Using ADOBE® PHOTOSHOP® CS5
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iii Contents Chapter 1: What’s new Chapter 2: Photoshop companion apps Connecting Photoshop companion apps to Photoshop Using Adobe Nav ................................................................. 3 ...................................................................................................... 4 Using Adobe Color Lava Using Adobe Eazel ............................................................................................... 7 ..........................................................
iv USING PHOTOSHOP Contents Chapter 7: Retouching and transforming Adjusting crop, rotation, and canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Retouching and repairing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v USING PHOTOSHOP Contents Chapter 12: Filters Filter basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Filter effects reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi USING PHOTOSHOP Contents Chapter 18: 3D Essential 3D concepts and tools (Photoshop Extended) 3D panel settings (Photoshop Extended) 3D painting (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525 . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: What’s new Companion apps for Photoshop 12.0.4 or later Mix color swatches, select and manage Photoshop tools, and paint watercolor images using three iPad apps. See “Using Adobe Color Lava” on page 7, “Using Adobe Nav” on page 4, and “Using Adobe Eazel” on page 9. Easier interface management with live workspaces Automatically store task-specific workspaces that reflect your workflow, and quickly switch between them. See “Save and switch workspaces” on page 18.
2 USING PHOTOSHOP What’s new Streamlined creative reviews Collaborate with colleagues and quickly get client feedback with CS Review , an online service that accelerates the review process. See CS Review. Integrated media management Take advantage of improved watermarking, web galleries, and batch processing in Adobe Bridge CS5 . Access assets directly in Photoshop using the Mini Bridge panel. See Adobe Bridge and Mini Bridge.
3 Chapter 2: Photoshop companion apps Important: To troubleshoot issues with companion apps, please visit the Adobe companion apps user forum. Phone support is not provided. Ask questions, request features, and report problems at feedback.photoshop.com. Connecting Photoshop companion apps to Photoshop Adobe® Photoshop® communicates with Adobe Nav for Photoshop, Adobe Color Lava for Photoshop, and Adobe Eazel for Photoshop using a wireless network.
4 USING PHOTOSHOP Photoshop companion apps Create a remote connection in Photoshop. 2 In the Service Name field of the Remote Connections dialog box, enter a descriptive name. 3 In the Password field, enter a six-digit password. 4 Select Enable Remote Connections and then click OK. Companion app wireless connection settings 1 In Adobe Nav, Adobe Color Lava, or Adobe Eazel, tap the PS icon in the lower-right corner of the app. 2 In the Connections window, tap your Photoshop service.
5 USING PHOTOSHOP Photoshop companion apps Important: Adobe Nav is available in English, French, German, and Japanese. Other language versions of Photoshop can connect to Adobe Nav, but only in those languages. Adobe Nav requires Photoshop 12.0.4 or later. To download the latest version of Photoshop, choose Help > Updates. For a video tutorial on using Adobe Nav, visit the Adobe CS5.5 update page of the NAPP website.
6 USING PHOTOSHOP Photoshop companion apps • To add, delete, or move tools, tap Edit. Then, do one of the following: • To move a tool, drag it. • To delete a tool, tap the X in the upper-left corner of the tool button. • To add a tool, drag it from the menu at right onto the grid. Tools that are in the grid are blue in the menu. • To return to Tools mode, tap Done. Adobe Nav Document mode Document mode allows you to select, view, and open new Photoshop documents from Adobe Nav.
7 USING PHOTOSHOP Photoshop companion apps Using Adobe Color Lava Adobe Color Lava for Photoshop lets you create themed color swatches on the iPad. When Adobe Color Lava is connected to Photoshop, you can set Adobe Color Lava swatches as the foreground color. You can also add Adobe Color Lava colors to the Photoshop Swatches panel as you work. Or, you can e-mail Adobe Color Lava themes as swatch libraries to share them with other people on other computers.
8 USING PHOTOSHOP Photoshop companion apps Work with swatches in Adobe Color Lava Swatch sets appear on the right side of the Adobe Color Lava app. The active, or selected, swatch is larger than the other four swatches. • To select a swatch, tap it. When you mix colors, Adobe Color Lava replaces the color in the selected swatch with the color you are painting. • To set a swatch as the foreground color in Photoshop, tap it. • To edit swatch sets, tap the Theme Library mode button .
9 USING PHOTOSHOP Photoshop companion apps • To rename or delete a theme, tap the Edit button or touch and hold a theme. Then, do one of the following: • Tap the X in the upper-left corner of a theme to delete it. • Tap a theme name to rename it. Share Adobe Color Lava themes For instructions on how to connect Photoshop and Adobe Color Lava, see “Connecting Photoshop companion apps to Photoshop” on page 3. 1 When you are connected to Photoshop, tap to enter Theme Library mode.
10 USING PHOTOSHOP Photoshop companion apps Note: Adobe Eazel automatically detects right and left hands. Brush sample Shows the color, size, and opacity of the current brush. Thumb control Undo, redo, and erase all. Index finger control Choose a color. Third finger control Adjust the brush size. Fourth finger control Change paint opacity. Fifth finger control Save artwork and send it to Photoshop. Adobe Eazel work modes Adobe Eazel offers two work modes: persistent and ephemeral.
11 USING PHOTOSHOP Photoshop companion apps • To change a swatch, drag your index finger to it to select it. Continue to drag to the color wheel or to a color in the artwork on the canvas. Specify stroke size and opacity in Adobe Eazel • To make the brush larger, drag up with your third finger. To make the brush smaller, drag down with your third finger. The brush sample updates as you drag. • To make the paint more opaque, drag up with your fourth finger.
12 Chapter 3: Workspace For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Workspace basics For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Workspace overview You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace.
13 USING PHOTOSHOP Workspace A B C D E G F H Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock • The Application bar across the top contains a workspace switcher, menus (Windows only), and other application controls. On the Mac for certain products, you can show or hide it using the Window menu.
14 USING PHOTOSHOP Workspace If you are using a Mac and prefer the traditional, free-form user interface, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently for Mac, and Dreamweaver for Mac does not use an Application frame.
