Booklet Adobe Photoshop Cs6 Lbv

Embed Size (px)

Citation preview

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv




  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Adobe Photoshop CS6: Learn by Video: Core raining in Visual Communicationvi2in GmH Kll McChn

    Copyright 2012 by video2brain GmbH

    Peachpit Press

    1249 Eighth Street

    Berkeley, CA 94710

    510/524-2178 510/524-2221 (fax)

    Find us on the Web at www.peachpit.comTo report errors, please send a note to [email protected]

    Peachpit Press is a ivision of Pearson Eucation.

    Adobe Photoshop CS6: Learn by Video: Core raining in Visual Communicationis published in

    association with Adobe Press.

    For the latest on Adobe Press books, go to ww

    Acquisitions Editor: Victor Gavenda

    Project Editor: Tracey Croom

    Media Producer: Eric Geoffroy

    Proofreaer: Liz Welch

    Package design: Charlene Charles-WillPackage imagery: Provided by Adobe Systems Inc.

    Book interior design: Danielle Foster

    Notice o RightsAll rights reserve. No part of this v ieo training book may be reprouce or transmie in any form by any

    means, electronic, mechanical, photocopying , recoring, or otherwise, without the prior wrien permis-

    sion of the publisher. e soware an meia les on this i sc are copyrighte by the authors an Peachpit .You have the non-exclusive right to use these programs an les. You may use them on one computer at a

    time. You may not transfer the les from one computer to another over a network . You may transfer the les

    onto a single har isk so long as you can prove owner ship of the original isc . For information on geingpermission for reprints an excerpts, contact [email protected].

    Notice o Liabilitye information in this vieo training book is is tribute on an As Is basis, without warranty. While

    every precaution has been taken in the preparation of the vieo training book, nei ther the trainers nor

    video2brain GmbH nor Peachpit shall have any liability to any person or entity with respect to any loss or

    damage caused or alleged to be caused directly or indirectly by the instruction s contained in this video

    training book or by the computer soware an harware proucts escribe in it.

    rademarksAobe Photoshop is a traemark or registere traemark of Aobe Systems Incorporate in the Unite

    States an/or other countries. All rights reserve. Many of the esignations use by manufacturers an

    sellers to distinguish their products are claimed as trademarks . Where those designations appear in this

    vieo training book, an Peachpit was aware of a traemark claim, the esignations appear as requeste bythe owner of the traemark. All other prouct names an services ientie throughout this vieo training

    book are use in eitorial fashion only an for the benet of such companies with no intention of inf ringe-ment of the traemark. No such use, or the use of any trae name, is intene to convey enorsement or

    other affiliation with this video training book.

    ISBN-13: 978-0-321-84071-4

    ISBN10: 0-321-84071-2

    9 8 7 6 5 4 3 2 1

    Printe an boun in the Unite States of America

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    1 Introducing Photoshop CS6

    1.1 Introduction

    1.2 How to Launch the Files an Lessons

    1.3 What Is Photoshop: Raster vs. Vector

    1.4 Whats New in Photoshop CS6


    1.5 e Photoshop Family

    1.6 Touring the Interface an Managing

    Document Windows

    1.7 e Winow > Application Frame(Mac Only)

    1.8 Zooming and Navigating

    1.9 Advanced Zooming and Navigating

    1.10 Creating, Opening, Eiting,

    and Saving

    2 Photoshop Project Explorations

    2.1 Using Multiple Unos an theHistory Brush Tool

    2.2 Redesigned Mini Bridge

    2.3 Adobe Bridge and Batch Renaming

    2.4 Removing Unwante Objects with

    Content-Aware Fill

    2.5 Content-Aware Move, Patch,

    and History Brush Tools

    2.6 Plug-ins a.k.a . Filters/Up in Smoke

    2.7 Automatic Color Correction

    2.8 Flawless Faces: Women

    2.9 Flawless Faces: Men

    2.10 Cropping and Straightening an Image

    2.11 Content-Aware Scaling

    2.12 Making Selections

    3 Customizing Photoshop

    3.1 Uner the Hoo: New Auto

    Recovery, Customizing the Interface

    an Hien Plug-ins (Filters)

    3.2 Arranging Panels, Switching Screen

    Modes, and Saving a Custom


    3.3 Customizing Keyboar Shortcuts

    3.4 Customizing Photoshops Menus

    3.5 Optimizing Photoshops

    Performance: GPU, CPU, RAM,

    VRAM and More

    3.6 Rulers, Guides, and Grids

    4 Image Editing Concepts

    4.1 Resolution, File Size, an


    4.2 RGB vs. CMYK

    4.3 Importing Camera Images

    4.4 Reviewing and Rating Images

    4.5 Organizing Your Image Library

    4.6 Nondestructive Editing

    4.7 Selections: Rectangular and Elliptica

    4.8 Selections: e Lasso an Polygona

    Lasso Tools

    4.9 Selections: e Magic Wan Tool

    4.10 Selections: e Quick Selection Too

    an Rene Ege

    4.11 Using Rene Ege for Image


    4.12 Converting to Black-and-White


    DVD Contents

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    5 Ls n Msks

    5.1 Removing Solid Backgrounds

    5.2 Overview of Layers

    5.3 Aing New Layers

    5.4 Merging Two Images for One Perfect


    5.5 Layer Masks, the Key to Flawless


    5.6 Creating Special Effects with

    Layer Masks5.7 Correcting Color an Contrast Using

    a Layer Mask

    5.8 Using Layer Styles

    5.9 Changing Colors Using Layers

    6 Photo Retouching

    6.1 Removing Red-Eye

    6.2 Skin Perfection, Eye Brightening, an

    Double-Chin Removal

    6.3 Creating Hollywoo Skin

    6.4 Realist ic Retouching Using the

    History Panel

    6.5 Dodging and Burning to

    draw Aention

    6.6 Differences in the Primary

    Retouching Tools

    6.7 Repairing Skin to New Layers

    6.8 Did the Makeup Artist Go Too Far?

    6.9 Drop 10 Pounds Without Dieting

    Using the Liquify Tool

    7 Creating Beautiul Digital

    Images with Adobe Camera Raw

    7.1 What Is Adobe Camera Raw and

    What Files Can It Correct?

    7.2 Reaing a Histogram an Using

    the Info Panel

    7.3 Reading and Applying Metadata

    7.4 Creating Metadata Templates

    7.5 Removing Color Casts and Improving

    Contrast With ACR7.6 Correcting a Series of Photos an the

    Image Processor

    7.7 Cropping in Adobe Camera Raw

    7.8 Boosting Color With Adobe

    Camera Raw

    7.9 Selective Color in Adobe Camera


    7.10 Painting in Corrections with the

    Adjustment Brush

    7.11 Using the Targete Ajustment Tool

    8 Working with ype andCing Mck-Ups

    8.1 Typography in Photoshop

    8.2 e Character Panel

    8.3 e Paragraph Panel

    8.4 Creating and Sharing Paragraph


    8.5 Character Styles

    8.6 Creating Mobile Buons

    iv dV d CONTENTS

    DVD Contents

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    8.7 e Coolest Keyboar Shortcuts for

