Adobe Photoshop Advanced Techniques

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Adobe Seminars: Web Page Designby Lisa Lopuck and Sheryl Hampton

Adobe Seminars: Web Page Design is a portable seminar on web pagedesign taught by experienced professionals that documents Adobesoftware such as Adobe Photoshop 4, Adobe Illustrator 7, and AdobePageMill 2, as well as the latest HTML language protocols.

This October 1997 Adobe Press book will bring all the essential informationof a two-day seminar into a compact and reusable format, complete withCD and step-by-step techniques. Two noted Web seminar instructors, LisaLopuck and Sheryl Hampton of ElectraVision, have distilled their trainingsessions into over a hundred two-page techniques using popular Adobeapplications to simulate how Web pages are actually created. The result is areference book of clear, simple explanations and designs that are reusablepage after Web page.

Adobe Seminars: Web Page Design

Publication Date: Oct. 1, 1997

US $40

ISBN: 1-56830-426-9

4-color, 264 pages, includes ImageClub CD

The techniques withinthis Acrobat PDF fileare from the upcom-ing Adobe Press bookAdobe Seminars:Web Page Design .


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Often times images that you scan orillustrate need to be touched up

increasing highlights and shadowsuntil

you have a perfect, natural image. In

Photoshop, there are two painting tech-

niques that essentially allow you to paint

with natural light and shadow. For instance,

you can add natural shines to hardwood

floors, glows around light bulbs, or natural

shadows to help add depth to an image.

:

In Photoshop, open an image that needs to be touched up. Create a newlayer and set its mode to Overlay in the Layers palette. Using the airbrushtool and a large brush, paint broad strokes of a light, off-white color. Noticehow the image underneath appears to brighten as if natural light has beencast upon it. Change the layers mode back to normal and notice the largepatches of solid color that, when in Overlay mode, create the lighting effect.

Adding Natural Light and ShadowsC11Lesson

.


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Adding shadow effects to an image is the same process as adding highlights.Create a new layer, and set the layers mode to Multiply as shown. Paint witha medium-dark color using the airbrush. Notice that, rather than coveringover the underlying image, the medium-dark color enriches underlying

colors while creating a shadowed effect.

For Suspect, Dead Birds Dont Sing, an online murder

mystery, the Surround Video room environments were

first created and rendered in Strata 3D before being

brought into Photoshop for finishing touches. These two

images show how the rooms looked before and after

Photoshop was used to enhance the highlights and shad-ows using the Overlay and Multiply modes.


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BEGINNER

Layers

on

Luanne Cohen

LuanneSeymour Cohen,CreativeDirector at AdobeSystems,shares somesuper tips for working withlayersin Adobe

Photoshop 4.0


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CREATING DROP SHADOWS USING LAYERS

Layers palette The active layer ishighlighted and has apaintbrush icon next toit. The eye icons let youturn layers visibility onand off.

Drop shadows are easy to create using layers in Photoshop 4.0.In this example, the framed picture is on its own layer (picture frame). The area around the frame is transparent, allowing thebackground to show through.

1. Make a copy of the firstlayer (picture frame) by dragging the layer name tothe New Layer icon at thebottom of the Layers palette.This copy (picture framecopy) is placed on top of theoriginal layer.

2. Select the original pictureframe layer in the palette,and then use the move toolto offset the layer (which isunderneath the copy).Release the mouse button

when the layer is slightly offset. This will become thedrop shadow. At this stage,the original and the copy arethe same color(s).

Finetuning The arrow keys on thekeyboard allow you tomove the layer in one-pixel increments.

3. For a more realisticshadow, select a foregroundcolor other than black. Inthis example, we used theeyedropper tool to select adark brown from the image.


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CREATING DROP SHADOWS USING LAYERS

4. Choose Edit > Fill. SelectPreserve Transparency, andfill using the foregroundcolor.

PreserveTransparency There are typically athousand ways to doeverything in AdobePhotoshop, butselecting Preserve Transparency is thetrick that makes thistechnique the fastestway to create a dropshadow.

ShadowsShadows add theillusion of threedimensions and arerarely hard-edged.Blurring the shadowadds realism and

makes the main imagestand out.

Multiply modeUsing the Multiplymode on the shadowlayer gives the effect

of adding the shadowvalue and color to thetexture and image of the background. Thismakes for a morerealistic shadow sincewe usually see sometexture and detail inreal shadows.

5. Use the Gaussian Blurfilter (Filter > Blur >Gaussian Blur) to soften theshadow. Here we used aradius of 7.0 for a 72-ppiimage. For higher resolution

images, youll need to use agreater radius value.

6. Combine the drop shadow with the background usingthe Multiply mode in theLayers palette.


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Layer masksYou can create layermasks two ways.Choose Add LayerMask from the Layersmenu. Or you cancreate a selection andchoose Select > SaveSelection. Instead of creating a newchannel, choose themask option from theChannel pop-up menu.

BLENDING FROM ONE IMAGE TO ANOTHER

Blending one image gradually into another is easy to do using layerin Photoshop 4.0. In this example, we will blend the red satin fabric from one layer into the floral fabric on another layer by using a laymask on one of the layers.

1. Select the top layer (floral)and choose Layer > AddLayer Mask > Reveal All.

2. With the layer maskselected, choose the gradienttool and create a gradient.Make sure your foregroundand background colors areblack and white. Remember

that you are drawing on alayer mask that is grayscale.The areas that are white andgray will reveal the colorimage. The areas that aresolid black will block it out.

GradientsYou can use any anglefor your layer mask gradient. If you want asmall transition areawith larger solid areasof the two images,

draw the gradientvector well inside theimage areas instead of from edge to edge.

3. You may want to experi-ment with dif ferent mid-points for the blend. Double-click the gradient tool iconto bring up the Gradient ToolOptions palette. Select Edit,and here you can set themidpoint. Then redraw thegradient in the layer mask.


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BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE

Blending parts of one layer into another is easy to do using the layesliders in Photoshop 4.0. In this example, we will show just a few othe hundreds of possible combinations you can use when you playwith the options in the Layer Options palette.

1. Create or open an imagethat has two layers you wantto blend together. In thisexample we want to revealthe lower layer imagethrough the dark back-ground color from the lacelayer. Select the top layer.

2. Double-click the layername in the Layers palette tobring up the Layer Optionsdialog box. Since we want todrop out the dark back-ground on the lace layer, we

will move the shadow triangle on the This Layerslider to the right.

3. Another effect might be tohave the floral backgroundshow through only thehighlighted areas of the lace.To do this, split the highlightslider triangle by holdingdown the Option/Alt key and drag it to the left.

Smooth blendingFor smoother transi-tions, you can split thetriangles in half. Hold

down the Option/Altkey while dragging thetriangle, and it willsplit. For example, instep 3 the range forhighlight values is nowbetween 23 and 255. This means that all thepixels between thosetwo values will appearwith only some of theiroriginal colors.

Blending slidersUse the sliders in theLayer Options palette todefine which pixels willappear in your compos-ite image. For example,if you want to hide all

the dark areas, movethe shadow slider to theright. All the pixelvalues between 0 andthe new shadow valuenumber will not showin the composite image.

Shortcuts Throughout thisdocument, Command/Ctrl means Commandon the Macintosh andCtrl on Windows.Option/Alt meansOption on the Macintoshand Alt on Windows.


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BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE

4. In this example we createdthe effect of applying the lacetexture to the fabric whilestill retaining the folds andshadows of the underlyingfabric.

5. This example is similar tothe one in step 4 except thatwe moved the highlightslider for the Underlyinglayer. The result is a muchlighter image.

6. Experimenting withdifferent modes will give you even more options forinteresting visual effects. Inthis example, we split thehighlight slider triangle forthe lace layer. This allowssome of the colors of thefloral fabric to come throughthe light-colored lace. To givethe colors more punch, weused the Luminosity mode.

Previewing Turn the previewbutton on while youexperiment. This allowsyou to see what theresult will be as youtry different modesand layer-blendingcombinations.


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MASKING SEVERAL LAYERS WITH ONE IMAGE

Sometimes you want to mask or crop more than one image with thesame shape. To allow for the most flexibility, use a clipping groupwith your layers. In this example we used type as the masking layerand two different fabric layers. We wanted to leave them on separatelayers to allow for more experimentation.

1. Open or create a file thatcontains all the layers that you want to mask through acommon mask. The layerthat will mask the othersshould be the bottom-mostlayer. In this example we willmask both the lace and thefloral layers with the big typelayer. Remember to put yourmask shape on a transparentbackground.

2. Make a clipping group by holding the Option/Alt key and clicking between thelayers that will be in thegroup. Notice how the cursorchanges to indicate that you

are making a clipping group,and the Layer thumbnailindents.

3. Option/Alt click betweenall the layers that will be inthe clipping group. Note: Youcan move layers aroundwithin a group, but once youmove a layer outside of thegroup, it will no longer bemasked by the base layer.