15 USING PHOTOSHOP Workspace Note: In Photoshop you can also choose Window > Arrange > Float in Window to float a single Document window, or Window > Arrange > Float All In Windows to float all of the Document windows at once. See tech note kb405298 for more information. Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows (Windows), or choose Window > Tile Vertically to create side-by-side Document windows.
16 USING PHOTOSHOP Workspace Navigator panel now in its own dock You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace. Move panels As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel.
17 USING PHOTOSHOP Workspace Manipulate panel groups • To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group. Adding a panel to a panel group • To rearrange panels in a group, drag a panel’s tab to a new location in the group. • To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group. • To move a group, drag the title bar (the area above the tabs).
18 USING PHOTOSHOP Workspace Panels collapsed to icons Panels expanded from icons • To collapse or expand all panel icons in a column, click the double arrow at the top of the dock. • To expand a single panel icon, click it. • To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text disappears. To display the icon text again, make the dock wider.
19 USING PHOTOSHOP Workspace • (Flash) Choose New Workspace from the workspace switcher in the Application bar. • (Fireworks) Choose Save Current from the workspace switcher in the Application bar. 2 Type a name for the workspace. 3 (Photoshop, InDesign) Under Capture, select one or more options: Panel Locations Saves the current panel locations (InDesign only). Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only). Menus or Menu Customization Saves the current set of menus.
20 USING PHOTOSHOP Workspace To rearrange the order of workspaces in the application bar, drag them. Hide tool tips When you position the pointer over most tools and options, descriptions appear in tool tips by default. If you find tool tips visually distracting, you can hide them. ❖ In the Interface preferences, deselect Show Tool Tips. Note: Tool tips are not available in some dialog boxes.
21 USING PHOTOSHOP Workspace Working with sliders About pop-up sliders Some panels, dialog boxes, and options bars contain settings that use pop-up sliders (for example, the Opacity option in the Layers panel). If there is a triangle next to the text box, you can activate the pop-up slider by clicking the triangle. Position the pointer over the triangle next to the setting, hold down the mouse button, and drag the slider or angle radius to the desired value.
22 USING PHOTOSHOP Workspace A B Viewing the Brush pop-up panel in the options bar A. Click to show the pop-up panel. B. Click to view the pop-up panel menu. Rename or delete an item in a pop-up panel ❖ Select an item, click the triangle in the upper right corner of the pop-up panel, and choose one of the following: Rename Tool Preset Lets you enter a new name for the item. Delete Tool Preset Deletes an item in the pop-up panel.
23 USING PHOTOSHOP Workspace Display and define menus Display context menus Context menus display commands relevant to the active tool, selection, or panel. They are distinct from the menus across the top of the workspace. Viewing the context menu for the Eyedropper tool 1 Position the pointer over an image or panel item. 2 Right-click (Windows) or Control-click (Mac OS). Define a set of menus 1 Do one of the following: • Choose Edit > Menus.
24 USING PHOTOSHOP Workspace Choosing a color for a menu item using the Keyboard Shortcuts & Menus dialog box Delete a set of menus 1 Do one of the following: • Choose Edit > Menus. • Choose Window > Workspace > Keyboard Shortcuts & Menus and click the Menu tab. 2 In the Keyboard Shortcuts & Menus dialog box, choose a set of menus from the Set menu. 3 Click the Delete Set icon . Temporarily show hidden menu items It’s possible to temporarily show items that you’ve hidden in a menu.
25 USING PHOTOSHOP Workspace You can view information about any tool by positioning the pointer over it. The name of the tool appears in a tool tip below the pointer.
26 USING PHOTOSHOP Workspace Tool galleries Selection tools gallery The marquee tools make rectangular, elliptical, single row, and single column selections. The Move tool moves selections, layers, and guides. The lasso tools make freehand, polygonal (straight-edged), and magnetic (snap-to) selections. The Quick Selection tool lets you quickly “paint” a selection using an adjustable round brush tip The Magic Wand tool selects similarly colored areas.
27 USING PHOTOSHOP Workspace The Clone Stamp tool paints with a sample of an image. The Pattern Stamp tool paints with part of an image as a pattern. The Eraser tool erases pixels and restores parts of an image to a previously saved state. The Background Eraser tool erases areas to transparency by dragging. The Magic Eraser tool erases solid-colored areas to transparency with a single click. The Blur tool blurs hard edges in an image. The Sharpen tool sharpens soft edges in an image.
28 USING PHOTOSHOP Workspace The History Brush tool paints a copy of the selected state or snapshot into the current image window. The Art History brush tool paints with stylized strokes that simulate the look of different paint styles, using a selected state or snapshot. The gradient tools create straight-line, radial, angle, reflected, and diamond blends between colors. The Paint Bucket tool fills similarly colored areas with the foreground color.
29 USING PHOTOSHOP Workspace The Eyedropper tool samples colors in an image. The Color Sampler tool displays color values for up to four areas. The Ruler tool measures distances, locations, and angles. The Count tool counts objects in an image. (Photoshop Extended only) 3D tools gallery (Photoshop Extended) The 3D Object Rotate tool rotates the object around its x-axis. The 3D Object Roll tool rotates the object around its z-axis. The 3D Object Pan tool pans the object in the x or y direction.
30 USING PHOTOSHOP Workspace Selecting and displaying tools Select a tool ❖ Do one of the following: • Click a tool in the Tools panel. If there is a small triangle at a tool’s lower right corner, hold down the mouse button to view the hidden tools. Then click the tool you want to select. • Press the tool’s keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, you can select the Move tool by pressing the V key.
31 USING PHOTOSHOP Workspace Show Only Crosshair While Painting Improves performance with large brushes. 3 Click OK.
32 USING PHOTOSHOP Workspace A B C Viewing the Tool Preset picker A. Click the Tool Preset picker in the options bar to show the Tool Preset pop-up panel. B. Select a preset to change the tool’s options to the preset, which applies each time you select the tool until you choose Reset Tool from the panel menu. C. Deselect to show all tool presets; select to show presets for only the tool selected in the toolbox.