    Formaing Text

    8.8 Using Guies an Layer Groups to

    Perfect the Layout

    8.9 Avance Blening Options for Type

    9 3D and Video Editing

    9.1 Making Text 3d

    9.2 Creating a 3d Object

    9.3 Creating a 3D Title Sequence9.4 Video Editing in Photoshop

    9.5 Adding Video Transitions

    10Just or Fun

    10.1 e Tourist & Car Remover

    10.2 Creating Seamless Panoramic Images

    10.3 Cropiy Crop, Crop, Crop

    10.4 Cropping to Ratios, Fixe Sizes,

    and Resolution

    10.5 Perspective Crop Tool

    10.6 Adaptive Wide Angle Correction

    10.7 Blurring for Focus or Optical Illusion

    10.8 Cool Lighting Eects

    10.9 Warping Images

    10.10 Puppet Warp

    10.11 e Clone Stamp Tool

    10.12 Merging High Dynamic

    Range Images

    10.13 Vanishing Point

    10.14 Using Blening Moes an Aing

    a Mask

    11 Outputting Your Images

    11.1 Building a Web Photo Gallery

    11.2 Creating a Contact Sheet

    11.3 Saving Images for the Web

    11.4 Color Seings

    11.5 Preparing Press-Quality Images

    11.6 Printing Images

    12Artistic Expression andSpecial Eects

    12.1 Turn Your Photo Into a Work of Art

    with Oil Paint

    12.2 Creating Han-Painte Artwork from

    a Photo with the Mixer Brush

    12.3 Using Aobe Camera Raw for

    Painterly Effects

    12.4 Creating Abstract Artwork with

    the Art History Brush

    12.5 Using Actions for Special Eects

    12.6 Record Your Hand-Drawn


    12.7 Create a Cartoon Avatar Using the

    Filter Gallery

    12.8 Creating an Applying Paerns

    13Closing houghts13.1 Closing oughts


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Introduction vii

    Copyrighting Your Digital Images 1

    Nondestructive Image Editing 5

    Nondestructive Image Editing

    with Ajustment Layers . . . . . . . . . . 6

    Working with Smart Filters . . . . . . . . 9

    Nondestructive Image Sharpening . . .12

    Adjusting Shadows and Highlights . . .14

    ips & ricks 17

    Tips for Working with Rulers,

    Guides, and the Grid . . . . . . . . . . . .18

    Using the History Panel Feature . . . . .19

    Saving Memory with Adjustment

    Layers . . . . . . . . . . . . . . . . . . . .20

    Enlarging JPEG Images . . . . . . . . . .21

    Printing a Har Proof . . . . . . . . . . .22

    Glossary 25


    Booklet Contents

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    About Tis Book

    e material in this booklet serves as a valuablesupplement to the vieo training. e rst chap-

    ter explains what you nee to know about copy-

    right and how it applies to your digital images.

    e secon chapter looks at one of the most

    important principles you need to understand

    when working with Photoshop: nondestructive

    image editing. Finally, the third chapter provides

    some valuable tips and tricks to help make your

    work in Photoshop CS6 easier.

    Hw Us Tis Cus

    e vieo2brain interface is easy to use, but it

    also has a large number of options. Weve pro-

    vie this brief guie to give you a tour of the

    interface an make sure you ont miss out on

    any of its features.

    is course comes in a few ierent avors. You

    can run the Mac application (labele Start or

    Start .app) or the Winows application (.exe)

    le, or you can open start .html in your browser.

    Most people will use one of the application

    versions of the course. If youre working with an

    operating system that oesnt support one of

    these two options, such as Linux, the browser

    version is a great alternativeit works on

    any browser with a current version of Aobe

    Flash. e main ierence between running

    the course as an application versus opening it

    in your browser is that the application versions

    include an option, discussed in more detail later

    in this guide, called Watch-and-Work mode.

    Watch-and-Work mode lets you watch the course

    Welcome toAdobe Photoshop CS6Learn by Video

    Aobe Photoshop CS6 is the most powerful

    Photoshop yet, with remarkable video and

    3D capabilities, new character and paragraph

    styles, a reesigne interface, an many more

    new an enhance features. In this vieo train-

    ing course youll get comprehensive coverage

    of all its features, ol an new.

    e course begins with a series of Project Explo-rations that demonstrate what Photoshop CS6

    can o. en youll get a tour of the interface,

    see how to customize it to suit the way you

    work, and learn core image editing concepts

    like color modes, nondestructive editing, selec-

    tions, layers, masks, and more.

    Aer mastering these basics, youll have the

    opportunity to learn avance skills for photo

    retouching, aing an formaing type, work-

    ing with video and 3D, and creating artistic

    eects. An of course youll get lots of tips for

    sharing your images by puing them on the

    web or by making prints or contact sheets.

    e lessons are wrappe in a feature-r ich

    interface that lets you jump to any topic an

    bookmark iniviual sections for later review.

    Full-Screen moe provies a hi-ef, immersiveexperience, an Watch-an-Work moe shrinks

    the video into a small window so you can play

    the vieos alongsie your application. is

    course also inclues project les so you can

    follow along an try out new techniques as you

    learn them.



  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Entering a wor or phrase in the Search el

    in the upper right of the screen will search

    the courses titles an escriptive text to hel

    you n what youre looking for.

    Starting the Course

    When youre ready to dive in, you have several

    options for how to get star te:

    To begin at the beginning and play all the

    way through, click Play All Videos.

    To access a list of every vieo available in thtraining, click Table of Contents.

    To start with Chapter 1 (or any chapter that

    appeals to you), click the chapter name on

    the le of your screen.

    You can navigate the Table of Contents an

    Chapter views using your mouse, or using the

    keyboar to arrow up an own, le an right.

    When youve selected a movie, you can press

    the right arrow to play that movie.

    in a smaller winow while you follow along in

    another application. is option oesnt exist in

    the browser version of the course.

    Whether youre using the application or brow-

    ser version, when you rst launch the course,

    you will see the Welcome screen.

    he Welcome Screen

    From here, there are a few ways you can


    Click the Play icon in the mile of the

    screen to watch a video that introduces you

    to the instructor(s) an gives you an over-

    view of whats covere in the course.

    For onscreen help and a users manual, click

    either the Help item on the menu at the top

    of your screen or the Nee Help item at theboom of the Content panel. You can also

    access help by pressing F1 on your keyboard.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Navigating Inside a Video

    While watching a vieo, you can use the buonsalong the boom right of your screen to toggle

    both Full-Screen mode 1 and video smoothing

    2 on and off. You can adjust the volume 3

    from here as well. You can also click an rag

    the green line 4 in the timeline at the boom

    of the screen to move aroun within the vieo.

    When the vieo ens, click the Next Vieo but-

    ton at the top right of the winow to go irectly

    to the next lesson. (is will happen automati-

    cally if you clicke Play All Chapter Vieos to

    launch the chapter.) At the en of a chapter, this

    option will change to Next Chapter. You can

    also click Training Content at any time to leave

    the player and choose another lesson or click

    the navigation bar near the top of the screen to

    access the table of contents.

    In the Table of Contents or Chapter view, any

    time you move your mouse over the name of a

    chapter or vieo, text escribing the contents

    of that item will appear on the right sie of your

    screen. is area is known as the Siebar an is

    iscusse in etail on the next page.

    If you click the name of a chapter, youll see a

    list of all the vieos in that chapter. Choose the

    video you want to start with or click Play All

    Chapter Vieos to start with the rst vieo in

    the chapter and go all the way through.

    Keyboard SHortCUtS for tHe PLayer


    Right Arrow:Jump forwar

    Lef Arrow:Jump backward

    ab:Show/hide Sidebar

    B:Add bookmark

    M:Show/hide navigation bar

    Esc:Turn off Full-Screen mode

    4 3 2 1


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    About video2brain

    vieo2brain ( has beenEuropes premier source for vieo training

    since 2002. We produce high-quality English,

    German, French, and Spanish video training

    on a variety of soware topics, with a special

    emphasis on graphics, web design, photogra-

    phy, an programming. Our customers inclue

    people just starting out, professionals, euca-

    tional institutions, and global corporations as

    well as home enthusiasts.

    All of our courses are available in 1280 x 720

    Hi-def vieo, with a full-screen moe that

    creates an immersive learning experience. ey

    also include an interactive, easy-to-use inter-

    face; custom bookmarks that let you annotate

    your course an remember where you le o;

    an Watch-an-Work moe, so you can prac-

    tice as you learn.