Group modesAll clipping groupshave a base layer. Thisis the bottom layer inthe group, and itdefines the shape of the mask through

which all the otherlayers in the group aredisplayed. The baselayer defines themode and transpar-ency of all the layersin its group.

Clipping groupsAs you click the linesbetween the layers tomake a clipping group,

they become dottedlines. The base layer isthe one with theunderlined layer name.

Base layer (mask) The shape that masksall the layers in theclipping group mustbe on a transparentbackground or theeffect will not work. The masking shape iscreated by every pixelon the base layer nomatter what color it is. The edge of the mask shape is whereverthere is a pixel next toa transparent area.


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CREATING LAYER MASKS FROM SELECTIONS

Its easy to add a layer mask to a layer and draw or paint on that mask. But sometimes you want to mask specific areas of an imagethat are not easy to create on a blank layer mask. This techniquedemonstrates how you can create layer masks from any selectionmade on any layer.

1. In this example we justadded the layer with the eyes,but we want the eyes to show through only the glasseslenses.

2. Sometimes its easier tohide all layers except theones you need to create theselection. Use the selectiontools to create a selectionthat defines the area you

want to mask. In this ex-ample, we turned off theeyes layer even though itwill eventually contain thelayer mask.

Viewing layers To quickly turn off alllayers except the oneyou want to work on,Option/Alt+click theeye icon for that layerin the Layers palette.

To turn all the layersback on again, againOption+click thelayers eye icon.

Selections on layersYou can make aselection on any layer,and if you click a

different layer in theLayers palette, theselection is still active. This is a real time-saver,because you select thearea only once, but youcan make changes tothat same area onseveral different layerswithout reselectingeach time.

3. Once your selection ismade, turn on all the otherlayers (Option/Alt+click onthe eye icon). Make the layerthat will contain the layermask the active layer in theLayers palette. Dont deselectthe selection you made instep 2!


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CREATING LAYER MASKS FROM SELECTIONS

4. Choose Select > SaveSelection. Use the Channelspop-up menu to select theMask option that will benamed after the currently active layer. Instead of savinga channel to the Channelspalette, this will save theselection as a layer mask to your layer.

Layer masks on/off You can temporarilyturn the layer mask off without discarding it.Simply Shift+click thelayer mask thumbnailin the Layers palette.

Click it again to turn itback on.

Layer masksLayer masks are really just alpha channelsthat are attached to alayer. You can editthem just as you dochannels. To view themask as full size, holdthe Option/Alt keyand click the thumb-nail of the layer mask in the Layers palette. To return to the layerview, Option/Alt+click the thumbnail again.

5. Once your selection issaved as a layer mask, it willappear as a thumbnail nextto the layer thumbnail in theLayers palette. In this ex-ample we switched the layer

mode to Hard Light for amore transparent effect.

Adobe, the Adobe logo, andPhotoshop are trademarks of Adobe Systems Incorporated.Macintosh is a registeredtrademark of Apple ComputerInc. Windows is a registeredtrademark of Microsoft in theU.S. and other countries.

1996 Adobe SystemsIncorporated. All Rights Rese

PS4.0 11/96


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Color Enhancemenusing Digital GelsINTERMEDIATE


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COLOR ENHANCEMENT USING DIGITAL GELS

1. Heres the image well star twith in Photoshop. Our goalis to add dramatic coloreffects to this conventionalphotography. Well add ablue-violet effect to the sky and gold to the field.

Professional photographers often use gels (gelatin filters) for creacolor enhancements. Heres how to add dramatic color effects using digital gels in Photoshop. With this technique, you can isolate eachcolor effect on an independent layer and get more flexibility and cothan you would with traditional gels set in front of the camera lens.

2. Select New AdjustmentLayer from the Layers palettemenu, and in the Type pop-up menu, choose Hue/Saturation. Name the new layer and click OK.

Adjustment LayerWith Photoshop 4.0snew Adjustment layers,you can easily makechanges to underlyinglayers without affectingthe actual layers.

3. The Hue/Saturationdialog box appears. Click theColorize option. This trans-forms the layer you createdin step 2 into a digita l gel.Make sure the preview box ischecked. Dont click OK yet.

Shortcuts Throughout thisdocument, Command/Ctrl means Commandon the Macintosh andCtrl on Windows.Option/Alt meansOption on the Macintoshand Alt on Windows.


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4. Move the Hue slider tofind the color you want. Usethe Saturation and Lightnesssliders to finetune the color.Click OK when you obtain acolor you like.


5. Set the mode in the Layerspalette to Soft Light.

TipsPress the D key toset foreground andbackground colors to

the default black andwhite. You can alsouse the X key toexchange these colors.While you drag thegradient tool, pressthe Shift key toconstrain the move-ment to a perfectvertical direction.

6. With the Adjustment layerstill selected, choose thegradient tool. Pressing theD key, set the foregroundand background colors tothe default (black/white).Click and drag upward overthe image from the horizontoward the sky. This willlimit the gel effect to the sky portion of the imagethegradient mask you created.

Lightness setting The Lightness sliderin the Hue/Saturationdialog box acts like agamma control. Unliketraditional gels, high-lights and shadowsretain their originallightness values as if they are auto-exposed.In Soft Light blendingmode, changing thelightness of a layeraffects the midtones of the underlying image.


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7. To keep the barn uncol-ored by the gel, select thebarn, and fill the selectionwith black in the layer mask.Deselect (Command/Ctrl+D).

8. As we did for the blue gellayer, we next add a gold gellayer (repeat steps 2-7). By painting in the adjustmentlayer directly, using a soft-edged brush tool with black

foreground color, you canfade the gel color. Try thiswith different brush opacity settings. Of course, with awhite foreground color, youcan add back the gel color.

9. You can also adjust thegel color later at any time.Double-click the gel layerand the Hue/Saturationdialog box appears. You canthen readjust the gel coloreasily.


More shortcuts!Press the bracket keys([ or ]) to change yourbrush size withoutgoing to the Brushespalette. Press numerickeys (1,2,3...9 or 0) to

change brush opacity.1 is 10% opacity, 2 is20% opacity, and soon. 0 (zero) is 100%opacity.

Fill shortcut To fill a selection withforeground color, pressOption/Alt+Delete/Backspace. If you donot make a selection,doing a fill will fill theentire layer withforeground color.


1996 Adobe SystemsIncorporated. All rights reserv

Contributing author: Etsuro EPhotography: Jules Frazier/

PhotoDisc

PS4.0 11/96


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Adobe Seminars: Web Page Design is a portable seminar on web pagedesign taught by experienced professionals that documents Adobesoftware such as Adobe Photoshop 4, Adobe Illustrator 7, and AdobePageMill 2, as well as the latest HTML language protocols.

This October 1997 Adobe Press book will bring all the essential informationof a two-day seminar into a compact and reusable format, complete withCD and step-by-step techniques. Two noted Web seminar instructors, LisaLopuck and Sheryl Hampton of ElectraVision, have distilled their trainingsessions into over a hundred two-page techniques using popular Adobeapplications to simulate how Web pages are actually created. The result is areference book of clear, simple explanations and designs that are reusablepage after Web page.



US $40

ISBN: 1-56830-426-9




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To keep the download time to a minimum,yet keep a rich feel to a Web page, people

often use a decorative background tile. The

problem with background tiles, however, is

correctly preparing graphics so that they

match when placed on top of the tile.

Because you cannot predict where the tile

will fall on the Web page, people often

assume that they need to use rough-edged

aliased graphics. This exercise, however,

shows how to prepare soft-edged, anti-

aliased graphics that will match your tile.

:

Prepare an anti-aliased, soft-edged image merged into a single transparentlayer and set aside for later.

Compositing Graphics to a Background TileC7Lesson

. Object Gear, Amusements: Dog Biscuits , CrocodileFont: Image Club Overprint

:

Create a new layer and fill it with the background tile (To create a back-ground tile, see Exercise C 5 .) To fill a layer with a background tile, firstselect the tile with the Marquee selection tool and then choose DefinePattern from the Edit menu. With the pattern defined, choose Fill from theEdit menu and select Pattern from the Contents pop-up options.


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: The Mac system palette includes all of the Web safe colors plus 40 extra.On 16 and 24 bit displays, you will not notice any change in quality. On8 bit displays, the 40 extra colors will dither, but the effect is negligible.

: When you create a new file, its dimensions will automatically be the size of the copied image.

: As opposed to generating a shrink-to-fit selection by Command-clicking on the layer icon, the Magic Wand works best in this case because you are creating an aliased selection that will include the soft anti-aliased edges.

:

Leave the background tile layer and select the image layer. Using the MagicWand, you need to make an aliased selection around the image. To do this,set the Wands tolerance to zero and uncheck the anti-aliased option. Clickon the transparent area around the image and then choose Similar f rom the

Select menu to make sure you capture all the transparent areas. Invert theselection so that the object is selected.