33 USING PHOTOSHOP Workspace Viewing images Change the screen mode You can use the screen mode options to view images on your entire screen. You can show or hide the menu bar, title bar, and scroll bars. ❖ Do one of the following: • To display the default mode (menu bar at the top and scroll bars on the side), choose View > Screen Mode > Standard Screen Mode. Or, click the Screen Mode button Mode from the pop-up menu.
34 USING PHOTOSHOP Workspace You can also use rotate gestures on MacBook computers with multi-touch trackpads. 1 In the toolbox, select the Rotate View tool . (If the tool isn’t visible, hold down the Hand tool.) 2 Do any of the following: • Drag in the image. A compass will indicate north in the image, regardless of the current canvas angle. • In the options bar, enter degrees in the Rotation Angle field. • Click or drag the circular Set Angle of Rotation control.
35 USING PHOTOSHOP Workspace A B C D E F G Navigator panel A. Panel menu button B. Thumbnail display of artwork C. Proxy preview area D. Zoom text box E. Zoom Out button F. Zoom slider G. Zoom In button Zoom in or out Use the Zoom tool or the View menu commands to zoom in or zoom out of an image. When you use the Zoom tool, each click magnifies or reduces the image to the next preset percentage and centers the display around the point you click.
36 USING PHOTOSHOP Workspace Zoom a preset amount ❖ Do any of the following: • Select the Zoom tool , and click either the • Zoom In • or • Zoom Out • button in the options bar. Then, click the area you want to zoom in or out. To quickly switch to zoom out mode, hold down Alt (Windows) or Option (Mac OS). • Choose View > • Zoom In • or View > • Zoom Out • . The • Zoom In • or • Zoom Out • command becomes unavailable when the maximum image magnification or reduction is reached.
37 USING PHOTOSHOP Workspace The area inside the zoom marquee is displayed at the highest possible magnification. To move the marquee around the artwork in Photoshop, begin dragging a marquee and then hold down the spacebar. Temporarily zoom an image 1 Hold down the H key, and then click in the image and hold down the mouse button.
38 USING PHOTOSHOP Workspace View images in multiple windows The document window is where your images appear. You can open multiple windows to display different images or different views of the same one. A list of open windows appears in the Window menu. To bring an open image to the front, choose the file name from the bottom of the Window menu. Available memory may limit the number of windows per image. 1 Choose Window > Arrange > New Window For [Image File Name].
39 USING PHOTOSHOP Workspace 3 Choose Window > Arrange > Match All. Without Match All command (top), and with Match All command (bottom) selected 4 Select the Zoom tool or the Hand tool. 5 Select one of the images, hold down the Shift key, and click in or drag an area of an image. The other images are magnified to the same percentage and snap to the area you clicked.
40 USING PHOTOSHOP Workspace • Depending on the options selected, the Info panel displays status information, such as document size, document profile, document dimensions, scratch sizes, efficiency, timing, and current tool. Use the Info panel The Info panel displays file information about an image and also provides feedback about the color values as you move a tool pointer over an image. Make sure the Info panel is visible in your workspace if you want to view information while dragging in the image.
41 USING PHOTOSHOP Workspace Clicking an eyedropper icon and choosing a readout mode from the pop-up menu 4 For Ruler Units, choose a unit of measurement. 5 Under Status information, select from the following to display file information in the Info panel: Document Sizes Displays information on the amount of data in the image. The number on the left represents the printing size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format.
42 USING PHOTOSHOP Workspace File information view options when Version Cue is enabled 2 Choose a view option from the pop-up menu: Note: If you have Version Cue enabled, choose from the Show submenu. Version Cue Displays the Version Cue workgroup status of your document, such as open, unmanaged, unsaved, and so forth. This option is available only if you have Version Cue enabled. Document Sizes Information on the amount of data in the image.
43 USING PHOTOSHOP Workspace To show or hide rulers, choose View > Rulers. Change a ruler’s zero origin 1 (Optional) Choose View > Snap To, then choose any combination of options from the submenu. This snaps the ruler origin to guides, slices, or document bounds. You can also snap to the grid. 2 Position the pointer over the intersection of the rulers in the upper-left corner of the window, and drag diagonally down onto the image. A set of cross hairs appears, marking the new origin on the rulers.
44 USING PHOTOSHOP Workspace Image Size , and Canvas Size commands let you specify image width in terms of columns. Using columns is convenient when you plan to import an image into a page-layout program, such as Adobe InDesign®, and you want the image to fit exactly within a certain number of columns. 1 Choose Edit > Preferences > Units & Rulers (Windows) or Photoshop > Preferences > Units & Rulers (Mac OS). 2 Enter values for Width and Gutter.
45 USING PHOTOSHOP Workspace Smart Guides help you align shapes, slices, and selections. They appear automatically when you draw a shape, or create a selection or slide. You can hide Smart Guides if you need to. The grid is useful for laying out elements symmetrically. The grid appears by default as nonprinting lines but can also be displayed as dots.
46 USING PHOTOSHOP Workspace • Hold down Shift and drag from the horizontal or vertical ruler to create a guide that snaps to the ruler ticks. The pointer changes to a double-headed arrow when you drag a guide. 3 (Optional) If you want to lock all guides, choose View > Lock Guides. Move a guide 1 Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. 2 Position the pointer over the guide (the pointer turns into a double-headed arrow).
47 USING PHOTOSHOP Workspace Specify what to snap to ❖ Choose View > Snap To, and choose one or more options from the submenu: Guides Snaps to guides. Grid Snaps to the grid. You cannot select this option when the grid is hidden. Layer Snaps to the content in the layer. Slices Snaps to slice boundaries. You cannot select this option when slices are hidden. Document Bounds Snaps to the edges of the document. All Selects all Snap To options. None Deselects all Snap To options.
48 USING PHOTOSHOP Workspace Each type of library has its own file extension and default folder. Preset files are installed on your computer inside the Presets folder in the Adobe Photoshop application folder. To open the Preset Manager, choose Edit > Preset Manager. Choose an option from the Preset Type menu to switch to a specific preset type.
