7: Select the area that you want to mask.

Figure 49-8: After choosing Reveal Selection, only the woman’s face is visible.

Figure 49-9: Viewing the layer mask as an overlay lets you see exactly what is masked.

Figure 49-10: These separate layers are going to be combined into one image with layer masks.

Figure 49-11: The goats look pretty happy — they don’t even need extra oxygen.

Technique 50: Using Layer Masks to Create Fade Ins and Outs

Figure 50-1: I plan to use a layer mask to fade out this image.

Figure 50-2: You should have two layers in the Layers palette.

Figure 50-3: The gradient on the layer mask makes the image layer fade out.

Technique 51: Grouping Layers into Clipping Masks

Figure 51-1: To create a clipping mask, you need at least two layers.

Figure 51-2: When two layers are combined in a clipping mask, the lower layer acts as a mask.

Figure 51-3: Applying layer styles to the lower layer in the clipping mask can add a finishing touch.

Figure 51-4: Create the type that you want to use as the mask when the layers are grouped together.

Figure 51-5: Be sure that the type layer is below the image layer.

Figure 51-6: When a type layer is combined with an image layer in a clipping mask, the type acts as a cut-out.

Technique 52: Working with Channels

Figure 52-1: Color channels are listed first in the Channels palette.

Figure 52-2: An RGB image is made up of three color channels.

Technique 53: Individual Channel Adjustments

Figure 53-1: An interesting photograph of the Brooklyn Bridge needs some adjustments.

Figure 53-2: Although the Levels adjustment helps, it doesn’t add enough definition.

Figure 53-3: Applying Levels to each individual channel adds the definition that I’m looking for.

Figure 53-4: This photograph looks a little blurry.

Figure 53-5: The photograph is better, but it’s not good enough.

Figure 53-6: Applying the Unsharp Mask to each channel really sharpens the photograph.

Figure 53-7: The Filter>Stylize>Glowing Edges filter applied to the entire image (top) and to only the red channel (bottom).

Figure 53-8: The Filter>Artistic>Sponge filter applied to the entire image (top) and to only the green channel (bottom).

Technique 54: Mixing Color with Channels

Figure 54-1: This white peacock is going to have his feathers recolored.

Figure 54-2: You should have two copied channels at the bottom of the Channels palette.

Figure 54-3: Use the sliders in the Channel Mixer dialog box to recolor an image.

Technique 55: Getting to Know ImageReady

Figure 55-1: ImageReady’s program window looks a lot like Photoshop’s.

Figure 55-2: The ImageReady Toolbox contains Web- specific tools and buttons.

Figure 55-3: In ImageReady you can tear off the Toolbox fly-out menus to create mini-toolbars.

Figure 55-4: These palettes are just for working with Web graphics.

Figure 55-5: Use the Status bar to find out estimated download times.

Figure 55-6: The four views of an image using the Preview tabs in the image window.

Figure 55-7: Click Find All to let ImageReady find the browsers installed on your computer.

Figure 55-8: Choose a browser from the fly-out menu.

Technique 56: Slicing Web Graphics

Figure 56-1: Each slice is numbered and has an icon marking it as a user slice, auto slice, or layer-based slice.

Figure 56-2: Use the Divide Slice dialog box to create horizontal and/or vertical slices.

Figure 56-3: The number of vertical and horizontal slices you entered appears in the image window.

Figure 56-4: In the Slice palette, type a Web address in the URL text box.

Technique 57: Optimizing and Saving Images for the Web

Figure 57-1: The Optimize palette contains optimized presets.

Figure 57-2: View your image as a 2-Up so that you can see the original and optimized versions.

Figure 57-3: Select a preset JPEG setting for starters even if you want to select custom options.

Figure 57-4: The 2-Up view lets you see both the original image (left) and the optimized version (right).

Figure 57-5: Drag the Droplet from the Optimize palette onto the desktop.

Technique 58: Creating Image Maps

Figure 58-1: Use the image map tools to create hotspots around Web page elements. In this figure, the middle fish has been mapped.

Figure 58-2: Enter the Web address in the URL text box.

Figure 58-3: The fish on the layer are surrounded by polygonal hotspots.