:

With the selection still active, merge the image layer with the background

tile layer (or create an option merge, see Lesson B 7 ). Make sure the newmerged layer is the active layer, and copy the selected portion. Althoughyou have an aliased selection, you will be grabbing the soft-edges that havebeen blended to the background tile pattern.

:

Create a new file and fill it with a solid color from the web palette (seeLesson E 2 regarding the Web-safe color palette). This will become yourtransparent color so be sure to select a color that is not in your image (abright color often works well). Paste the copied image into this new file.

:

Change the images mode from RGB to Index Color and select either theWeb colors or the Mac System palette. Next, export the image as a Gif usingPhotoshops Gif 89A export feature located in the File menu. When the Gif 89A interface comes up, position the cursor over the color to be transpar-ent and click once; the area should turn gray. Decide whether you want theimage to be interlaced or non-interlaced and click OK.


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Adobe Seminars: Web Page Design is a portable seminar on web page

design taught by experienced professionals that documents Adobe

software such as Adobe Photoshop 4, Adobe Illustrator 7, and Adobe

PageMill 2, as well as the latest HTML language protocols.

This October 1997 Adobe Press book will bring all the essential information

of a two-day seminar into a compact and reusable format, complete with

CD and step-by-step techniques. Two noted Web seminar instructors, Lisa

Lopuck and Sheryl Hampton of ElectraVision, have distilled their training

sessions into over a hundred two-page techniques using popular Adobe

applications to simulate how Web pages are actually created. The result is a

reference book of clear, simple explanations and designs that are reusable

page after Web page.



US $40

ISBN: 1-56830-426-9




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: Image Club graphics have a perfect selection stored as a path. Simply go into the Paths palette, and load the path as a selection. To quickly convert the path to a selection, Hold down the Command key (Mac)or the Control key (Windows), and click the paths icon.

One of the more common tasks in Photoshopis combining images to create a custom

collage. In this exercise, you create a Web site

banner, complete with text, that wraps to the

image by combining multiple images in

Photoshop, (see Session D !0 ).

:

In Photoshop, open a few images that you would like to incorporate into your

collage so that each image is open in a separate window. Create a new filewith a white background that will be large enough to assemble your collage.

Creating a CollageD9Session

. Object Gear Gentlemans Study: Personal LetterObject Gear Travels: Helm, WaterObject Gear Amusements: Starfish 2Font: Adobe Kepler

:

Using the Move tool, click one of the images and drag it into the new file.Drag the remaining images into the new file in the same way. If the image ison a solid background, the background comes with the image when it isdragged into the new file. To bring in just the image, select the backgroundwith the Magic Wand tool set on a tolerance of at least 32, with the anti-aliased checkbox selected. Invert the selection, and then drag the imageinto the new file using the Move tool.


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: You can access other Free Transform functions by pressing the Control key while clicking and holding anywhere inthe document. A pop-up menuappears with more Transform functions like Skew and Perspective.

:

Resize each of the elements of your collage using the Free Transformfunction located in the Layer menu. To scale the image proportionately,hold down the Shift key while dragging one of the corner handles. To rotatethe image, click and drag outside of the envelope.

:

To create the faded effect on the ocean image, create a layer mask for theocean layer. Using the Paintbrush tool and a large brush, paint black intothe layer mask. Painting with black is like painting with transparency. Theadvantage to using a layer mask is you can erase your image without reallyerasing your image. To turn on and off the effects of the layer mask, holddown the Shift key and click the Layer Mask icon.

:

Now that all the images are in place, you can add a few finishing touches topolish the look. Add an instant drop shadow (see Session D 1 ) for thestarfish, and create cast shadows (see Session D 2 ) for both the helm andthe letter. Enhance the color contrast of the helm using both the Curvesand the Levels functions. Finally, you can add text that wraps to the shapeof the helm by following the instructions in Session D !0 .


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Creative Masking Techniquesfor Compositing

Adobe Digital Video Evangelist George Jardinedemonstrates creative masking techniques

with Adobe Photoshop

INTERMEDIATE


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CREATIVE MASKING TECHNIQUES FOR COMPOSITING

Making complex selections and creating the most effective channel (or mask) for compositing operations in Adobe Photoshop can be a fine art. Frequently the best mask for a given image already exists,ready to be used. In this exercise, Ill show you a method for creatina mask directly from an object in an image. This technique worksbest for objects on a dark background.

1. Heres an image wedlike to composite againsta background of anothercolora photo of a cloudedblue sky, for instance. Itsobvious that creating aselection of the bird will bedifficult, especially whileattempting to preserve themotion blur in the wings.

2. It looks as if the luminosity of the RGB composite mightbe a good place to startcreating our mask. Load theluminosity of any group of visible layers as a selection

by pressing Option/Alt+Command/Ctrl+~. Next,save the selection into a new channel by choosing Select >Save Selection. Deselect andgo to the new channel.

3. Use Levels or Curves toeliminate most of the mid-tones in your new mask,preserving only the darkestedges. Notice the gray tonesalong the blurred portion of the wings. These areas willcreate semi-transparency during compositing. Be sureto use a paint brush to cleanup your mask channel.

Super-user tips!You can load theluminosity of the RGBcomposite as a selectionby Command/Alt+clicking the RGBcomposite channel in

the Channels palette,and you can easily savethe current selectioninto a new channel byclicking the SaveSelection icon at thebottom of the Channelspalette.

Shortcuts Throughout thisdocument, Command/Ctrl means Commandon Macintosh and Ctrlon Windows systems.Option/Alt meansOption on Macintoshand Alt on Windows.


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4. Set your target back tothe RGB composite and load your finished channel as aselection. Drag the selectedarea onto the new background.

CREATIVE MASKING TECHNIQUES FOR COMPOSITING

5. Notice that the semi-transparent areas along theedges are too dark as they contain some black from thebackground of the originalimage. Finish the composite

by using the dodge tool tolighten these edges. Set it toShadow mode, and use asoft-edged brush set to 80%or 90% opacity.

Dodge and burn toolsIf the hue shifts whenyou use the dodge orburn tools, try convert-ing your image to LABmode first. The dodgeand burn tools only

affect Luminosity whenused in LAB mode.

6. Heres our finishedcomposite. Nice.



Photo 1995 Don Fogg

PS4.0 11/96


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DIGITAL DUPLICATION

The new Free Transform in Adobe Photoshop 5.0 can give you a whole new perspective on life! Have you ever wanted to scale and move objects in a step and repeat pattern, as you do in Adobe Illustrator? Well, now you can. So lets get rolling and discover the secrets of transformation in Photoshop 5.0.

1. Lets say you need an imageof a typical business meeting.You have this image from theAdobe Image Library, but it justdoesnt look like its going to bea very big meeting. Lets imply that were anticipating a few more attendees by adding a few more note pads. How will wepull this off? Well duplicate thenotepads by scaling and movingthem with perfect perspective.And the one incredible feature

well use to do it is the powerfulFree Transform in Photoshop.

Adobe Senior CreativeDirector Russell Brown

reveals secrets of

transfromation inPhotoshop 5.0.

INTERMEDIATE

2. Before we start , its impor-tant to note that this techniqueworks best on images with asequence of objects in per-spective. This technique willattempt to match and copy thesequence so that it creates

more objects with the correctperspective. Now, lets beginby placing guides around thelast object in the sequence wewant to duplicate. (Youll beusing guides in combinationwith the Free Transform.)Choose View > Snap to Guidesbefore you start.

Shortcuts

Throughout this

document, Command/Ctrl means Commandon the Macintosh andCtrl on Windows.Option/Alt meansOption on theMacintosh and Alton Windows.

Guides

To create guides, click and drag from theruler at the edge of the image. Show rulersby choosing View >Show Rulers.


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Digital Duplication 2

3. Turn off the Guides tempo-rarily by choosing View > HideGuides. Now, select the second-to-the-last object in thesequence you want to duplicate.In this case, I selected thesecond-to-the-last note pad andits shadow using the polygontool found under the lasso tool.(Click and hold the lasso tool toreveal the polygon tool.)

4. Next, while pressing theOption/Alt key, select FreeTransform from the Edit menu.The Option/Alt key willmodify the transformation andmake a copy of the selectioninstead of cutting it out of thebackground image. Thismodification is a very impor-tant step in this process.

5. Turn the Guides back on.Choose View > Show Guides.Move the object you aretransforming over the lastimage in the sequence andsnap it to one of the cornersformed by the guides.

Transformations

You can move objectsthat are being trans-formed in one-pixelincrements by usingthe keyboard arrows.Using the Shift key incombination with the

arrow keys will movethe object 10 pixels.

Shortcut

The keyboard shortcut

combination for thisstep is: Option/Alt+Command/Ctrl+T.