    Were passionate about teaching and about

    helping you buil exceptional skills so you can

    create extraorinary work. Our mission is to

    provide the best and most affordable video

    training possible, an to oer you a feature-r ich

    learning environment aimed at enhancing the

    eectiveness of our training.

    vieo2brain was foune by Gerhar Koren,

    a v2b trainer himself. Our home oce isnestle among the mountains of the Austrian

    Alps in the city of Graz, a stuent city with six


    au Kll McChn

    Kelly McCathran hasbeen teaching Adobe

    applications since 1992

    and computer classes

    since 1989. Shes an

    Aobe Certie Instruc

    tor in InDesign, Photo-

    shop, Illustrator,

    Acrobat, an PageMaker. Kelly has travele

    North America and abroad, teaching applica-tions to the largest printshops and ad agencies

    in the world. In addition to creating video train

    ing for, Kelly is the co-foune



    About the Authors

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Copyrighting YourDigital Images

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Copyrighting Basics

    Copyright is the exclusive legal right, grante to

    you by law (title 17, U. S. Coe), to control

    the reproduction, distribution, public display,

    an erivative use of your original works of

    authorship, an to sue for unauthorize use(infringement) of your work.

    Copyright literally means the right to copy.

    is right begins the moment your original work

    is create in a xe, tangible form. In other

    words, you automatically own the copyright

    to your creative works. Copyright protection is

    available for both publishe an unpublishe

    works. Copyrightable works include anything

    that ts into one of these categories:

    Literary works (incluing computer pro-


    Musical works (incluing any accompanying


    dramatic works (incluing any accompany-

    ing music)

    Pantomimes and choreographic works

    Pictorial, graphic, and sculptural works

    Motion pictures and other audiovisual works

    Sound recordings

    Architectural works

    Although many things are copyrightable, some

    are not. To be copyrightable, the work must be

    original. Originality is essential to copyright. For

    example, if you copy a photograph, that copy

    cannot be copyrighted since it is not original.

    In fact, you woul nee the original photogra-

    phers permission to copy their image.

    e following types of works are not


    Ieas an concepts. Only the original expres-

    sion of those ieas an concepts in some

    tangible form, like a photograph, can be

    copyrighte. You might have an iea for agreat photograph, but that idea cannot be


    Procedures, methods, systems, principles,

    iscoveries, or evices. However, wrien

    or recore escriptions, explanations, or

    illustrations of such things are protecte by


    Works that have not been xe in a tangible

    form, such as speeches or performances that

    have not been wrien or recore.

    Works that consist entirely of information

    that is common property and contain no

    original authorship, such as familiar symbols

    and designs.

    Titles, names, short phrases, and slogans.

    However, some titles and words may be pro-

    tecte uner traemark law if their use is as-sociated with a particular product or service.

    How to Obtain a Copyright

    e way in which you obtain copyright protec-

    tion is oen misunerstoo. It is important to

    understand that no publication, registration,

    or other action in the U.S. Copyright Oce is

    required to secure a copyright. Copyright is

    automatically secured the moment the work is

    create in tangible form. However, copyrights

    can be formally registere with the U.S. Copy-

    right Oce in Washington, dC (www.copyright.

    gov), an there are fees involve.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Even though registration is not a requirement

    for protection, it oes establish a public recor

    of the copyright an is require before an

    infringement lawsuit can be le. You shoul

    always seek legal avice from a qualie aor-

    ney before threatening a copyright infringementaction.

    Notice o Copyright

    Copyright notice informs the public that your

    work is protecte by copyright, ienties who

    owns the copyright, an shows the year of rst

    publication. It is a way of saying, is is my

    work. If you want to use it, rs t ask my permis-

    sion. A notice reinforces the asset value of yourwork and alerts people that you are prepared to

    protect that value.

    Uner U.S. law, you are no longer require to

    use a copyright notice. is requirement was

    eliminate when the Unite States ahere

    to the Berne Convention. However, the use of

    a notice is still require for works istribute

    before March 1, 1989. e use of a copyright

    notice is your responsibility; you are not re-

    quire to get permission from, or register with,

    the U.S. Copyright Oce.

    For photographs an other types of visually

    perceptible copies, the copyright notice con-

    sists of the symbol , followe by the year of

    rst publication of the work an the name of

    the copyright owner.

    Example: 2012 John doe

    e wor Copyright, or the abbreviation

    Copr. can be use instea of the symbol. Ei-

    ther form is recognize, but use of the symbol

    can provide additional international protection,

    as can the wors All Rights Reserve.

    Duration o the Rights

    Uner current law, the copyright term for work

    create by iniviuals is the life of the author

    plus 70 years aer the authors eath. e copy

    right term for works mae for hire is 95 years

    from publication or 120 years from the ate ofcreation, whichever expires rs t. Works mae

    for hire are works create by employees for

    employers, as well as certain types of specially

    commissioned works.

    fi Us dcin

    Anytime you make an unauthorize copy of a

    copyrighted work or create derivative works

    based upon the work without permission, youare technically violating or infringing on the

    rights of the copyright owner. However, the

    law oes permit some limite copying of copy-

    righte works as a fair use of the works.

    So is copying ene as fair use? e reprouc-

    tion of a copyrighte work for purposes such as

    criticism, commentary, news reporting, teach-

    ing, scholarship, or research is generally not an

    infringement of copyright. e fair use exemp

    tion of U.S. copyright law was create to enable

    educators, researchers, and journalists to reuse

    copyrighted works without having to ask the

    author for permission, because usually these

    applications do not impinge on the commercia

    value of the work.

    ere are four factors that you nee to

    consider when determining whether the useof someones copyrighte work is a fair use of

    that work:

    1. e purpose an character of the use, inclu

    ing whether such use is of a commercial na-

    ture or is for nonprot eucational purposes

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    2. e nature of the copyrighte work.

    3. e amount an substantiality of the portion

    used in relation to the copyrighted work as a


    4. e eect of the use upon the potential mar-

    ket for or value of the copyrighte work.e istinction between fair use an copy-

    right infringement is not easily ene. For

    every situation, all four factors must be weighe

    by the courts to determine whether or not a

    work qualies for fair use protection. In other

    wors, there is no enitive yes or no to fair

    usethere is no absolute metho of assessing

    whether or not a use is fair until aer a juicial

    ruling in an infringement suit.

    e safest way to avoi copyright infringement

    is to always get permission from the copyright

    owner before using their copyrighte material.

    Simply acknowleging the source of the copy-

    righte material oes not substitute for obtain-

    ing permission.

    Protecting Your Images on the Internet

    Image the on the Internet is a growing an

    intractable problem, but there are ways to

    protect your images on the web.

    e best security is to apply a watermark across

    your image; in case of the, this shows where

    the image came from. But of course this can

    have a negative impact on the appearance of

    your images. One alternative is to inclue the

    images in a SWF (Flash) movie; this prevents

    them from being ownloae irectly. How-

    ever, keep in mind that even this method will

    never fully protect your images. As soon as your

    images are published on the Internet, there is

    a possibility that they can be copied and used

    elsewhere (for instance, someone can take a

    screenshot of the SWF movie). e only way to

    fully protect a valuable image is not to publish

    it online.


    U.S. copyright law is ever-changing. Every eort

    has been mae to make this information asup to ate as possible. is information is not

    intene to be legal reference material.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    NondestructiveImage Editing

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Working with Adjustment Layers

    Anything you can do with an adjustment layer

    can also one through the Image > Ajustments

    menu. However, unlike adjustment layers, the

    menu oes not oer the exibility of a none-structive workow. erefore it pays to get use

    to working with ajustment layers right from

    the beginning.

    Photoshop CS6 includes a Properties panel that

    allows you to easily create and edit adjustment


    Creating an Adjustment Layer

    1. To create an adjustment layer, activate the

    Properties panel an click the icon for the

    adjustment you want to add. Alternatively,

    you can click the Create New Fill or Adjust-

    ment Layer icon ( ) at the boom of the

    Layers panel an select the esire com-

    man from the pop-up menu.