Figure 58-4: The pointing finger icon indicates that the layer contains a layer-based image map.

Figure 58-5: Choose Promote Layer Based Image Map Area from the Image Map palette menu.

Technique 59: Making Your Graphics Rollover

Figure 59-1: Changing the image area.

Figure 59-2: Substituting a new image for the original image.

Figure 59-3: Making text appear in a different area of the browser window.

Figure 59-4: When you first open an image, a thumbnail of the image appears in the Web Content palette.

Figure 59-5: When you create a slice, a thumbnail of the slice appears in the Web Content palette.

Figure 59-6: The duplicated layer appears at the top of the stack in the Layers palette.

Figure 59-7: The Over rollover state appears with a thumbnail below the slice in the Web Content palette.

Figure 59-8: The image before the mouse passes over the slice (top) and after (bottom).

Figure 59-9: When you click the Create Layer-Based Rollover button, the selected layer is used to create a layer-based slice, and the Over rollover state is assigned to the slice in the Web Context palette.

Figure 59-10: The leaf before the mouse passes over it (top) and during (bottom).

Figure 59-11: I’m using two penguin layers, Standing and Flying, to create a substitution rollover.

Figure 59-12: Use the Layers palette to hide the layer that you don’t want to see when the mouse is not over the image.

Figure 59-13: When you create the Over rollover state, the thumbnail contains the same image as the Slice thumbnail.

Figure 59-14: When you make the substitution image visible, it appears in the Over rollover state thumbnail in the Web Content palette.

Technique 60: Making GIF Animations

Figure 60-1: The Animations palette contains all the tools you need to create great animations.

Figure 60-2: Using the Animation palette, this puffer fish is going to swim from left to right in the image window.

Figure 60-3: After you move the image to the right side of the image window, the Frame 2 thumb-nail in the Animation palette updates to display the moved image.

Figure 60-4: ImageReady creates frames between Frame 1 and Frame 2. Because three frames were added between Frame 1 and Frame 2 in this example, Frame 2 is renumbered Frame 5.

Figure 60-5: I added type on either side of the teakettle.

Figure 60-6: You now have two frames in the Animation palette. The type in Frame 1 is invisible and the type in Frame 2 is visible.

Figure 60-7: As the frames progress, the type becomes more opaque and visible.

Figure 60-8: After adding the final set of frames, the type fades out again.

Figure 60-9: After clicking the tiny arrow under the frame, select an amount of time delay using the menu.

Technique 61: Creating Background Tiling for Web Pages

Figure 61-1: This little marble tile will be used to create an entire tiled background.

Figure 61-2: The marble tile becomes a tiled background in the browser window.

Technique 62: Installing Plug-Ins

Figure 62-1: Click the link to download the plug-in file.

Figure 62-2: Decompress the .Zip (top) or .Sit file (bottom).

Figure 62-3: The new filter is located on the Filter menu.

Technique 63: Enhancing Your Images with Auto FX Software

Figure 63-1: I’m adding a ray of sunlight to this photograph.

Figure 63-2: The Mystical Lighting program window opens full screen.

Figure 63-3: Choose a lighting effect from the Special Effects menu.

Figure 63-4: The LightCaster tools and settings appear at the left side of the program window.

Figure 63-5: Drag the T-shaped path to set the width and direction of the sunbeam.

Figure 63-6: The sunbeam adds a glow to Delicate Arch.

Figure 63-7: I’m giving this picture of a cottage the appearance of an old photograph.

Figure 63-8: The Mystical Tint, Tone, Color program window includes a Work Area showing the image.

Figure 63-9: Choose a special effect from the menu.

Figure 63-10: The Antique Photo tools and settings appear at the left side of the program window.

Figure 63-11: The cottage photo now has an old, diffused appearance.

Technique 64: Loading New Libraries

Figure 64-1: Many extra gradient libraries ship with Photoshop.

Figure 64-2: Click Append or OK depending on what you want to view.

Figure 64-3: The Preset Manager is used to organize, load, save, and delete preset libraries.

Figure 64-4: Choose a new library from the bottom of the menu.

Figure 64-5: Ctrl+click to select the presets that you want to include in your custom library.