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Digital Duplication 3

The Magic Key Combination!7. OK, this is the final andmost important step to thisentire process. Press Option/Alt+Command/Ctrl+Shift+T.This crazy combination of keyswill transform the last trans-formed image again to make acopy. Repeat this combinationof keys until you have as many objects as you need to fill your image.

6. Stretch the four corners of the image out to the cornerscreated by the guides. This willdistort the image to match theangle and perspective of thesequence. When finished, pressthe Enter key. The object will betransformed to match yourdistortion and positioning.

8. As you can see, I repeated thesame process down the otherside of the table and now thehigh-powered meeting is ready to start!

Paths

This same keyboard

combination willwork with paths inPhotoshop. Justtransform a path andthen use these samekeys to duplicate asequence of paths.

Adobe, the Adobe logo,Illustrator and Photoshop are

trademarks of Adobe SystemsIncorporated. Macintosh is atrademark of Apple Computer,Inc., registered in t he U.S. andother countries. Windows iseither a registered trademarkor a trademark of Microsoft inthe U.S. and/or other countries

1998 Adobe SystemsIncorporated. All rightsreserved.

Photo Credit Adobe ImageLibrary.

PS5.0 9/98


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Russell Brown, Senior Creative Directorat Adobe, shows you how to remove those

pesky stains from your fine imagesusing Adobe Photoshop

ADVANCED

Digital StainRemover


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STAGE 1: THE EASY STUFF

The goal of our project is to remove the stain from this image,without altering the original brush strokes of the painting. The staincould be removed in a number of ways, but this technique is quiteunique and, amazingly, does not require the use of Levels or CurvesThis method is also great for removing unwanted blemishes and colored lighting.

1. Lets start by correctingthe easy portion of thisimage. Notice that some of the stain t ravels over theneutral values in the back-ground of the painting. Wecan easily correct the neutral values w ith the sponge toolusing the Desaturate mode.

2. Use a combination of pressure settings to gently blend the stained area intothe natural background.Also, use a combinationof soft- and hard-edged

brushes to treat differentareas of the image. In thiscase, I also removed the stainfrom the pearls around thewomans neck.

3. To start the clean-upprocess, we need to makea copy of the current image.The overall idea behindthis technique is to makecorrections to the originalfile and then transfer thesecorrections to a finishedfile. To do this, we will makean identical copy of ourstained original, using Image> Duplicate.

Note: When itscomplete, set theimage aside to work on later. Do not close

the file.

Desaturate mode The Desaturatecommand convertscolors to their grayscaleequivalent withoutchanging modes.

Brush shortcutsPhotoshop gives yousome great shortcutsfor selecting brushpressure and size. Thenumeric keys 1 through0 change a brushs

pressure percentage to10 times the number(or to 100% for 0). The[ key selects the nextsmaller brush; ] selectsthe next larger; { selectthe first brush; } selectsthe last brush.


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STAGE 2: NEUTRALIZING THE STAIN

4. The secret to solving thisproblem is hidden in thechannels. In the channels!Take a close look at theindividual channels and youwill see that they clearly show the staining in the gray shades. If we could neutralizethe stain in the channels,then the problem would besolved. Right?

5. Here you can see that theGreen channel has the mostobvious problem. This isbecause green is the colorcomplement to red, and thestain in this image is red.

The problem channel for ourimage will vary dependingon the color of the stain.

6. Notice that the Bluechannel is unaffected by thered wine stain. This channelis not a problem, and we donot need to correct it in any way. The Blue channel alsocontains a significant por-tion of the detail in theimage, and if we do not haveto change it, we can maintainthe integrity of the brushstrokes. This is good!

Note: Earlier wecorrected the back-ground of this image.We should not see any

major difference invalues between thedifferent channelsshown on this page.

OK, that was the easy part. Now were ready for the hard part. Thestain on the womans neck cannot be removed with the sponge tool oelse all the color would be lost. We could try making a selection of neck area and then use Levels or any other of the many color controBut Ive got another technique thats out of this world!

Shortcuts Throughout this docu-ment, Ctrl/Commandmeans Ctrl on Windowsand Command onMacintosh systems.

Channel shortcutsPress Ctrl/Command+1to access the redchannel; Ctrl/Com-mand+2 for the greenchannel; Ctrl/Com-mand+3 for the blue

channel; and Ctrl/Command+~ for theRGB composite.


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STAGE 3: SELECTING THE STAINED AREA

7. Return to the RGB com-posite. Double-click the lassotool and set the Featheroption to a value that willgive you a soft edge. Remem-ber, the value you use isbased on the resolution of the image. The higher theresolution, the greater thefeather value. Make a selec-tion of the stained area.

8. Select Quick Mask modefrom the Tool palette andedit the selection area withthe paintbrush tools. This isa great way to create a maskthat matches your image

exactly. Its important to taketime here to create a goodselection; it will pay off inthe end.

9. Finally, paint over any other areas that do not needto be corrected. In this case,we protected the pearls. Thepearls were corrected earlierand do not need any morecorrection.

Super tipUse the Levels controlsto adjust the area of the Quick Mask. Levels

are often overlookedas a convenient way toadjust a selection whilein Quick Mask mode.

Quick Mask modePress the letter Q onthe keyboard to changeto Quick Mask mode. To change the colorof the mask, simplydouble-click the Quick

Mask channel in theChannels palette ordouble-click the Quick Mask icon. An adjust-ment dialog box willappear.


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6

13. Next, we need to view theRed channel only. To do this,press Ctrl/Command+1 onthe keyboard. You will be viewing a grayscale represen-tation of the composite of the two layers.

14. Here is where the magicstarts! Adjust the opacity of the second layer until thegray values in the Redchannel match the surround-ing image. Its magic! Its

amazing! Your friends andrelatives will be thri lled!Here you see that, by adjust-ing the opacity of the in- verted layer, we can neutral-ize the color problems oneach channel. WOW!

Hint: For best results,make sure that theabrupt edges havecompletely vanishedinto the surroundingimage.

15. The next step is a littletricky. Our goal is to get acopy of this corrected Redchannel into the duplicateimage we made earlier. Butwait! Copy and Paste will notwork! Doing a copy and pastewould only copy the targetedlayer. We must use a specialpower-user technique. PressCtrl/Command+A to selectthe entire image. Then selectEdit>Define Pattern.

In the next few steps, we will correct the individual Red and Greenchannels of this image. Then we will copy the corrected results and place them into the second image. A little complex, but it works!

Define PatternDefine Pattern is oneof the few ways tomake a copy of a

composite image. The Copy commandwill not copy informa-tion on other layers.

Warning: You mustmake a selectionbefore you can chooseDefine Pattern fromthe Edit menu.

STAGE 5: DIGITAL MAGIC

Before

After


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17. Next, select Edit > Filland completely fill the Redchannel with the pattern we just created. Cont inue thisprocess (from step 14) of making corrections on the

Green channel of the firstimage and then transferringthe results to the secondimage. Remember, theopacity value of eachchannel may differ.

16. After you define thepattern, bring the secondcopied image to the fore-ground. Press Ctrl/Com-mand+1 on the keyboard.This displays the Redchannel only.

18. Here is a comparison of the Green channel before thedigital correction (on the left)and after the adjustments (onthe right). The stain has beenliterally neutralized. Amazingbut true!


Note: Copyingcorrections directlyinto the originalwill not work! Thecorrected channelsmust be integratedwith a copy of theimage to make thistechnique work.

Pattern FillRemember, fillingwith a pattern is theonly technique thatworks. In this case,only the Red andGreen channels must

be replaced.


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19. After youve made all thecorrections, press Ctrl/Command+~ to display thefull-color image. OH NO!Theres a slight hue shift tothe image! You will quickly notice that even the greatmaster is not perfect. Theabrupt edge is gone, but aslight discoloring may stillexist.

20. We can easily fix thiswith a soft-edged brush setto Color mode and opacity of 50% or less. Press the Alt/Option key to sample thecolor you want to use in that

area (a Sample Size of 3 by 3Average is best), and thenpaint over it with the new color.

21. When youre done, theimage should look perfect.No new brush strokesandeverything as good as new!

FinetuningWe still need to doa bit more touchingup to complete thisproject. In this case Itook a color samplefrom the womans face

and transferred it tothe discolored areasof her neck.




Photography: Classic PIOPartners, Doug Menuez andPhotoDisc

Special thanks to Russ Sparkm

PS4.0 11/96

Sample area


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DISPLACE SHADOWS WITH PHOTOSHOP

H ave you ever w anted a shadow th at foll owed th e exact cur ve of a cer tai n shape.H ave you ever wonder just what a di splacem ent m ap i s used for anyw ay? H eres i s your chance to fin d out. I n thi s techni que we w i ll create a realist ic drop shadow for a h at, li ke th e one you see to t he r ight.

1. In Photoshop, open up theimage on which you would liketo create the displaced shadow.Here we want to put a hat onthis incredibly good lookingface and give it a realisticshadow. To start, we want tocreate a new image file usingthis image.