49 USING PHOTOSHOP Workspace • If the Preset Manager currently displays presets as thumbnails, double-click a preset, enter a new name, and click OK. • If the Preset Manager currently displays presets as a list or text only, double-click a preset, enter a new name inline, and press Enter (Windows) or Return (Mac OS). Delete preset items ❖ Do one of the following: • Select a preset item, and click Delete. • Alt-click (Windows) or Option-click (Mac OS) the items you want to delete.
50 USING PHOTOSHOP Workspace b In the View tab, under Hidden files and folders, select Show hidden files and folders. c Click OK. Preferences About preferences Numerous program settings are stored in the Adobe Photoshop CS5 Prefs file, including general display options, filesaving options, performance options, cursor options, transparency options, type options, and options for plug-ins and scratch disks. Most of these options are set in the Preferences dialog box.
51 USING PHOTOSHOP Workspace Plug-ins About plug-in modules Plug-in modules are software programs developed by Adobe Systems and by other software developers in conjunction with Adobe Systems to add features to Photoshop. A number of importing, exporting, and special-effects plug-ins come with your program. They are automatically installed in folders inside the Photoshop Plug-ins folder. You can select an additional Plug-ins folder for compatible plug-ins stored with another application.
52 USING PHOTOSHOP Workspace • (Mac OS) Choose Photoshop > About Plug-in, and then choose a plug-in from the submenu. Undo and history Use the Undo or Redo commands The Undo and Redo commands let you undo or redo operations. You can also use the History panel to undo or redo operations. ❖ Choose Edit > Undo or Edit > Redo. If an operation can’t be undone, the command is dimmed and changes to Can’t Undo.
53 USING PHOTOSHOP Workspace 3 Click OK. Using the History panel You can use the History panel to jump to any recent state of the image created during the current working session. Each time you apply a change to an image, the new state of that image is added to the panel. For example, if you select, paint, and rotate part of an image, each of those states is listed separately in the panel. When you select one of the states, the image reverts to how it looked when that change was first applied.
54 USING PHOTOSHOP Workspace • If you select a state and then change the image, eliminating the states that came after, you can use the Undo command to undo the last change and restore the eliminated states. • By default, deleting a state deletes that state and those that came after it. If you choose the Allow Non-Linear History option, deleting a state deletes only that state. Revert to a previous image state ❖ Do any of the following: • Click the name of the state.
55 USING PHOTOSHOP Workspace 2 Select an option: Automatically Create First Snapshot Automatically creates a snapshot of the initial state of the image when the document is opened. Automatically Create New Snapshot When Saving Generates a snapshot every time you save. Allow Non-Linear History Makes changes to a selected state without deleting the states that come after. Normally, when you select a state and change the image, all states that come after the selected one are deleted.
56 USING PHOTOSHOP Workspace Detailed Includes the text that appears in the Actions panel in addition to the Concise information. If you need a complete history of all changes made to files, choose Detailed. Make a snapshot of an image The Snapshot command lets you make a temporary copy (or snapshot) of any state of the image. The new snapshot is added to the list of snapshots at the top of the History panel. Selecting a snapshot lets you work from that version of the image.
57 USING PHOTOSHOP Workspace • To rename a snapshot, double-click the snapshot and enter a name. • To delete a snapshot, select the snapshot and either choose Delete from the panel menu, click the Delete icon , or drag the snapshot to the Delete icon. Paint with a state or snapshot of an image The History Brush tool lets you paint a copy of one image state or snapshot into the current image window. This tool makes a copy, or sample, of the image and then paints with it.
58 USING PHOTOSHOP Workspace The following guidelines can help you assign scratch disks: • For best performance, scratch disks should be on a different drive than any large files you are editing. • Scratch disks should be on a different drive than the one your operating system uses for virtual memory. • RAID disks/disk arrays are good choices for dedicated scratch disk volumes. • Drives with scratch disks should be defragmented regularly.
59 USING PHOTOSHOP Workspace If OpenGL is present on your system, you can enable it in the Preferences dialog box. 1 Do one of the following: • (Windows) Choose Edit > Preferences > Performance. • (Mac OS) Choose Photoshop > Preferences > Performance. 2 In the GPU Settings section, select Enable OpenGL Drawing. 3 Click OK. The preference affects subsequently opened images. No restart is necessary.
60 Chapter 4: Understanding and opening images For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Image essentials About bitmap images Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent images. Each pixel is assigned a specific location and color value. When working with bitmap images, you edit pixels rather than objects or shapes.
61 USING PHOTOSHOP Understanding and opening images You can freely move or modify vector graphics without losing detail or clarity, because they are resolutionindependent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application. As a result, vector graphics are the best choice for artwork, such as logos, that will be used at various sizes and in various output media.
62 USING PHOTOSHOP Understanding and opening images More Help topics “About masks and alpha channels” on page 236 “About spot colors” on page 458 Bit depth Bit depth specifies how much color information is available for each pixel in an image. The more bits of information per pixel, the more available colors and more accurate color representation. For example, an image with a bit depth of 1 has pixels with two possible values: black and white.
63 USING PHOTOSHOP Understanding and opening images Image size and resolution For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. About pixel dimensions and printed image resolution Pixel dimensions measure the total number of pixels along an image’s width and height. Resolution is the fineness of detail in a bitmap image and is measured in pixels per inch (ppi). The more pixels per inch, the greater the resolution.
64 USING PHOTOSHOP Understanding and opening images A B C Pixel dimensions equal document (output) size times resolution. A. Original dimensions and resolution B. Decreasing the resolution without changing pixel dimensions (no resampling) C. Decreasing the resolution at same document size decreases pixel dimensions (resampling). Quickly display the current image size If you want to quickly display a document’s current image size, use the information box at the bottom of the document window.
65 USING PHOTOSHOP Understanding and opening images About monitor resolution Your monitor’s resolution is described in pixel dimensions. For example, if your monitor resolution and your photo’s pixel dimensions are the same size, the photo will fill the screen when viewed at 100%. How large an image appears on-screen depends on a combination of factors—the pixel dimensions of the image, the monitor size, and the monitor resolution setting.