    2. e Properties panel will show the controls

    an options for the selecte ajustment. Any

    changes you make to the seings here will

    be irectly visible in your image. (Note that

    the Layers panel now contains an ajust-

    ment layer with the appropriate icon, as well

    Icon Adjustment







    Color Balance

    Black & White

    Icon Adjustment

    Photo Filter

    Channel Mixer

    Color Lookup




    Gradient Map

    Selective Color

    Nondestructive Image Editing with Adjustment Layers

    One way to learn about image eiting is by experimenting with ierent seings an

    ajustments through trial an error. However, you may n that your willingness to

    experiment is sometimes hampere by the fear of ruining your images. is is whereajustment layers come in hanythey let you play aroun with the appearance of

    your images without changing the original image data.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    as a layer mask. If you choose to rename

    the adjustment layer, you will still be able to

    ientify the ajustment by its icon. e table

    on the previous page provies an overview.)

    Constraining the Effects oAdjustment Layers

    Every adjustment layer comes with its own

    layer mask by efault. In some cases you might

    not want to correct the entire image, but only

    certain areas or subjects within the image. For

    example, you might want to make the main

    subject pop out more from the backgroun by

    increasing its saturation while decreasing the

    saturation of the backgroun, or vice versa. Or

    you might want to selectively adjust the colors

    in certain image areas, like the color of a sub -

    jects eyes or hair in a portrait photo. In these

    cases, you can limit the adjustment to certain

    parts of the image. In the example shown here,

    we want to use a Brightness/Contrast adjust-

    ment to lighten only the rocks and the tree,

    while the sky remains unchanged.

    1. To achieve this effect , you would activate thelayer mask icon, select the Brush tool with

    the foregroun color set to black, an paint

    over any parts of the picture that you o not

    want to be affected by the correction.

    2. You would leave any image regions that you

    do want to be affected by the adjustment in


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    3. If there were areas of the image you wante

    to be only partially affected by the adjust-

    ment, you could paint these in gray.

    Alternatively, you can also select the part of the

    image you want to be affected by your adjust-

    ment prior to creating your adjustment layer.Photoshop will then automatically create the

    appropriate black-and-white regions in the

    layer mask when you add the adjustment layer.

    Exaggerating the Adjustment

    Sometimes it is useful to overo your ajust-ment, creating an exaggerate eect that can

    then be iale back by reucing the opacity of

    the ajustment layer. An if you are not satis-

    e with a correction, you can change it at any

    time by clicking the relevant adjustment layer in

    the Layers panel an eiting the seings in the

    Properties panel.

    All of these changes will leave your original im-

    age untouche; even aer closing an relaunch-

    ing Photoshop you can continue editing, or you

    can return to your original image by deactivat-

    ing or eleting the ajustment layer(s). is is

    what is known as nondestructive image editing.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Working with Smart Filters

    When you apply a lter irectly to an image, you permanently change the image.

    is is not the case when you apply a lter as a Smart Filter.

    Most lters can also be applie to Smart Objects

    (like vector graphics importe from Illustrator).

    e great avantage of this technique is that you

    can still eit the parameters of a lter aer apply-

    ing it, even aer having close an reopene the

    le. is is not possible using stanar layers an

    lters, which will irreversibly alter the images

    pixels. e following example will emonstrate

    the power an exibility of Smart Filters.

    Converting a Layer into a Smart Object

    When you apply a lter as a Smart Filter, the

    eect is nonestructive. is means that you

    can always go back and make adjustments to

    the lter, hie it, or remove it, even aer saving,

    closing, or reopening your document.

    1. Before starting to work with Smart Filters,

    you might want to create a uplicate of thelayer you want to apply the lters to. is can

    be done quickly using the Ctrl/Command+J

    keyboard shortcut. Now you have added

    exibility, because you can reuce the layers

    opacity later in the process in order to

    weaken the eects of your lters.

    2. To convert the layer into a Smart Object,

    simply select the layer that you want to apply

    the Smart Filter to, go to the Filter menu, andchoose Convert For Smart Filters. Alterna-

    tively, you can right-click the layer name in

    the Layers panel to open the context menu

    an choose Convert to Smart Object. A small

    symbol ( ) inicates that the layer is now a

    Smart Object.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    3. Now you can safely apply a lter, know-

    ing that youre not permanently changing

    the pixels of the original image. Photoshop

    provies an abunance of lters that you can

    use to apply special effects to your images,

    all of which you can n in the Filter menu.

    Using h fil Gll

    One easy way to apply lters in Photoshop is by

    using the Filter Gallery, which can be accessed

    by choosing Filter > Filter Gallery. Keep in min

    that not every lter in the Filter menu can be

    applie in the Filter Gallery. For example, the

    sharpening lters foun in the Sharpen menu,

    the effects in the Render menu, and the Blur

    lters in the Blur menu are not available in the

    Filter Gallery; you have to apply those lters

    individually instead.

    When you select a lter in the Filter Gallery, you

    get a large preview of the lters eect an the

    options in the right panel change to the relevant

    options for that lter. Fine-tune your seings

    for the best eect an click OK. e Smart Filter

    shows up in the Layers panel, just below theSmart Object layer that youve applie it to.

    All the lters in the Filter Gallery can be applie

    one by one, or you can combine them to get

    some really creative effects. To use multiple

    lters, click the Create New icon at the boom

    of the Layers panel. is creates a uplicate of

    the active lter, which you can then change to

    the lter of your choice.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Editing a Smart Filter

    So far, working with Smart Filters is no ierent

    from working with stanar lters. However,

    the power of Smart Filters will become appar-

    ent as soon as you decide that you dont really

    like one or more previously assigne lter(s).You can click the eye icon next to a Smart Filter

    to temporarily eactivate that lter an/or the

    lter mask at any time. You can also rag the

    lter to the trash icon to elete it, or you can

    ajust the lter by simply ouble-clicking the

    name of the Smart Filter in the Layers panel.

    e Filter ialog box with your previous seings

    opens up, allowing you to ajust the lter by

    changing its seings.

    All the changes you make in the Filter Gallery

    will be applie nonestructively. In fact, since

    this layer is now a Smart Object, you can also

    transform the image without actually harming

    its pixels.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    To apply sharpening as a Smart Filter:

    1. Open the esire image.

    2. Choose Layer > Smart Objects > Convert to

    Smart Object or Filter > Convert for Smart


    3. Go to the Layers panel (F7). e thumbnail ofthe image layer now displays a special Smart

    Object icon.

    4. Choose Filter > Sharpen > Unsharp Mask

    from the menu.

    5. Check the Preview checkbox an enter the

    esire seings. dont be afrai to choose

    high values; you can compensate for this

    later by reucing the opacity of the layer.

    6. Click OK to close the ialog box an apply

    the image correction.

    Nondestructive Image Sharpening

    Most commans for optimizing images are also available as ajustment layers in

    Photoshop. is enables you to seamlessly ajust your eits, if necessary, or to

    a a mask to them. is is not the case for the all-important sharpening features,however. But not to worryyou can also apply sharpening as a Smart Filter.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    You can subsequently alter the sharpening

    values you entered, just as with an adjustment


    1. In the Layers panel, ouble-click Unsharp

    Mask. is will bring up the Unsharp Mask

    ialog box, where you can ajust your set-tings an click OK to apply the changes.

    2. To weaken the sharpening effect, go to the

    Layers panel an click the icon ( ) to the

    right of Unsharp Mask.

    3. Reuce the opacity in the Blening Options

    ialog box. e more you reuce it, the more

    the sharpening eect will fae.

    4. Click OK.

    To weaken the sharpening effect locally:

    1. Activate the Brush tool and choose black as

    your foregroun color.

    2. In the Layers panel, click to activate the mask

    of the Smart Filter.

    Paint any areas you dont want to sharpen

    black. Or, you can ll the entire Smart Filtermask with black as a rst step, an then over-

    paint areas you want to sharpen using white as

    the foregroun color.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    To apply a Shadows/Highlights adjustment


    1. Open the esire image.

    2. Choose Layer > Smart Objects > Convert to

    Smart Object.