2. Go to the Channels palette. Toggle through the threechannels by pressingCommand/Ctrl + 1 = RedCommand/Ctrl + 2 =GreenCommand/Ctrl + 3 = Blue

Find the one channel with themost contrast. In our case it wasthe red channel. With thechannel selected, chooseDuplicate Channel.

Shortcuts Throughout this

document, Command/Ctrl means Commandon the MacintoshandCtrl on Windows. Option/Alt meansOption on theMacintosh and Alton Windows.

Adobe Senior CreativeDirector Russell Brown

gets displaced working inthe shadows with

Adobe Photoshop 4.0. INTERMEDIATE


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Displacing Shadows With Photoshop 2

3. In the dialog box you willwant to choose New underDocument. Then in the Namefield type in Blur map. Note: if you are on W in dows you m ust giv e it th e .psd ext ension .

4. You should now have a newimage with the file name Blur m ap open on your desktop.Notice: if you check its chan-nels, it has only one channel.

This is important because weonly want to displace ourshadow vertically. In order tohave true horizontal displace-ment there must be a secondchannel.

Displacement mapA Displacment map

is basically a secondimage that theDisplacement filteruses to determine howto distort the selection.Any Photoshop fileexcept bitmaps canbe used.

5. Now we want to smooth outthe gradations in this image andhave detail without any speck-ling. The best way to do this isto choose Filter > Noise > De-speckle. Repeat filter three tofour times. (Command/Ctrl + F)

The softer and smoother thedisplacement map, thesmoother the shadow effect.Once you have done this, savethe image and put it aside.


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8. Now, we want to create ourshadow. Select the bottom layerand click the new layer icon.

This will create a new layerbetween the hat and our face forthe shadow. With this layer stillselected, create an approximate

shadow using one of the selec-tion tools. (Remember, th e the exact shapin g wi ll be done wit h the D iplacem ent filt er) .Fillyour selection with 50% gray.Deselect, and choose Filter >Blur > Gaussian blur to createa soft shadow.

6. Lets go back to our originalimage. Get back in RGB com-posite mode. (Command/Ctrl +~) Next, open the image thatyou want the shadow to fallunder. In this case, we want tohave a realistic shadow fallingunder the brim of this hat.Ahha, now its starting to makesense! Notice that our hat alr eady h as a tran sparent background.

7. Bring in the second imageeither by copying and pastingor dragging and dropping. Sizeit using the transform tool(Command/Ctrl + T). Place itinto final position. Youll wantto do this in order to see wherethe shadow needs to fall.

ShadowsAnother quick way tocreate a soft shadow ismake your selectionthen choose Select >Feather. Type in a pixelvalue for the selectionedges to be feathered.

Transform! To bring up the dialog

box for the Transformtool, try the shortcutShift +Command/Ctrl +T.


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10. Next, a dialog box appearsasking for a file to use for thedisplacment map. Navigate towhere you saved the Blur map file and select it. Click OK andwait for the results. Wow! Theshadow magically bends overthe contour of this perfect face.Ahaa.

11. Now, to make it a littlemore realistic, set the mode toMulitply. Looks OK, but wecan do better than this!

9. With the shadow layer stillselected choose Filter > Distort> Displace. Enter 0 in theHorizontal scale and approxi-mately 30 in the Vertical scale.(Although you may want toexperiment with the amount.)

The rest of the settings can staythe same. Click OK.

Displacement FilterRemember, the imagewere using for ourdisplacement map hasonly one channel.

Through experimenta-tion, we have foundthat only the verticalscale is needed for a

good-looking shadow.

Multiply ModeEffectively like sand-wiching two negativestogether, this modelooks at the colorinformation in thechannels and multipliesthe base color by the

blend color, darkeningthe color underneath it.


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12. For the final touch we wantto add a bit of warmth andcolor to the shadow as therewould be in real life. Fortu-nately, Photoshop 4.0 Adjust-ment layers make this a snap.Choose New Adjustment Layerfrom the layers pop-up menu.Choose Hue/Saturation andmake sure to select Group withPrevious Layer. This way theadjustment layer will affect onlythe shadow layer.

13. In the Hue and Saturationdialog box, select Colorize andthen adjust your HSL levelsuntil you have your desireddensity and shadow color.

12. Voila! There you have it! Theperfectly shaped and shadedshadow. For a finishing touch tomake the hat appear as thoughit were sitting on the head, weadded a single 50% brushstroketo the shadow layer underneath

the hat.

Adobe, the Adobe logo, andPhotoshop are trademarks of Adobe Systems Incorporated. Macand Macintosh are trademarks of Apple Computer Incorporated,registered in the U.S. and othercountries. Windows is eitherregistered in the U.S. and/orother countries or a trademarkof Microsoft.

1997 Adobe SystemsIncorporated. All rights reserved.

Photo credits: Peter Foxand John Greenleigh

PS4.0 11/97

Colorize You can use this effect

to colorize black-and-white images or tocreate a monotoneeffect. Your selectedimage will be con-verted to shades of red.

You can then adjustthe color using theHue slider.


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NicerLooking

FadeEffectINTERMEDIATE


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2

NICER LOOKING FADE EFFECT

1. Lets quickly review how toget a fade effect in Photoshop.Place an image to fade on alayer, and choose Layer >Add Layer Mask > Reveal All.Make sure that the LayerMask Thumbnail icon isselected in the Layers palette.Using the gradient tool, set todefault black and white, andclick and drag over the image.

Have you ever had a fade effect look as if its starting or ending tooabruptlyor almost being cut off? Here we explain how to use AdoPhotoshop to solve that problem and achieve better fade effects. Although the visible quality enhancement with this technique mayvary, its a good tip to know

2. Now lets check out thefade effect youve created.You may notice that the fadelooks as if its starting orending too quickly or almostas if its being cut off. The

higher the lightness contrastbetween the fading imageand the background, and theshorter the distance of thefade, the more obvious thisbecomes.

Layers Palette The eye icon in the firstcolumn lets you knowif the layer is visible ornot. The second columnhas two icons, onebeing the paintbrushwhich tells you that youare painting on thelayer, the other tellingyou that the layer mask is selected.

3. Heres how to solve theproblem. Follow the sameprocess described in step 1,but when you draw a gradi-ent on the layer mask, draw itabout 25% longer than usualtoward both the starting andending directions.


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3

4. With the layer mask chan-nel still selected as the currenttarget channel, choose Image> Adjust > Curves. By addingtwo control points, shape anS-curve as shown here. Youmay want to adjust the curveto change the look of the fadetransition. If you like the fadeeffect in the preview, click OK.

NICER LOOKING FADE EFFECT

5. By applying the S-curve-based tonal correction to thelayer mask, you add speedchanges to the fade transi-tionsome speed accelera-tion at the beginning and

some speed reduction at theend. This prevents the fadefrom starting or ending tooquickly; thus you get a morenatural-looking fade.

Note: Fading edges also canbe created with the Featheroption on the Select menuand some Selection tools.Feather always createsnatural-looking fading edgesbecause it has the S-curveeffect built-in.

Curves dialog box To add a control pointin the Curves dialogbox, click and drag onthe graph area. Toremove a controlpoint from a curve,drag the control pointoff the graph area.

Right: Fade createdwith the S-curvetechnique.

Left: Fade effect withdefault gradient.

Adobe, the Adobe logo, andPhotoshop are trademarks of Adobe Systems Incorporated.


Contributing author: Etsuro EPhotography: PhotoDisc

PS4.0 11/96


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LayerMania

Russell Brown,Senior CreativeDirector atAdobe Systems,performs layersmagic with

Adobe

Photoshop ADVANCED


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2

BLENDER DEMO PART 1 - LIGHTING EFFECTS

In this demo, we will bring an object that has flat lighting (theblender) into another image (Russ the magician) and light it so that it appears to be in the scene. We will do all of this without the aid othe Lighting Effects filter, or the Levels or Curves dialog boxes. Wewill do this with layers!

1. With both your back-ground and your objectimage open in Photoshop,create or load the selectionof the object. Here we loadedthe selection of the blender,which we already made andsaved as a channel.

Loading selectionsA shortcut to loadingan existing selectionis to press Option/Alt+Command/Ctrl+4(4 corresponds tothe number of thechannel). To load theselection of an objectthat is on a transpar-ent background, theshortcut is Command/Ctrl+click the layer inthe Layers palette.

2. Using the move tool, dragthe selected image into thebackground image. Movethe object into position.Double-click the new layerand name it.

3. The original blenderimage is too light, in relationto the background image.So we need to increase thedensity of the blender. Hereshow we can do that withoutusing levels or curves.Duplicate the Blender layerby dragging it onto the New Layer icon at the bottom of the Layers palette. Set themode of this new layer toMultiply by using the Modepop-up menu in the Layerspalette.