66 USING PHOTOSHOP Understanding and opening images A B C D Screen frequency examples A. 65 lpi: Coarse screen typically used to print newsletters and grocery coupons B. 85 lpi: Average screen typically used to print newspapers C. 133 lpi: High-quality screen typically used to print four-color magazines D.
67 USING PHOTOSHOP Understanding and opening images Keep in mind that resampling can result in poorer image quality. For example, when you resample an image to larger pixel dimensions, the image loses some detail and sharpness. Applying the Unsharp Mask filter to a resampled image can help refocus the image details. You can avoid the need for resampling by scanning or creating the image at a sufficiently high resolution.
68 USING PHOTOSHOP Understanding and opening images 7 dialog box, with the old file size in parentheses. 8 Make sure that Resample Image is selected, and choose an interpolation method. 9 If your image has layers with styles applied to them, select Scale Styles to scale the effects in the resized image. This option is available only if you selected Constrain Proportions. 10 When you finish setting options, click OK.
69 USING PHOTOSHOP Understanding and opening images Determine a suggested resolution for an image If you plan to print your image using a halftone screen, the range of suitable image resolutions depends on the screen frequency of your output device. Photoshop can determine a recommended image resolution based on the screen frequency of your output device. Note: If your image resolution is more than 2.5 times the screen ruling, an alert message appears when you try to print the image.
70 USING PHOTOSHOP Understanding and opening images Import images from a digital camera using WIA (Windows only) Certain digital cameras import images using Windows Image Acquisition (WIA) support. When you use WIA, Photoshop works with Windows and your digital camera or scanner software to import images directly into Photoshop. 1 Choose File > Import > WIA Support. 2 Choose a destination in which to save your image files on your computer. 3 Make sure that Open Acquired Images in Photoshop is selected.
71 USING PHOTOSHOP Understanding and opening images Import images using a TWAIN interface TWAIN is a cross-platform interface for acquiring images captured by certain scanners, digital cameras, and frame grabbers. 1 Install the TWAIN software provided by the device manufacturer. 2 Download the Photoshop TWAIN plug-in for Windows or Mac OS. The plug-in supports 32-bit Windows and Mac OS. It also supports 64-bit Mac OS 10.6 if the scanner manufacturer provides 64-bit drivers.
72 USING PHOTOSHOP Understanding and opening images To match the width, height, resolution, color mode, and bit depth of the new image to that of any open image, choose a filename from the bottom section of the Preset menu. 5 Set the Resolution, Color Mode, and bit depth. If you’ve copied a selection to the clipboard, the image dimensions and resolution are automatically based on that image data. 6 Select a canvas color option: White Fills the background layer with white, the default background color.
73 USING PHOTOSHOP Understanding and opening images Note: Photoshop uses plug-in modules to open and import many file formats. If a file format does not appear in the Open dialog box or in the File > Import submenu, you may need to install the format’s plug-in module. Sometimes Photoshop may not be able to determine the correct format for a file. This can happen, for example, because the file has been transferred between two operating systems.
74 USING PHOTOSHOP Understanding and opening images Open PDF files Adobe Portable Document Format (PDF) is a versatile file format that can represent both vector and bitmap data. It has electronic document search and navigation features. PDF is the primary format for Adobe Illustrator and Adobe Acrobat. Some PDF files contain a single image, and others contain multiple pages and images. When you open a PDF file in Photoshop, you can choose which pages or images to open and specify rasterization options.
75 USING PHOTOSHOP Understanding and opening images • To scale the pages exactly to the Width and Height values, deselect Constrain Proportions. Some distortion might occur when the pages are scaled. When more than one page is selected, the Width and Height text boxes display the maximum width and height values of the selected pages. All pages are rendered at their original size if Constrain Proportions is selected and you don’t change the Width and Height values.
76 USING PHOTOSHOP Understanding and opening images Placing files The Place command adds a photo, art, or any Photoshop-supported file as a Smart Object to your document. Smart Objects can be scaled, positioned, skewed, rotated, or warped without degrading the image. Place a file in Photoshop 1 Open the Photoshop document that is the destination for the placed art or photo. 2 Do one of the following: • (Photoshop) Choose File > Place, select the file you want to place, and click Place.
77 USING PHOTOSHOP Understanding and opening images • Click Cancel in the options bar, or press Esc to cancel the placement. More Help topics “Scale, rotate, skew, distort, apply perspective, or warp” on page 180 “Warp an item” on page 183 Place PDF or Illustrator files in Photoshop When you place a PDF or Adobe Illustrator file, use the Place PDF dialog box to set options for placing the artwork. 1 With the destination Photoshop document open, place a PDF or Adobe Illustrator file.
78 USING PHOTOSHOP Understanding and opening images Note: If the PDF and the AICB (No Transparency Support) options are turned off in the File Handling & Clipboard preferences of Adobe Illustrator, the art is automatically rasterized as it’s pasted into the Photoshop document. You can skip the rest of the steps in this procedure.
79 USING PHOTOSHOP Understanding and opening images A C B Merging images of different exposures to create an HDR image A. Image with shadow detail but highlights clipped B. Image with highlight detail but shadows clipped C. HDR image containing the dynamic range of the scene In Photoshop, the luminance values of an HDR image are stored using a floating-point numeric representation that’s 32 bits long (32-bits-per-channel).
80 USING PHOTOSHOP Understanding and opening images • Vary the shutter speed to create different exposures. Changing the aperture changes the depth of field in each exposure and can produce lower-quality results. Changing the ISO or aperture may also cause noise or vignetting in the image. • In general, don’t use your camera’s auto-bracket feature, because the exposure changes are usually too small.
81 USING PHOTOSHOP Understanding and opening images Options for 16- or 8-bit images HDR images contain luminance levels that far exceed the dynamic range that 16- or 8-bpc images can store. To produce an image with the dynamic range you want, adjust exposure and contrast when converting from 32-bpc to lower bit depths. Choose one of the following tone-mapping methods: Local Adaptation Adjusts HDR tonality by adjusting local brightness regions throughout the image.