    3. In the Layers panel, you will see that a SmartObject icon has been ae to the layers


    4. Choose Image > Ajustments > Shaows/


    5. Choose the esire seings an feel free to

    exaggerate them a lile bit; you can com-

    pensate for this later by reucing the opacity

    of the layer.

    : To see the avance seings for this

    ajustment, check the Show More Options

    checkbox at the boom of the Shaows/

    Highlights ialog box.

    Adjusting Shadows and Highlights

    e Image > Ajustments > Shaows/Highlights comman is one of Photoshops

    best features when it comes to quickly improving the bright an ark portions of a

    photograph. Unfortunately, it is not available as an ajustment layerbut you canstill apply it nondestructively.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    6. Click OK to close the ialog box an assign

    your adjustment to the image.

    7. If you want to change the ajustments set-

    tings aerwar, you can simply ouble-click

    Shaows/Highlights in the Layers panel .

    To make additional adjustments to your Shad-

    ows/Highlights Smart Filter, procee as follows:

    1. To reuce the overall eect of the assigne

    Shadow/Highlights adjustment, double-click

    the icon ( ) to the right of the Shaows/

    Highlights label in the Layers panel.

    2. In the Blening Options ialog box, reuce

    the opacity value. e more you reuce this

    value, the weaker the eect of the Shaows/

    Highlights command will be on your image.

    : For certain purposes you may want

    change the blend mode, which you can do via

    the Mode drop-down menu.

    3. Click OK.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    If you only want to weaken the lter in certain

    areas of the image, go to the Layers panel an

    click the mask for the Smart Filter to activate it.

    Choose the Brush tool from the Toolbar, select

    black as the foregroun color, an paint any

    areas you want to exclue from the eect inblack. For smooth transitions, reduce the hard-

    ness of your brush tip.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Tips & Tricks

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    18 T IPS & TR ICKS

    ips or Working with Rulers, Guides, and the Grid

    In this section well look at Photoshops rulers, grids, and guides, which can be very

    helpful in situations where precise alignment is require. Youll get some valuable

    tips on seing up an working with these tools.

    dmining h ruls Uni

    ere are several ways to change the measure-

    ment unit for the rulers . e quickest way is to

    ouble-click one of the rulers in the ocument

    winow (you can show both rulers by select-

    ing View > Rulers). is brings up the Prefer-

    ences ialog box with the category set to Units

    & Rulers. Now you can go to the Units section

    to change the unit of measurement. You can

    choose among pixels, inches, centimeters, mil-

    limeters, points, picas, and percent.

    Enabling Snapping

    Snapping is a feature that allows you to align

    layers, shapes, text, etc. with other objects,

    guides, or the grid. To enable snapping, choose

    View > Snap To, an make sure the esire

    items are checked in the submenu that appears.

    You should now be able to align objects easily

    an precisely. If youre using the Shape tools to

    raw accurate shapes for screen an web use,

    you can enable the Snap To Pixels checkmark

    uner the Shape Options.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Using h His Pnl fu

    Retouching in Photoshop can be tricky. is section looks at using the History panel

    to gain greater control over your work.

    Te History Panel

    e Uno an Reo buons are frequently use

    to undo or redo the most recent image editing

    steps. Or you can use Ctrl/Comman+Z an Ctrl/

    Comman+Y, which enable you to work even fast-

    er. But Photoshop also includes a handy History

    panel that keeps track of every step youve taken

    uring your eiting session. If you ecie that you

    want to return to any earlier version of your work,you can just click that version in the History panel.

    Note that any steps that were taken aer this will

    be grayed out, but still remain accessible.

    Changing History Preerences

    By efault, Photoshop remembers 20 eit-

    ing steps. For extensive retouching work that

    involves many Brush tool clicks, 20 wont be

    enough. Choose Eit > Preferences > Perfor-

    mance. In the History & Cache section, click the

    arrow next to History States to access a slier

    that allows you to ajust the number of recore

    history states all the way up to a value of 1000.

    Please note: e more history states you choose,

    the more RAM the soware will require.

    Purging the History

    If you are absolutely satise with the current

    state of your image, you can empty your History

    panel by choosing Eit > Purge > Histories. is

    means that you can no longer recover your previ-

    ous editing steps, but more RAM will be available

    on your computer an Photoshop may spee up if

    your memory was clogged previously.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    20 T IPS & TR ICKS

    Sving Mm wih ajusmn Ls

    Photoshop les containing numerous layers can take up a consierable amount of

    har isk space an RAM. In this section, youll learn a simple way to reuce your le

    sizes by using ajustment layers.

    duplicate layers are use quite frequently in

    Photoshop. For example, to increase the

    contrast in a photo, you can duplicate the

    image layer an assign the Overlay or Color

    Burn blen moe to the uplicate. (If the eect

    is too crude, you may choose to reduce the

    layers opacity in the Layers panel.)

    e only problem with this is that the uplicate

    layer oubles the pixel count in the ocument,

    therefore oubling the size of your PSd le. You

    can easily solve this problem by using an adjust-

    ment layer instea of the uplicate layer:

    1. Go to the menu an choose Layer > New

    Ajustment Layer. From the submenu that

    appears, select any type of ajustment layer,

    for example Levels.2. Click OK to close the New Layer ialog box.

    Do not make any adjustments in the Proper-

    ties panel.

    3. Return to the Layers panel an set the

    desired blend mode and opacity value.

    e result is the same as with the uplicate lay-

    er, but the increase in le size is much smaller.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Enlarging JPEG Images

    If you try to print an image that was ownloae from the Internet, you will oen

    n that these images have poor resolution an may inclue blocky artifacts result-

    ing from JPEG compression. If you want to use an image like this for print output,you usually nee to severely scale it own to prevent the artifacts from showing.

    e following process allows you to ouble the

    pixel size of a JPEG image in a way that makes it

    still printable. Its certainly not going to become

    crisp an etaile, but at least the artifacts

    wont be visible.

    1. Go to the menu an choose Image > ImageSize.

    2. In the document Size section of the Image

    Size ialog box, enter 200%into the Width

    an Height els.

    3. Check the Resample Image checkbox at the

    boom of the ialog box an make sure

    the Bicubic Automatic option is selected

    from the rop-own list below. Click OK to


    4. Go to the menu an choose Filter > Noise >

    despeckle. e image will be soene.

    5. Repeat the above steps (except for the

    despeckle lter) to ouble the image size.

    6. Choose Filter > Stylize > diuse from the


    7. Select Anisotropic moe from the diuse

    ialog box an click OK.8. Go back to the Image Size ialog box an

    reduce both image width and height to 50%

    this time.

    9. Choose Enhance > Unsharp Mask from the

    menu. Your image is now reay for print


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    22 T IPS & TR ICKS

    Printing a Hard Proo

    e Photoshop Print Seings ialog box contains several options for color manage-

    ment. To make use of these, expan the Color Management area in the right column

    of the Photoshop Print Seings ialog box an choose your esire seings.

    You can print the image using its current color

    prole by choosing Normal Printing from the

    pop-up menu. Alternatively, you can print a

    proof of your ocument to see how it will look

    under different output conditions, such as

    the CMYK moe for oset printing. To o so,

    choose Har Proong from the pop-up menu.

    e seing you selecte uner View > Proof

    Setup will be use as your proof prole. To get

    the most precise proofs, you might want to

    check the Simulate Paper Color and Simulate

    Black Ink checkboxes.

    In the Color Handling pop-up menu, choose the

    Photoshop Manages Colors option if you want

    to use a printer prole for your evice. en

    you can choose a prole from the Printer Prolepop-up menu below.

    If you ont have a eicate prole for your

    printer, choose the Printer Manages Colors

    option instead.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Te Photoshop ool Panel

    5 6


    9 10


    17 18






    3 4

    2 1

    1 Move Tool e Move tool is use for moving selec-

    tions, layers, and guides.