Multiply mode The Multiply modeis the equivalent of placing two transpar-

encies over each otherand viewing them ona light table. Multiplymode combines thedensities of the twolayers and darkens theimages, just as it isdoing here.

Shortcuts Throughout thisdocument, Command/Ctrl, means Commandon the Macintosh andCtrl on Windows.Option/Alt means

Option on the Macand Alt on Windows.


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4. To increase density evenmore, duplicate the copiedlayer two more times. Noticehow the blender darkenswith each layer duplicated.


5. The top portion of theblender is still not lit cor-rectly. We need to erase someof each of the layers, andwe can do this using layermasks. With the topmost

layer selected, choose Layer> Add Layer Mask > RevealAll. Add a layer mask to thenext two layers also.

6. Target the topmost layermask. Then select the gradi-ent tool, make sure yourdefault colors are white andblack, and click and drag atthe same diagonal as theblender to create a smoothtransition. Repeat this stepfor each layer that has a layermask. Notice how the high-lights start to form along thetop edge. BINGO!

Default ColorsPressing the D key onthe keyboard when alayer mask is selected

gives you the defaultwhite and black asyour foreground andbackground colors.If on a Layer image, thedefault colors wouldbe black and white asyour foreground andbackground.


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7. Next, a reflection of my nice shiny head and whitegloves needs to appear onthe blender so that it lookslike its really part of thescene. Duplicate the Back-ground layer by dragging itonto the New Layer icon inthe Layers palette.

8. Choose Layer > Transform> Scale, and drag the lowermiddle point up to compressand distort the image. Dontdouble-click yet.

9. The reflection should bean exact mirrored image, sowith the transform pointsstill act ive, choose Layer >Transform > Flip Vertical.Double-click inside theimage. Then, using the movetool, move the image intoposition.

FinetuningIf the image needsmore adjustments, usethe dodge and burntools or select thepaintbrush tool andpaint black on thelayer mask to addmore highlight effects.


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10. The image shouldappear inside the blender.Move the Background copy layer up between the Blenderlayers. Hold down Option/Alt,and move the pointer over theline between the Backgroundcopy layer and the Blenderlayer below it. When thepointer changes to the clip-ping group icon, click todefine the two layers as aclipping group.

Clipping groupsA clipping group issomewhat like usingthe Paste Into com-mand with two layers.In this case, think of theblender layer as themasking shape and thebackground copy asthe image that will bepasted into the mask.

Overlay modeColors are overlaidon the existing pixelswhile the highlightsand shadows of thebase color arepreserved. The base

color is not replacedbut is mixed with theblend color to reflectthe lightness anddarkness of theoriginal image.

11. With the Backgroundcopy layer still selected inthe Layers palette, chooseOverlay from the Modepop-up menu.

12. Using the move tool,move the image into placeso you can see the reflectionin the surface. If the imageis too light, duplicate theBackground copy layer by dragging it onto the New Layer icon at the bottom of the palette.

Reflections 101Dont forget your basicphysics when makingrealistic reflections.

The angle of incidencealways equals theangle of reflection.

A n g l e

o f i n

c i d e n

c e

A n g l e o f r e f l e c t i o n


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14. With the Backgroundcopy layer targeted, select theeraser tool with a mediumsize, soft edge. Clean up thehard edge of the reflection inthe blender by erasing the

image. Also, because thereflection would not appearthat high on the blender, takeout some of the reflectionappearing higher up on thesurface. And there you haveit, the fantastic blender trick!

13. Merge the layers thatcreate the reflection forfurther finetuning. WithBackground copy 2 selected,choose Merge Down fromthe Layers palette pop-upmenu.

FlexibilityBy creating thereflection on a layer of its own, you can easilyedit and reposition itat any time.


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BLENDER DEMO PART 2 - WORKING WITH SMALL ANIMALS

1. Continuing to work w iththe blender image from theprevious demo, choosePreferences > Display & Cursors. Select Brush Sizeand Precise. Click OK. Selectthe paintbrush tool with amedium size, soft-edgebrush.

In this next portion of the demo, well experiment with moreadvanced capabilities to enhance the blender. Yes, its a little moretricky, because more layers will be added. First, well tone down thebright highlights on the blender with some great brush tricks, and then well add a fish so that it looks as if its inside the blender.

Brush size tip To change your brushsize without going tothe Brushes palette,press the OpenBracket and CloseBracket ([ and ]) keysto reduce and enlargethe brush size.

2. Target the original Blenderlayer. While holding downthe Option/Alt key (whichtoggles you from the paint-brush to the eyedroppertool), select a light copper

color from the blender totone back the highlight areas.Then check Preserve Trans-parency in the Layers palette.

PreserveTransparencyPreserve Transparencywill protect thetransparent areas inthe image and allowyou to paint only

where there are pixels.Preserve Transparencycreates something likean invisible mask.

3. Double-click the paint-brush tool to bring up thepaintbrush options. Choosean opacity of 50% and selectDarken mode in the pop-upmenu.

Darken modeWith Darken mode,the paintbrush willpaint only where the

chosen foregroundcolor is darker thenthe highlight color. Itwill not paint in thedark shadow areas.


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4. Paint over the highlightareas. Notice that you donthave to worry about goingbeyond the boundaries of the blenderPreserveTransparency is at work!Continue painting over allthe highlight areas to tonethem back. Feather thehighlight at the top of theblender to keep the curva-ture of the lid.

Opacity tipWhen a selection toolis active, pressing anyof the numeric keyschanges the opacityto a correspondingpercentage. Press 1 for10% and 0 (zero) for100%, and so on.

5. Now, as a challenge for yousuper users, were going toput a fish inside the blender.With the move tool, drag thefish into the blender imageand position it in the

blender. Move the fish tothe topmost layer.

6. Select the lasso tool, andthen target the originalBlender layer. Holding downthe Option/Alt key, click theblender area around the fish,selecting the area that will besandwiched over the fish.

Note: No small animalswere harmed in thecreation of this demo.


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7. From the menu bar,choose Layer > New > LayerVia Copy. In the Layerspalette, move the new layerabove the Fish layer.

8. Double-click this new layer to bring up the LayerOptions dialog box. Option/Alt+click the This Layerhigh-value range slider(white triangle) and move

half of the triangle to the left.

Blending layers The sliders here let youdefine which pixels areblended by indicatinga range of brightnessvalues for the replace-ment pixels. In our

example, the highlightrange was split tosoften the layer, givingit a semi-transparentand fogged look. Thefurther apart thetriangles, the softer theappearance of the layer.



Photography: Doug MenuezSpecial thanks to Ridgley CurClassic PIO Partners

PS4.0 11/96

9. You can see the goldfish,semi-transparent inside theblender. There you havesuper advancedthe nextsteps for working with layersand lighting a particularscene.


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MAKING SEAMLESS PATTERNS

To make a patt er n i n A dobe Photoshop, you simply select an area usin g the rectan gle m arqu ee tool an d th en choose Edi t > D efin e Pattern . A lm ost always, however, fil lin g an ar ea w it h t hi s pattern w il l leave tellt ale tili ng li nes, or gr ids. For a pat tern to ti le seam lessly, the edges of the pattern ti les mu st ali gn exactly t o create a conti nuous im age. Th is techni que shows how to create a patt er n ti le wi th edges that w ont be vi sibl e wh en th e ti le repeats.

1. Open the image thatcontains the area you wantto use for a pattern tile.

2. Crop the image to the sizeand area you want the patterntile to be.

The tile imageImages with plain or

textured backgroundsare the best candidatesfor a smoothly tilingpattern because it iseasier to smooth awaythe tile lines. Try toavoid images withgradations becausethese are very difficultto touch up. Also,select an image orobject that doesntbleed off the edge of

the tile.

Luanne Seymour Cohen,Creative Director at

Adobe Systems showsyou how to make aPhotoshop pattern

without seam lines.INTERMEDIATE

Shortcuts Throughout thisdocument, Command/Ctrl means Commandon the Macintosh andCtrl on Windows.Option/Alt meansOption on the Macintosh

and Alt on Windows.


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Making Seamless Patterns 2

3. Check the size of the file byholding down Option/Alt andselecting the size box in thelower left corner of the window.Make a note of the width andheight pixel values.

4. Choose Filter > Other >Offset. Select the Wrap Aroundoption; for the horizontal andvertical values, enter approxi-mately half the value of the widthand height you noted in step 3.

5. Click OK. The Offset filtersplits the image into four sec-tions. Notice that the left half of the image completes the righthalf and the top half of the imagecompletes the bottom half.

The Offset Filter This filter basically

slices up your imageand moves it horizon-tally and vertically. It ishelpful to do this sowe can see how theedges of the patterntiles will meet.


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6. Now use the rubber stamptool to blend the center seamsbetween the four sections of the image. I use a soft-edgedbrush set at 50% opacity. Thegoal is to try to blend thebackgrounds of each rectangletogether and to remove otherelements that you dont want torepeat. (In this example, I re-moved the stem and the straybit of petal.)