82 USING PHOTOSHOP Understanding and opening images Compensate for moving objects If images have different content due to moving objects like cars, people, or foliage, select Remove Ghosts in the Merge To HDR Pro dialog box. Photoshop displays a green outline around the thumbnail with the best tonal balance, identifying the base image. Moving objects found in other images are removed.
83 USING PHOTOSHOP Understanding and opening images 3 If you chose Exposure And Gamma, move the Exposure and Gamma sliders to adjust the brightness and contrast of the image preview. 4 Click OK. You can also adjust the preview of an HDR image open in Photoshop by clicking the triangle in the status bar of the document window and choosing 32-Bit Exposure from the pop-up menu. Move the slider to set the white point for viewing the HDR image.
84 USING PHOTOSHOP Understanding and opening images Display the HDR Color Picker ❖ With a 32-bpc image open, do one of the following: • In the toolbox, click the foreground or background color selection box. • In the Color panel, click the Set • Foreground Color • or Set • Background Color • selection box. The Color Picker is also available when features let you choose a color.
85 USING PHOTOSHOP Understanding and opening images When editing or painting on HDR images, you can preview your work at different exposure settings using either the 32-Bit Exposure slider in the document info area or the 32-Bit Preview Options dialog box (View > 32-Bit Preview Options). The HDR Color Picker also lets you preview your selected foreground color at different intensity settings, to match different exposure settings in an HDR image. 1 Open an HDR image.
86 USING PHOTOSHOP Understanding and opening images Modes RGB Color, Grayscale, conversion to 8 Bits/Channel or 16 Bits/Channel. Pixel Aspect Ratio Support for square and non-square documents. Selections Invert, Modify Border, Transform Selection, Save Selection and Load Selection. Tools All tools in the toolbox except: Magnetic Lasso, Magic Wand, Spot Healing Brush, Healing Brush, Red Eye, Color Replacement, Art History Brush, Magic Eraser, Background Eraser, Paint Bucket, Dodge, Burn, and Sponge.
87 Chapter 5: Color fundamentals For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. About color Understanding color Knowing how colors are created and how they relate to each other lets you work more effectively in Photoshop. Instead of achieving an effect by accident, you’ll produce consistent results thanks to an understanding of basic color theory.
88 USING PHOTOSHOP Color fundamentals C M Y K Subtractive colors (CMYK) C. Cyan M. Magenta Y. Yellow K. Black The color wheel If you’re new to adjusting color components, it helps to keep a standard color wheel diagram on hand when you work on color balance. You can use the color wheel to predict how a change in one color component affects other colors and also how changes translate between RGB and CMYK color models. 0/360 R M Y 270 90 B G C 180 Color wheel R. Red Y. Yellow G. Green C.
89 USING PHOTOSHOP Color fundamentals Adobe RGB , sRGB, ProPhoto RGB, and so on. Each device, like your monitor or printer, has its own color space and can only reproduce colors in its gamut. When an image moves from one device to another, image colors may change because each device interprets the RGB or CMYK values according to its own color space. You can use color management when moving images to ensure that most colors are the same or similar enough so they appear consistent.
90 USING PHOTOSHOP Color fundamentals RGB Color mode Photoshop RGB Color mode uses the RGB model, assigning an intensity value to each pixel. In 8-bits-per-channel images, the intensity values range from 0 (black) to 255 (white) for each of the RGB (red, green, blue) components in a color image. For example, a bright red color has an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of neutral gray.
91 USING PHOTOSHOP Color fundamentals The Lab Color mode has a lightness component (L) that can range from 0 to 100. In the Adobe Color Picker and Color panel, the a component (green-red axis) and the b component (blue-yellow axis) can range from +127 to –128. Lab images can be saved in Photoshop, Photoshop EPS, Large Document Format (PSB), Photoshop PDF, Photoshop Raw, TIFF, Photoshop DCS 1.0, or Photoshop DCS 2.0 formats.
92 USING PHOTOSHOP Color fundamentals • Color channels in the original image become spot color channels in the converted image. • Converting a CMYK image to Multichannel mode creates cyan, magenta, yellow, and black spot channels. • Converting an RGB image to Multichannel mode creates cyan, magenta, and yellow spot channels. • Deleting a channel from an RGB, CMYK, or Lab image automatically converts the image to Multichannel mode, flattening layers.
93 USING PHOTOSHOP Color fundamentals Convert an image to Bitmap mode Converting an image to Bitmap mode reduces the image to two colors, greatly simplifying the color information in the image and reducing its file size. When converting a color image to Bitmap mode, first convert it to Grayscale mode. This removes the hue and saturation information from the pixels and leaves just the brightness values.
94 USING PHOTOSHOP Color fundamentals Original grayscale image, and 50% Threshold conversion method Pattern Dither conversion method, and Diffusion Dither conversion method Convert a Bitmap mode image to Grayscale mode You can convert a Bitmap mode image to Grayscale mode in order to edit it. Keep in mind that a Bitmap mode image edited in Grayscale mode may not look the same when you convert it back to Bitmap mode.
95 USING PHOTOSHOP Color fundamentals Conversion options for indexed-color images When converting an RGB image to indexed color, you can specify a number of conversion options in the Indexed Color dialog box. Palette Type A number of palette types are available for converting an image to indexed color. For the Perceptual, Selective, and Adaptive options, you can choose using a local palette based on the current image’s colors.
96 USING PHOTOSHOP Color fundamentals • Previous Uses the custom palette from the previous conversion, making it easy to convert several images with the same custom palette. Number Of Colors For the Uniform, Perceptual, Selective, or Adaptive palette, you can specify the exact number of colors to be displayed (up to 256) by entering a value for Colors. The Colors text box controls only how the indexed color table is created. Adobe Photoshop still treats the image as an 8-bit, 256-color image.