    2 Recangular Marquee Tool, Ellipical Marquee Tool,

    Single Row Marquee Tool, and Single Column Marquee

    Tool e marquee tools are use for making rectangu-

    lar, elliptical, single row, and single column selections.

    3 Lasso Tool, Polygonal Lasso Tool, Magneic Lasso

    Tool e lasso tools are use for making freehan,

    polygonal (straight-ege), an magnetic selections.

    4 Quick Selec ion Tool and Magic Wand Tool e

    Quick Selection tool is use for painting a selection

    with a resizable brush. e Magic Wan tool is use for

    selecting similarly colored areas in an image.

    5 Crop Tool, Perspecive Crop Tool, Slice Tool, and

    Slice Selec Tool e Crop tool is use for cropping

    or trimming images. Use the Perspective Crop Tool to

    crop images in perspective. e Slice tool allows you to

    divide an image into multiple sections that are reas-

    semble on a web page. e Slice Select tool is use fo

    selecting an moifying existing slices.

    6 Eyedropper Tool, 3D Maerial Eyedropper Tool,

    Color Sampler Tool, Ruler Tool, Noe Tool, and Coun

    Tool e Eyeropper an Color Sampler tools are use

    to sample colors in an image. e 3d Material Eyerop-

    per Tool is use to sample 3d materials alreay existing

    in your image. e Ruler tool is use for measuring is-

    tances, locations , an angles. e Note tool allows you

    to aach notes to an image. e Count tool (Photoshop

    Extene only) is use for counting object s in an image

    7 Spo Healing Br ush Tool, Healing Brush Tool, Pach

    Tool, Conen-Aware Move Tool, and Red Eye Tool e

    Spot Healing Brush tool is used to remove unwanted ob

    jec ts an blemishes. e Healing Brush tool allows you

    to paint with a sample or paern to x imperfections in

    an image. e Patch tool allows you to x imperfections

    in a selecte area of an image using a sample or paern

    e Content-Aware Move Tool allows you to move a

    previously selected image area while automatically

    adjusting the background. e Re Eye tool is use to

    remove the re reection cause by a cameras ash.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    14 Dodge Tool, Burn Tool, and Sponge Tool e doge

    tool makes areas of an image lighter. e Burn tool

    makes areas of an image arker. e Sponge tool can

    either saturate or desaturate the colors in an image.

    15 Pen and Anchor Poin Tools ese tools are use for

    rawing smooth-ege paths an shapes . ey are also

    use to eit existing paths.

    16 Horizonal and Verical Type Tools, Hor izonal and

    Verical Type Mask Tools e type tools are use for

    creating horizontal an vertical type on an image. e

    type mask tools are used to create a selection in the

    shape of type.

    17 Pah Selecion Tool and Direc Selecion Tool e

    Path Selection an direct Selection tools are use for

    selecting, moving , an moifying the shape of vector


    18 Shape Tools, Line Tool, and Cusom Shape Tool e

    Shape tools an Line tool are use for rawing ierent

    shapes and lines in either a normal layer or a shape

    layer. e Custom Shape tool allows you to create cus -

    tom shapes.

    19 Hand Tool, Roae View Tool e Han tool is

    use for moving an image aroun within the ocument

    winow. e Rotate View tool allows you to nonestruc-

    tively rotate the canvas.

    20 Zoom Tool e Zoom tool is use to magnif y an

    reuce the view of an image.

    21 Foreground and Background Color Boxes e cur-

    rent foregroun color appears in the upper color box

    and the current background color appears in the lowerbox. e color boxes also allow you to change the fore-

    ground and background colors.

    22 Quick Mask Mode Quick Mask moe allows you to

    create a temporary mask, which becomes a selection

    when you exit Quick Mask moe. It s oen use for ne-

    tuning an existing selection.

    8 Brush Tool, Pencil Tool, Color Replacemen Tool,

    and Mixer Brush Tool e Brush tool is use for painting

    various brush strokes. e Penci l tool allows you to paint

    har-ege strokes. e Color Replacement tool is use

    to replace a selecte color with a new color. e Mixer

    Brush Tool is used to define multiple colors on a single

    tip in order to paint with subtle color blends or to blend a

    photos colors to create a beautiful painting.

    9 Clone Samp Tool and Patern Samp Tool e

    Clone Stamp tool is use for cloning par ts of an image or

    removing unwante objects. e Paern Stamp tool is

    use to paint with part of an image as a paern.

    10 Hisory Brush Tool and Ar Hisory B rush Tool e

    History Brush tool is use to paint a copy of the selecte

    history state or snapshot. e Ar t History Brush tool lets

    you paint with st ylize strokes that simulate the look of

    different painting styles, using a selected history s tate or


    11 Eraser Tool, Background Eraser Tool, and Magic

    Eraser Tool e Eraser tool allows you to erase pixels

    an restore parts of an image to a previously s ave

    history state. e Backgroun Eraser tool allows youto erase areas of an image to transparency. e Magic

    Eraser tool allows you to erase soli areas of an image to

    transparency with a single click.

    12 Gradien Tool, Pain Bucke Tool, and 3D Maerial

    Drop Tool e Graient tool is use to create blens

    between colors. e Paint Bucket tool allows you to

    ll similarly colore areas with the current foregroun

    color. e 3d Material drop tool is use to rop a loae

    material to another part of a moel, another 3d mesh,

    or another 3D layer.

    13 Blur Tool, Sharpen Tool, and Smudge Tool e Blur

    tool allows you to soen har eges an reuce etail

    in specic areas of an image. e Sharpen tool sharpens

    specic areas of an image. e Smuge tool simulates

    the eect you see when you rag your nger through

    wet paint.

    Te Photoshop ool Panel

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv




    rendering intent reproduces in-gamut colors

    exactly an clips out-of-gamut colors to the near-

    est reproucible hue, sacricing saturation an

    possibly lightness. See also renering intents.

    A reproduction pro-

    cess that mixes re, green, an blue light emie

    from a source to prouce a wie range of colors.

    See also subtractive color.

    Image information that enes

    which parts of the image will be transparent orsemitransparent. Applications like Adobe Illus-

    trator, Photoshop, Premiere Pro, an Aer Eects

    support alpha channels.

    A-A A pixel-processing technology

    that eliminates or soens the jaggeness of

    low-resolution curved edges. For the Photoshop

    selection tools, the Options bar contains an

    Anti-alias checkbox to help you create smooth

    selection borer contours. is will prevent your

    selection f rom looking jagge or pixelate. e

    Anti-alias option is very useful for photomon-

    tages, image corrections, and so on. Make sure

    to keep it always on in those cases an for any

    selection tool you might be using; however, for

    selecting line art, screenshot areas, etc., this op-

    tion shoul be switche o. See also feathering.

    Color faults or line faults that have a

    negative visual impact on the image. Artifacts are

    oen the result of excessive image compression.

    Who is your audience? Always keep

    in mind that your images may be seen by a wide

    audience. Dont assume a common cultural

    background, social class, education, or native

    language. erefore, you shoul also analyze the

    target auience an ene their gener, age,

    ethnic background, education, buying behavior,

    an personal preferences. Fin out what maga-

    zines your target auience reas an what TV

    shows it watches. Your design should not only

    look good, it should also match the target audi-

    ence as closely as possible in terms of layout,

    color scheme, fonts, an visual language. is

    is a prerequisite for successful an ecient


    e smallest unit of infor-

    mation in a computer. Bits can have only twovalues: 0 or 1.

    A igital image le that uses spatially

    arrange pixels to store the image information.

    Sometimes, the term bitmap implies a color

    epth of one bit per pixel only, resulting in a

    two-color image.

    e arkest point in a color space.

    Black points in RGB color spaces usually describe

    a perfect black (lightness 0). In print, the ark-

    est possible color value will never be completely

    black. erefore, black points in printer color

    spaces are always brighter than a perfect black.

    e process of aing fuzziness to or e-

    creasing the focus of an image or a certain image

    region for a soer appearance or to camouage

    a efect.