Cloning a smoothbackground Try to clone usingmultiple, short brushstrokes so that thestroke itself is notvisible. Use a brushthat is similar in sizeand texture to the

background. For thissoft, diffused back-ground I used a soft,transparent brush.

7. To put the finishing toucheson the pattern tile, we mustreverse the offset process.Choose Filter > Other > Offset.

This brings up the filter dialogbox last used. Add a minusbefore each of the pixel valuesto reverse the offset effect.Click OK.

8. Check to see if any problemswere created by painting orcloning near the edge of the tilein step 6. If so, carefully coverthese up using the rubber stamptool again. Use a small brushand be careful not to change

any of the pixels right on theedges of the tile. In this ex-ample, the arrows point to theareas where I painted too closeto the edge and need to repair.

Filter shortcuts To apply the last filter

you used, simply pressCommand/Ctrl+F. If you want the samefilter but need toadjust some values,press Command/Ctrl+Option/Alt+F. Thedialog box of the lastused filter will appear.


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11. Evaluate the overall look of the pattern and identify anyproblem areas. If you like theeffect, save the pattern tile file.If you want to touch up the tile,return to step 8.

10. Create a new file to use as apattern fill test. Make sure thatthe file is several times largerthan the pattern tile. Select alarge area (or the entire file),and choose Edit > Fill. Fromthe Use pop-up menu, choosePattern. Use a Mode of Normaland an Opacity of 100% so thatyou can easily identify anyproblems in the pattern. Click OK.

9. Next, test the pattern tile forany flaws. Choose Select > All(Command/Ctrl A); thenchoose Edit > Define Pattern.

PS4.0 12/97

Adobe, the Adobe logo, and

Photoshop are trademarks of Adobe Systems Incorporated.Macintosh is a trademark of Apple Computer, Inc. registeredin the U.S. and other countries.Windows is either a registeredtrademark or a trademark of Microsoft in the U.S. and/orother countries.


Photograph: Digital Vision.


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PAINTERLY IMAGES1. Open a new CMYK or RGBfile. The best types of imagesfor this technique are ones thatcontain lots of color andtexture. Landscapes and stilllifes work very well. Peopledscenes are fine but close-ups of faces dont work as well becausethe facial features can becometoo distorted or smeared.

2. Optional: If your imagehas flat or dull colors, youmight want to intensify themfor the painting. Create anAdjustment layer by holdingthe Option/Alt+Command/Ctrl keys while clicking on

the new layer icon. ChooseHue/Saturation. Move thesaturation slider to the rightto intensify the colors inyour image.

Adjustment layersAdjustment layersallow you to alter thelook of your imagewithout actuallymaking a permanentchange to the original. They give you the

flexibility of being ableto change the adjust-ment as many times asyou want. To readjust,simply double-click onthe adjustment layername and makechanges in the dialogbox that appears.


Adobe Systems, makesa good impression withAdobe Photoshop 4.0

BEGINNER

Learn how t o create a paint ing from a photograph. In j ust a few sim ple steps you can tu r n a r un of the mil l snapshot or stock photo int o a digital paint in g.


document, Command/Ctrl means Commandon the Macintosh andCtrl on Windows.Option/Alt meansOption on the Macintoshand Alt on Windows.


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Painterly Images 2

3. Now we will make a copyof the background layer bydragging it to the new layericon. The original backgroundlayer will be left as is and wewill paint on the copy.Important: Save the file atthis point.

Custom brushesYou can use any imageor part of an image tocreate a custom brush. The most effectivebrushes are created withblack and gray pixels ona white background.

Once youve created thebrush image, select itand choose Define Brushfrom the Brushes palette.

5. Before you begin painting,youll need to choose a brushthat approximates the texture of the subject matter. You can usethe default brushes in yourbrush palette. But for the flowerfield in this image, Im going to

use a custom brush. Select LoadBrushes from the Brushespalette. Go to the Photoshopfolder and open Brushes >Assorted. (Mac users: Goodies >Brushes & Patterns > AssortedBrushes.) The extra brushes willappear in the brushes palette.

4. Double-click the rubberstamp tool and change theOption in the Rubber StampOptions palette to Impressionist.


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Painterly Images 3

6. Select your brush and beginpainting the image. The impres-sionist tool samples the colorsthat are in the saved image andallows you to smear them. Its asif the photo was made of wetpaint and you are moving itaround with a brush. Note : Donot save the file while youpaint! If you want to keepinterim copies, choose File >Save a Copy. If you save the fileduring the painting process youwill no longer be painting withthe original source pixels.

7. You may want to zoom in topaint certain sections or objectsin your image. Or change thebrushes or brush stroke direc-tion based on the subjectmatter. In this example, I triedto match the brush strokedirection to the texture of therusty shed.

8. Continue brushing the entireimage until you are satisfiedwith the result. You may want togo back over certain areas witha smaller brush, if you want torecover detail that might havebeen lost.

ImpressionistoptionWhen you use theImpressionist option of the rubber stamp tool,Photoshop reads thepixels from the last-saved version of thefile. As you drag over

an area with the brush,it smears the pixels fromthe image to create animpressionistic effect.

PS4.0 12/97

Adobe, the Adobe logo, andPhotoshop are trademarks of Adobe Systems Incorporated.Mac and Macintosh aretrademarks of Apple Computer,Inc. registered in the U.S. andother countries. Windows iseither a registered trademarkor a trademark of Microsoft inthe U.S. and/or other countries.


Photograph: DigitalVision.


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Adobe Systems, Inc.,shares a technique on

how to create coolposterized images with

Adobe Streamline,Adobe Photoshop and

Adobe Illustrator.INTERMEDIATE

1. Open the original image inPhotoshop. For best results, usea higher resolution image. 300-600 pixels per inch will g ive thebest results in Streamline.

2. To get the best results inStreamline you must firstsimplify the shapes in yourimage using Photoshop. To dothis choose Image > Adjust >Posterize. Play around with thenumber of levels, and turn on

the Preview button to see theresults. Dont worry about thenumber you end up with, justpick a number that gives youthe best shapes while stillmaintaining detail.

Posterizing inPhotoshop6 levels of posterizationmeans that Photoshopwill use 4 tonal valuesin each channel. Thismeans that for a3-channel RGB image,

youll end up with4x4x4 colors or 64colors.

POSTERIZED IMAGES WITH STREAMLINE

Sometimes you want to make a photographic imagelook very graphic with crisp, sharp edgesand high contrast colors. You can dothis by first posterizing it in Adobe Photoshop , tracing it in Adobe Streamline and thenediting and finessing the colors and shapes in Adobe Illustrator .This technique shows you how.


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Posterizing Images With Streamline 2

3. Save the file with a new name.You can save the file in TIFF,TIFF compressed, PICT,Photoshop, or Photoshop 2.0format.

4. Switch to Streamline andopen the Photoshop file you just saved. Choose Options >Settings. Select one of the presetColor settings. Dont worry if the number of colors is differentfrom what you want because wewill adjust that later.

5. Choose Options > Color/B&W Setup. This is where youwill experiment with theMaximum # of colors for yourposterization. Select the Add new colors to custom color list. SelectReduce detail. Deselect (forphotographic image) or selectColor averaging (for imageswith large areas of color).

StreamlinesposterizationStreamline creates agraph of the imagecolor values (histo-gram). Then it dividesthe colors evenly into acolor palette that

contains the numberof colors selected inthe Color/B&W Setupdialog.


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6. Click the Preview button tosee how the images colorshapes will be divided up. Keeptrying different numbers of colors and complexity levels,(dont forget to click Preview),until you are satisfied with theshapes and level of detail in thepreview. The actual colors canbe changed later in Illustrator.

7. Choose Options >Conversion Setup. ChooseOutline for a photographicimage. If your image has a lot of noise correct it by increasingthe Noise Suppression slider. If your image has straight andcurved lines, make thatselection also.

8. Because youve changed someof the specifications, Streamlinehas given your settings a new name. You can change it in theSettings dialog if you want, thenclick Create.

Experimentationpays off In the image at the left,I tried several differentcolor settings startingwith 6 colors. I foundthat 16 was theminimum number Ineeded to retain the

detail in the owercenters. Anything lessand the detail I wantedwas lost.

Noise SuppressionPixel areas with a

diameter measuringthe number of pixelsselected in the NoiseSuppression setting areignored duringconversion.

Naming SettingsIf you make a changeto either the ConversionSetup or Color/B&WSetup after you havesaved your settings youwill need to resave thenew settings with a

different name.


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9. Once your settings areadjusted, you are ready toautotrace the image. ChooseFile > Convert and Streamlinewill begin the autotrace process.When the tracing is complete,choose File > Save Art As andsave in Adobe Illustrator

format. Streamline will add orreplace a suffix of .ai to the filename.