97 USING PHOTOSHOP Color fundamentals Edit colors and assign transparency with a color table You can edit colors in the color table to produce special effects, or assign transparency in the image to a single color in the table. 1 Open the indexed-color image. 2 Choose Image > Mode > 3 Color Table 4 . 5 To change a single color, click the color and choose a new color in the Color Picker. 6 To change a range of colors, drag in the table to choose the range of colors you want to change.
98 USING PHOTOSHOP Color fundamentals Spectrum Displays a palette based on the colors produced as white light passes through a prism—from violet, blue, and green to yellow, orange, and red. System (Mac OS) Displays the standard Mac OS 256-color system palette. System (Windows) Displays the standard Windows 256-color system palette. Save and load color tables You use the Save and Load buttons in the Color Table dialog box to save your indexed color tables for use with other Adobe Photoshop images.
99 USING PHOTOSHOP Color fundamentals Choose colors in the toolbox The current foreground color appears in the upper color selection box in the toolbox; the current background color appears in the lower box. A C B D Foreground and background color boxes in toolbox A. Default Colors icon B. Switch Colors icon C. Foreground color box D. Background color box • To change the foreground color, click the upper color selection box in the toolbox, and then choose a color in the Adobe Color Picker.
100 USING PHOTOSHOP Color fundamentals 5 Do one of the following: • To select a new foreground color, click in the image. Alternatively, position the pointer over the image, press the mouse button, and drag anywhere on the screen. The foreground color selection box changes dynamically as you drag. Release the mouse button to pick the new color. • To select a new background color, Alt-click (Windows) or Option-click (Mac OS) in the image.
101 USING PHOTOSHOP Color fundamentals More Help topics “About the HDR Color Picker” on page 83 Display the Color Picker • In the toolbox, click the foreground or background color selection box. • In the Color panel, click the Set • Foreground Color • or Set • Background Color • selection box. The Color Picker is also available when features let you choose a color. For example, by clicking the color swatch in the options bar for some tools, or the eyedroppers in some color adjustment dialog boxes.
102 USING PHOTOSHOP Color fundamentals 2 To visually select a color using the color slider and color field, click either R, G, or B and then adjust the slider and color field. The color you click appears in the color slider with 0 (none of that color) at the bottom and 255 (maximum amount of that color) at the top. The color field displays the range of the other two components, one on the horizontal axis and one on the vertical axis.
103 USING PHOTOSHOP Color fundamentals A B Choosing color with HUD picker A. Shade B. Hue To instead select a color from the image, hold down Alt (Windows) or Option (Mac OS) to access the Eyedropper tool. Color panel overview The Color panel (Window > Color) displays the color values for the current foreground and background colors. Using the sliders in the Color panel, you can edit the foreground and background colors using different color models.
104 USING PHOTOSHOP Color fundamentals • Current Colors to display the spectrum of colors between the current foreground color and the current background color. 2 To display only web-safe colors, choose Make Ramp Web Safe. To change the spectrum of the color ramp quickly, Shift-click in the color ramp until you see the spectrum you want. Select a color in the Color panel 1 In the Color panel, click the foreground or background color box to make it active (outlined in black).
105 USING PHOTOSHOP Color fundamentals Change a non-web color to a web-safe color If you select a non-web color, an alert cube appears next to the color rectangle in the Adobe Color Picker. ❖ Click the alert cube to select the closest web color. (If no alert cube appears, the color you chose is web-safe.) Select a web-safe color using the Color panel 1 Click the Color panel tab, or choose Window > Color to view the Color panel.
106 USING PHOTOSHOP Color fundamentals 3 Locate the color you want by entering the ink number or by dragging the triangles along the scroll bar. 4 Click the desired color patch in the list. More Help topics “About spot colors” on page 458 Spot color libraries The Adobe Color Picker supports the following color systems: ANPA-COLOR Commonly used for newspaper applications. The ANPA-COLOR ROP Newspaper Color Ink Book contains samples of the ANPA colors.
107 USING PHOTOSHOP Color fundamentals For more information, see your operating system documentation. Add and delete color swatches Color swatches can be added or deleted from the Swatches panel. You can also add a color swatch from the Color Picker by clicking the Add To Swatches button. Add a color to the Swatches panel 1 Decide which color you want to add and make it the foreground color. 2 Do one of the following: • Click the New Swatch button in the Swatches panel.
108 USING PHOTOSHOP Color fundamentals Replace Swatches Replaces the current list with a different library. Select the library file you want to use, and click Load. Photoshop gives your the option of saving the current set of swatches before replacing them. Name of a color library Loads a specific color system listed in the lower part of the Swatches panel menu. You can either replace or append the current set of colors with the library you’re loading.
109 Chapter 6: Color and tonal adjustments For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Viewing histograms and pixel values About histograms A histogram illustrates how pixels in an image are distributed by graphing the number of pixels at each color intensity level.
110 USING PHOTOSHOP Color and tonal adjustments A B C D E Histogram panel (Expanded view) A. Channel menu B. panel menu C. Uncached Refresh button D. Cached Data Warning icon E. Statistics Adjust the view of the Histogram panel ❖ Choose a view from the Histogram panel menu. Expanded View Displays the histogram with statistics.
111 USING PHOTOSHOP Color and tonal adjustments View a specific channel in the histogram If you chose the Expanded View or All Channels View of the Histogram panel, you can choose a setting from the Channel menu. Photoshop remembers the channel setting if you switch from either Expanded View or All Channels View back to Compact View. • Choose an individual channel to display a histogram of the channel, including color channels, alpha channels, and spot channels.
112 USING PHOTOSHOP Color and tonal adjustments Cache Level Shows the current image cache used to create the histogram. When the cache level is higher than 1, the histogram is displayed faster. In this case, the histogram is derived from a representative sampling of pixels in the image (based on the magnification). The original image is cache level 1. At each level above level 1, four adjacent pixels are averaged to arrive at a single pixel value.
113 USING PHOTOSHOP Color and tonal adjustments • Choose Uncached Refresh from the Histogram panel menu. For information about cache level, see “Histogram panel overview” on page 109. View color values in an image You can use the Info panel to see the color value of pixels as you make color corrections. When you work with a color adjustment dialog box or Adjustments panel, the Info panel displays two sets of color values for the pixels under the pointer.