    With the Brush tool, you can selectfrom a variety of ierent brush tips in orer to

    create your artwork . You can also moify the

    preset seings for iameter, shape, spacing,

    roundness, hardness, angle, drawing mode,

    opacity, and more.


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    A component of a igital image that

    carries information for one color parameter of

    the color moe use (RGB, CMYK, HSB, or LAB).

    e combination of all channels yiels a full-

    color composite image.

    e core

    soware component of a color management


    A pro-

    gram that helps to match the color of input an

    output evices throughout the workow in orerto produce predictable results.

    Cyan, magenta, yellow, an black: e

    process colors use in four-color printing. See

    also subtractive color.

    e process of changing

    the color moe of an image. See also conversion


    e process of moifying

    the color of the pixels in a igital image in an

    eort to improve the appearance of the image

    or to correct obvious efects.

    A measure of how many colors

    can be in a pixel of an image. Also calle bit

    epth. 1 bit equals two colors (21), 8-bit color

    equals 256 colors (28), an so on. One pixel of an

    RGB image, which is represented by three 8-bit

    color channels, has over 16 million possible color

    values (28re channel x 28green channel x 28

    blue channel). RGB images using 8 bits per color

    channel are sometimes referre to as 24-bit im-

    ages (8 bits per channel x 3 channels = 24 bits).

    e range of colors that can be

    reprouce by all possible combinations of a

    given systems colorants, such as the colors that

    can be reproduced using process colors in com-

    mercial printing.

    Color manage-

    ment policies specify how Photoshop hanles

    les that are not in the preferre working space.

    Each color space has its own policy. Photoshop

    oers three choices. O ignores any embee

    color prole, an the colors of the image are not

    converte to the working space. is is therefore

    a risky choice that should only be applied on

    rare occasions. Preserve Embee Prolespreserves any color prole save along with the

    image. Convert to Working (color space) forces

    Photoshop to take your custom RGB an CMYK

    proles into account. In most cases, it is avis-

    able to convert RGB an CMYK images to your

    working prole. However, this oes not always

    apply. For an image that is moie on ierent

    computers an then nalize on the rs t com-

    puter, it makes sense to preserve the embedded

    prole. e checkboxes in the color managemen

    policies give you the option to choose whether

    or not you will be prompted when a color con-

    version is required.

    A mathematical moel for the

    escription of color, such as RGB, LAB, or CMYK

    e process of transform-

    ing color artwork into components that cor-

    respond to separate color channels, such asprocess colors or spot colors, or a combination o

    the two. Each ink color is reproduced as a uniqu

    piece of lm or printing plate.

    Color spaces are abstract

    formations. Colors can be escribe very well

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    conversion, while the Rendering Intent controls

    how the colors are converte from one color

    space to another.

    A form of intellectual property. Per-

    mits the creator of an or iginal work to prevent its

    use without express permission or acknowlege-

    ment of the originator. Copyrights may be sol,

    transferre, or surrenere contractually.

    e portion of a scene that

    appears sharp in a photograph. Only one

    istance can be precisely in focus, an theecrease in sharpness is graual. e epth of

    el also escribes the range of istance still

    perceived as being sharp.

    e growth of a halone ot that

    occurs because of ink spreaing across the paper

    as it is soaked in. Dot gain varies with paper type.

    Failure to compensate for this eect can result in

    very poor results during printing.

    A measurement unit forthe resolution of page printers, phototypeseing

    machines, and graphics screens.

    A uplicate of a graphic element

    or type that is placed behind and slightly offset

    from the original element, creating the eect that

    the object is raised above the objects behind it.

    e range between the l ight-

    est an arkest area of an image. Also use to

    escribe the limits of luminance range that a

    igital camera, scanner, or lm can capture.

    e total amount of light that a

    photographer allows to fall on the lm or sensor

    when capturing an image.

    using three numeric values. Each visible color

    is assigne a istinct position in terms of coor-

    inates. e total of all possible colors insie a

    given color system (like RGB or CMYK) as up

    to a virtual shape insie this coorinate system;

    this shape is called a color space. Reproduction

    media like computer screens cannot display all

    visible colors. Printing or photographic reproduc-

    tion technologies also have various intrinsic limi-

    tations of color reprouction. If colors are to be

    reproduced, which means they are transported

    from one meium to another, you nee to know

    the color limitations of the ierent meia. is

    is exactly what color spaces an gamuts are all

    about: ey are mathematical escriptions of the

    total number of isplayable colors. Color spaces

    are vital components of the information being

    save in color proles.

    Printing processes

    inclue oset lithography, exography, gravure,

    an screen printing. Oset printing is the most

    widely used commercial printing process.

    e process of reucing le size

    using various mathematical algorithms. Depend-

    ing on the technology, compression can be loss-

    less or lossy, with the laer resulting in a loss of

    image quality and/or resolution.

    An image that contains

    continuous shaes of color or gray tones, such

    as a photograph.

    e relationship an egree of ier-

    ence in color an light between parts of an image.

    ese options are set in

    the Color Seings ialog box. e Engine option

    tells Photoshop what soware will hanle the


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    A useful alignment tool in Photoshop. To

    enable the gri, choose View > Show > Gri. To

    be able to align objects perfectly along the gri

    lines an subivisions , choose View > Snap to >

    Gri. If you want to change the units use for

    ivisions an subivisions an the color of the

    gri, go to Preferences > Guies, Gri & Slices.

    When you create an HdR (high

    ynamic range) image in Photoshop, you nee

    a series of images of the same subject taken at

    various shuer spees (this is calle brackete

    exposure). Each of these iniviual imageswill contribute its specic shaow, mitone, or

    highlight etails to the nishe HdR le, captur-

    ing the entire dynamic range in one single image

    You can output the composite image as a 32-,

    16-, or 8-bit le. However, only a 32-bit le will

    be able to hold and save the complete HDR

    image data.

    e lightest areas in an image.

    A bar graph representation of the

    tonal values (brightness or color) in an image

    base on the frequency of occurrence of each


    A lossy compression algorithm that re-

    uces the le size of igital images. Image qualit

    is reuce in irect proportion to the amount of

    compression. Typically, about 10:1 compression

    is possible with lile perceptible loss in image


    A function of graphics soware in which

    elements are isolate from each other so they

    can be hidden, reordered, or otherwise manipu-

    lated without affecting other elements in the


    An eiting technique that soens

    the eges of a selection by aing a shi zone of

    variable width. Collages and photo compositions

    frequently require such so selec tions to allow

    for a graual transition between selecte an

    unselecte areas. is eect can be achieve by

    using the Feather input el in the Options bar of

    most selection tools in Photoshop. Enter a pixel

    value ening the selection borer sharpness;

    the higher the pixel value, the less sharp the

    borer will be. See also anti-aliasing.

    In Photoshop, a routine that containsalgorithms to moify igital images by changing

    the values or arrangement of specie image


    e istance from the optical

    center of a lens to the focal point that is locate

    on the sensor or lm if the subject is in focus. e

    focal length also etermines the el of view of

    a given lens.

    e complete character set (numbers,

    uppercase an lowercase leers, an, in some

    cases, small caps an symbols) of a particular

    typeface in a specic style, such as Verana Bol.

    In igital imaging, gamma refers to the

    encoing of linear brightness values capture by

    a evice (such as a camera) to match the contrast

    an brightness of human perception.

    See color gamut.