10. Open the .ai file in Illustrator.Choose Window > Show Swatches and view by Name.Notice that there are now several new spot colors at thebottom of the Swatches palette.They are named Auto Colorfollowed by a number.

11. To adjust or change a color,double click on an Auto Colorin the Swatches palette. Movethe Swatch Options dialog so you can see the image. Adjustthe sliders to the desired color.The artwork will update in the

window so you can preview thenew color change. Click OK.

Smoothing pathsIf the shapes thatStreamline created aretoo complex or havetoo many anchorpoints, use the SmoothPath feature. Select thepath or paths thatneed simplifying.

Choose Edit > SmoothPath. Choose Minimum,Medium or Maximum.

Auto Colors The colors created by

Streamline are namedAuto Color and arespot colors inIllustrator.


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12. To adjust the tone of a spotcolor, select its name in theSwatches palette and move theslider in the Color palette. Thenew tonal value of the autocolor can then be dragged tothe Swatches palette. The addedswatch will retain the original

color name and have a percent-age after it. You can then make aselection in your artwork andtarget the tonal color.

13. To clean up your file youmay want to remove unwantedshapes, breakup complex pathsor remove points from a path.To clean up shapes, zoom in onthat area. Depending on thecomplexity of the image youtraced, you might have someunwanted lumps and bumps insome of the paths. Use thedelete anchor point tool, thescissors tool and/or the knifetool to simplify and split up

paths.

14. Once youve removed orsimplified the really complex paths, youre done. In the imageat the right, I added a gradientand a stroke to the backgroundshape. This adds visual depth tothe image.

Adobe, the Adobe logo,Photoshop, Illustrator, andStreamline are trademarks of Adobe Systems, Incorporated.

1997 Adobe Systems,Incorporated. All rightsreserved.

Photography: PhotoDisc

PS4.0, SL4.0, AI7.0


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QUICK PICTURE FRAMES

Adobe Photoshop 5.0 com es w it h m ore than 100 d ifferent A ctions. Several of these Acti ons create fram es. If you li ke the fram e but wan t t o custom ize it for your im age, you can do so easi ly. In thi s techni que, you w il l m ake a picture fr ame for your im age and then change it s color u sin g an ad ju stm ent l ayer.Ad ju stm ent l ayers allow you t o alter t he color of t he frame w ithout l osing its shading, beveling and textu re.

1. Open the image you want toframe. The image size must bemore than 100 pixels in bothwidth and height. This actionworks best on a flattened or aone-layer file. Here we are usingthe Wilderness file found in theAdobe Photoshop 5.0 GoodiesSampler folder.

2. Choose Window > ShowActions to display the Actionspalette. Open the DefaultActions set.

100 free ActionsPhotoshop 5.0 shipswith eight Action setscontaining more than100 different Actions.

You can find them inthe Goodies folderinside the Photoshop

5.0 application folderfor both Mac andWindows versions.

Luanne Seymour Cohen,Adobe Imaging

Evangelist, customizes Actions inAdobe Photoshop 5.0.

BEGINNER


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Quick Picture Frames 2

3. Select the Wood Frame - 50pixel Action and click the Playbutton. Once you click the Playbutton a dialog box will appear.Click Continue if you have atleast a 100 pixel wide and tallimage. Click Stop if your imageis smaller than this. Applyingthe Action to your image willmake your image 100 pixelswider and 100 pixels taller thanthe original image.

4. The Action creates a woodframe around your image. If you are satisfied with the image,save the file now and you arefinished. If you want to changethe color of the frame, go tostep 5.

5. Select the framelayer. Fromthe Layers palette, choose NewAdjustment Layer.

Layer Effects To change a layer

effect setting, double-click on the layer effecticon, located in theLayer palette.


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Quick Picture Frames 3

Adobe, the Adobe logo, andPhotoshop are trademarks of Adobe Systems Incorporated.Macintosh is a trademark of Apple Computer, Inc. registeredin the U.S. and other countries.Windows is either a registeredtrademark or a trademark of Microsoft in the U.S. and/orother countries.


Photo credit Adobe ImageLibrary.

PS 5.0 5/98

6. Choose the type of adjust-ment you want to make. In thiscase we want to change thecolor of the frame so chooseHue/Saturation. Click GroupWith Previous Layer so that thecolor adjustment affects onlythe framelayer.

7. Select the Colorize option. Then move the Hue slider untilyou find the color you want. Tomake the color more or lessintense, adjust the Saturationslider. To make the color lighteror darker, adjust the Lightnessslider.

8. Click OK to view the results.Remember, you used an adjust-ment layer for maximumflexibility, so you can doubleclick on it at any time andchange the values.

Adjustment LayersIf you want to experi-ment with color orcontrast adjustmentsbut you dont want topermanently changethe original, useadjustment layers. Theyfloat above the layers

you want to alter. If you dont like theeffect, just double clickon the adjustmentlayer and change thevalues. You can applyan adjustment layer toan entire file or to justone layer at a time.


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Adobe Senior Art DirectorRussell Preston Brown in

a virtual paradise withAdobe Photoshop 4.0

INTERMEDIATE

RAINBOWIN PARADISE WITH PHOTOSHOP 4.0

For al l you Photoshoppers wan ti ng your ow n slice of par adi se, here is the tip for you! You w il l l ear n how t o create your own rain bow u sin g the new Photoshop gradient t ool, along w it h channels and layer m asks. Its a vi r tu al pot of gold.

1. Open the image you want tobegin working on. As you cansee, I have chosen an imagethat lends itself to a natural-looking rainbow, with a darkstormy background and fronthighlights.

2. Open Gradient Tool optionsby double-clicking on the Gradi-ent tool. Click the Edit buttonto bring up your Gradient Editordialog box.


document, Command/Ctrl, means Commandon the Macintosh andCtrl on Windows.Option/AltmeansOption on theMacintosh and Alt onWindows.


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Rainbow in Paradise with Photoshop 4.0 2

3. Next, select New to begincreating your rainbow gradient.Once you name the new gradi-ent, start adding colors bysimply clicking below thegradient bar. Edit your newcolor by clicking in the colorswatch area.

4. The key step here is to makesure that your color bands areat one end of the bar, as in theexample shown. Ive chosenthe following simple set of four colors: 28-137-18 / 210-255-0 / 255-60-0 /0-0-0 for black

You can also experiment to findyour own color solutions, if soyou might be tempted to createthat soft blend right herebutdont do it! We will do that later.

Click OK once you have thegradient you want.Download gradient for PCDownload gradient for Mac

Duplicating ColorsBy holding down theOption/Alt key whileclicking on any colorsquare, you canduplicate that color.

Tab Tab Tab!When your colors

are close together,use the Tab key tomove through yourselections to ensureyou dont accidentlyselect the wrong one.

5. Finally, set the Type of gradient to Radial.
ftp://ftp.adobe.com/pub/adobe/magic/other/rainbow.exeftp://ftp.adobe.com/pub/adobe/magic/other/rainbow.sea.hqxftp://ftp.adobe.com/pub/adobe/magic/other/rainbow.exeftp://ftp.adobe.com/pub/adobe/magic/other/rainbow.sea.hqx


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6. Create a new layer for therainbow by pressing the newlayer icon. Then zoom out sothat you can start the gradientwell below the actual image.

8. So first, set the Layer mode toScreen and move the opacityback to 60%.

Screen Mode This Blend mode is liketaking two separatetransparencies andprojecting them on topof each other. Resultingcolors will always belighter. Black will

change nothing andwhite remains white.

7. Click and drag your gradienttool about two-thirds the wayup the image. Yikes! Right awayyou will notice two obviousproblems: The gradient will beblack with harsh bands of color.


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9. Next we want to soften thebands of color. Choose Filter >Blur > Gaussian Blur. Yourimage resolution will determinehow much you will want to setyour blur to. I chose about 9pixels for this 72-dpi image.

There is still one thing that weneed to do. We need to makethe rainbow appear as thoughits coming from behind thetrees. We can do this using asimple layer mask.

How much blur? The degree of Gaussianblur will depend onyour image size andresolution. For lowerresolution, less blur willbe sufficient, for higherresolution you willneed to go higher.

11. Duplicate this channel bydragging it over the new chan-nel icon. To heighten thecontrast as Ive done, you canadjust the levels by choosingImage > Adjust > Levels.

10. You could paint a mask tohide parts of the rainbow orstart with one of the channelsin your image. I am going touse the channels, but somephotos may not work as wellas this one. First turn off theRainbow layer (click on the eyenext to the layer) and go to theChannels palette. Now, vieweach channel separately tofind which one has the bestcontrast to make a layer mask.

Display Shortcut To go through your

channels quickly youcan use these shortcuts:Command/Ctrl+1 =RedCommand/Ctrl+2 =GreenCommand/Ctrl+3 = BlueCommand/Ctrl+~= Composite

8/9/2019 Adobe Photoshop Adv

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Adobe Photoshop Advanced Techniques