    An image compose exclusively of

    shaes of gray, varying from black of the weakest

    intensity to white of the strongest, usually using

    256 different tones.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    it look as it will appear on the vieo screen. If

    desired, you can change this behavior by deacti-

    vating the View > Pixel Aspect Ratio Correction

    option; then your images will be shown in their

    actual proportions. If you want to create images

    for vieo prouctions, you can etermine a suit-

    able pixel aspect ratio in the File > New ialog

    box: From the Preset pop-up menu, choose the

    Film & Vieo option, then procee to the Size

    pop-up menu and choose the desired image

    imensions. In the boom part of the ialog box,

    the correct pixel aspect ratio will then automati-

    cally be lle in.

    e four semitransparent inks

    (cyan, magenta, yellow, an black) use in four-

    color process printing to reprouce a full range

    of colors using halone ots. See also color

    separation, CMYK.

    is ren-

    dering intent is similar to absolute colorimetric

    renering. e ierence is that relative colori-metric scales the white point of the source to the

    white point of the target. L ike absolute colori-

    metric renering , it clips out-of-gamut colors to

    the nearest reproucible hue. See also rener-

    ing intents, absolute colorimetric renering.

    Rendering intents are

    methos for converting colors f rom one color

    space to another. e renering intent enes

    how out-of-gamut colors are mappe (or not) tocolors that exist in the es tination color space.

    e ICC prole specication enes four ierent

    rendering intents: absolute colorimetric render-

    ing, relative colorimetric rendering, perceptual

    rendering, and saturation rendering. See also

    absolute colorimetric renering , perceptual

    A technique used to hide certain areas

    of an image or esign or to exempt them from


    e tonal range between highlights

    and shadows.

    Any color absent of hue, or having the

    same value in all three RGB channels, such as

    white, gray, or black.

    O-- Color that cannot be re-

    prouce by a specic color moel . For example,

    some RGB colors fall outsie the CMYK gamut.

    is renering intent

    aempts to compress the gamut of the source

    space into the gamut of the target space.

    Typically, perceptual rendering desaturates all

    colors to bring the out-of-gamut colors into the

    target gamut while more or less maintaining the

    overall relationship between colors. is helps

    preserve the appearance of images. See also

    renering intents.

    Picture element: the smalles t unit of

    information in a igital image. Pixels are usually

    arranged in a two-dimensional grid. Depending

    on the output evice, they are oen represente

    using squares or dots.

    When preparing images

    for vieo use, is sues like color spaces or image

    resolution are suborinate; its much more

    important how the nishe prouct will look like

    on a common TV screen. DV material is based

    on rectangular pixels. When you open an image

    with non-square pixels in Photoshop, it will be

    isplaye using pixel aspect ratio correction by

    efault, scaling the image in a way that makes


  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv



    Color that is observed

    when light strikes pigments or dyes, caused

    by the mixture absorbing certain wavelengths

    of light an reecting others. e light that is

    reecte back is perceive as a color. See also

    CMYK, process colors.

    e quality of an image ele-

    ment with an opacity value below 100 percent

    that allows parts of backgroun elements or

    entire elements to show through.

    A digital image manipula-tion technique that increases the acutance, or

    apparent sharpness , of photographic images. It

    locates the ege between sections of iering

    lightness an exaggerates the ierence across

    that edge, thereby increasing the edge contrast.

    Graphics consisting of co-

    ordinate points and mathematically drawn lines

    an curves rather than iscrete pixels. Vector

    graphics can be freely scale an rotate withou

    image degradation. Its also very easy to edit vec

    tor graphics. With the Direct Selection tool, you

    can access the individual points that make up th

    objects path and click and drag the handles to

    reshape the object.

    A mask that hides or displays a

    distinct shape on a layer based on a path. See

    also masking.

    e blank area between writ-ten characters or graphic regions. Proper use of

    white space is critical to a well-balanced design.

    renering, relative colorimetric renering, an

    saturation renering.

    Recalculating the pixels of an

    image to change the physical size of the le.

    e etail level of an image

    escribe as ensity of graphic information in

    ots per inch (pi) or pixels per inch (ppi).

    e process of making selective

    manual or electronic corrections to images.

    An additive color model that uses red,green, and blue as primary colors to describe the

    RGB color space, which is a subset of the visual

    color spectrum. RGB values are numeric triples

    (re, green, an blue) representing how much of

    each primary color is use to escribe a specic

    color in the RGB color space. Please note: RGB

    values do not describe colors device-indepen-

    dently without color management.

    e intensity or purity of a specic

    color; a completely esaturate color is gray.

    is renering intent

    maps the saturated primary colors in the source

    space to the saturated primary colors in the tar-

    get space. It does not address differences in hue,

    saturation, or lightness. is renering intent is

    esigne for renering business graphics where

    you want vivid colors and arent particularly con-

    cerne about exactly what those colors are. See

    also renering intents.

    e subjective ensity ierence

    between two tones at their boundary, interpret-

    e as neness of etail.

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Classroom in a Book, the best-selling

    series of hands-on software training

    books, helps you learn the features of

    Adobe software quickly and easily.

    TheClassroom in a Bookseries offers

    what no other book or training programdoesan official training series from

    Adobe Systems, developed with the

    support of Adobe product experts.

    To see a complete list of our Adobe

    Creative Suite 6 titles go to

    The fastest, easiest, mostcomprehensive way to learn

    AdobeCreativeSuite6Adobe Photoshop CS6 Classroom in a Book

    ISBN: 9780321827333

    Adobe Illustrator CS6 Classroom in a Book

    ISBN: 9780321822482

    Adobe InDesign CS6 Classroom in a Book

    ISBN: 9780321822499

    Adobe Flash Professional CS6 Classroom in a B

    ISBN: 9780321822512

    Adobe Dreamweaver CS6 Classroom in a Book

    ISBN: 9780321822451

    Adobe Muse Classroom in a Book

    ISBN: 9780321821362

    Adobe Fireworks CS6 Classroom in a Book

    ISBN: 9780321822444

    Adobe Premiere Pro CS6 Classroom in a Book

    ISBN: 9780321822475

    Adobe After Effects CS6 Classroom in a Book

    ISBN: 9780321822437

    Adobe Audition CS6 Classroom in a Book

    ISBN: 9780321832832

    Adobe Creative Suite 6 Design & Web Premium

    Classroom in a Book

    ISBN: 9780321822604

    Adobe Creative Suite 6 Production Premium

    Classroom in a Book

    ISBN: 9780321832689

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    The Learn by Videoseries from video2brain and

    Adobe Press is the only Adobe-approved video

    courseware for the Adobe Certified Associate

    Level certification, and has quickly established

    itself as one of the most critically acclaimed

    training products available on the fundamentals

    of Adobe software.

    Learn by Videooffers up to 15 hours ofhigh-quality HD video training presented by

    experienced trainers, as well as lesson files,

    assessment quizzes, and review materials.

    The DVD is bundled with a full-color

    printed booklet that provides supplemental

    information as well as a guide to the

    video topics.

    For more information go

    Watch-and-Work mode shrinks

    the video into a small window

    while you work in the software

    Lesson filesare included

    on the DVD

    Video player remembers

    which movie you

    watched last


    TitlesAdobe Photoshop CS6: Learn by Video:

    Core Training in Visual Communication

    ISBN: 9780321840714

    Adobe Illustrator CS6: Learn by Video

    ISBN: 9780321840684

    Adobe InDesign CS6: Learn by Video

    ISBN: 9780321840691

    Adobe Flash Professional CS6: Learn by

    Video: Core Training in Rich Media

    CommunicationISBN: 9780321840707

    Adobe Dreamweaver CS6: Learn by Video:

    Core Training in Web Communication

    ISBN: 9780321840370

    Adobe Premiere Pro CS6: Learn by Video:

    Core Training in Video Communication

    ISBN: 9780321840721

    Adobe After Effects CS6: Learn by Video

    ISBN: 9780321840387

    Up to 15 hours ofhigh-quality video


    Table of Contentsnever more than a

    click away

  • 8/13/2019 Booklet Adobe Photoshop Cs6 Lbv


    Unlimited online access to all Peachpit,

    Adobe Press, Apple Training and New

    Riders videos and books, as well as conte

    from other leading publishers including:

    OReilly Media, Focal Press, Sams, Que,

    Total Training, John Wiley & Sons, Course

    Technology PTR, Class on Demand, VTCand more.

    No time commitment or contract

    required! Sign up for one month or

    a year. All for $19.99 a month