114 USING PHOTOSHOP Color and tonal adjustments View color information while adjusting color You can view color information for specific pixels in the image while adjusting color with an adjustment dialog box or the Adjustments panel. 1 Open an adjustment dialog box (under Image > Adjustments) or add an adjustment using the Adjustments panel. 2 As you make adjustments, view the before and after color values in the Info panel. Move the pointer over the image to view color values at the pointer location.
115 USING PHOTOSHOP Color and tonal adjustments Understanding color adjustments Before making color and tonal adjustments The powerful tools in Photoshop can enhance, repair, and correct the color and tonality (lightness, darkness, and contrast) in an image. Here are some items to consider before making color and tonal adjustments. • Work with a monitor that’s calibrated and profiled. For critical image editing, calibration and profiling is essential.
116 USING PHOTOSHOP Color and tonal adjustments Begin tonal corrections by adjusting the values of the extreme highlight and shadow pixels in the image, setting an overall tonal range for the image. This process is known as setting the highlights and shadows or setting the white and black points. Setting the highlights and shadows typically redistributes the midtone pixels appropriately. However, you might need to adjust your midtones manually.
117 USING PHOTOSHOP Color and tonal adjustments The Adjustments panel For a video on the Adjustments panel, see www.adobe.com/go/lrvid4002_ps. Apply a correction using the Adjustments panel 1 In the Adjustments panel, click an adjustment icon or an adjustment preset, or choose an adjustment from the panel menu. 2 If necessary, use the controls and options in the Adjustments panel to apply the settings you want.
118 USING PHOTOSHOP Color and tonal adjustments Save and apply presets using the Adjustments panel The Adjustments panel has a list of presets for common color and tonal adjustments. In addition, you can save and apply presets for Levels, Curves, Exposure, Hue/Saturation, Black & White, Channel Mixer, and Selective Color. When you save a preset, it’s added to the presets list. • To save adjustment settings as a preset, choose the Save Preset option from the Adjustments panel menu.
119 USING PHOTOSHOP Color and tonal adjustments Selective Color command Adjusts the amount of process colors in individual color components. See “Make selective color adjustments” on page 145. Channel Mixer command Modifies a color channel and makes color adjustments not easily done with other color adjustment tools. See “Mix color channels” on page 143.
120 USING PHOTOSHOP Color and tonal adjustments Reapply adjustment settings Once an adjustment setting is saved, it’s stored as a preset and can be reapplied. • In the Adjustments panel, expand a set of adjustment presets and select from the menu list. • In an adjustment dialog box, click Load. Locate and load the saved adjustment file. In the Curves, Black & White, Exposure, Hue/Saturation, Selective Color, Levels, or Channel Mixer dialog boxes, saved presets appear in the Presets menu.
121 USING PHOTOSHOP Color and tonal adjustments Photoshop automatically brings all colors into gamut when you convert an RGB image to CMYK. Note that some detail in the image may be lost, depending on your conversion options. You can identify the out-of-gamut colors in an image or correct them manually before converting to CMYK. You can use the Gamut Warning command to highlight out-of-gamut colors.
122 USING PHOTOSHOP Color and tonal adjustments D C A B Levels dialog box A. Shadows B. Midtones C. Highlights D. Apply Auto Color Correction Adjust tonal range using Levels The outer two Input Levels sliders map the black point and white point to the settings of the Output sliders. By default, the Output sliders are at level 0, where the pixels are black, and level 255, where the pixels are white.
123 USING PHOTOSHOP Color and tonal adjustments Adjusting black and white points with Levels Input sliders 5 (Optional) To identify areas in the image that are being clipped (completely black or completely white), do one of the following: • Hold down Alt (Windows) or Option (Mac OS) as you drag the black point and white point sliders. • Choose Show Clipping For Black/White Points from the panel menu. 6 To adjust midtones, use the middle Input slider to make a gamma adjustment.
124 USING PHOTOSHOP Color and tonal adjustments Note: You can also choose Image > Adjustments > Levels. But keep in mind that this method makes direct adjustments to the image layer and discards image information. Settings are adjusted in the Levels dialog box. 2 In the Adjustments panel, do one of the following to neutralize a color cast: • Click the Set Gray Point Eyedropper tool . Then click in a part of the image that is neutral gray. • Click Auto to apply the default automatic levels adjustment.
125 USING PHOTOSHOP Color and tonal adjustments A B D C E F Default Curves settings for CMYK and RGB images A. Default orientation of CMYK tonal output bar B. CMYK Input and Output values in percentages C. Default orientation of CMYK tonal input bar D. Default orientation of RGB tonal output bar E. RGB Input and Output values in intensity levels F. Default orientation of RGB tonal input bar Set Curve display options You can control the curve grid display using the Curve display options.
126 USING PHOTOSHOP Color and tonal adjustments Adjust color and tonality with Curves You can adjust the tonality and color of an image by changing the shape of the curve in the Curves adjustment. Moving the curve upward or downward lightens or darkens the image, depending on whether you’ve set Curves to display levels or percentages. The steeper sections of the curve represent areas of higher contrast; flatter sections represent areas of lower contrast.
127 USING PHOTOSHOP Color and tonal adjustments With the On-image adjustment tool selected, click three areas of an image to add points to the curve. Increased image contrast resulting from lightening the highlights and darkening displayed by an S-curve. To determine the lightest and darkest areas in an RGB image, drag across the image with the On-image adjustment tool. The Curves graph displays the intensity values of the area under the pointer, and the corresponding location on the curve.
128 USING PHOTOSHOP Color and tonal adjustments 2 To preview clipping as you adjust black and white points, do one of the following: • Hold down Alt (Windows) or Option (Mac OS) as you drag the sliders. • Choose Show Clipping For Black/White Points from the Adjustments panel menu, or Show Clipping in the Curves dialog box. Set black and white points using the eyedropper tools 1 Double-click the Set Black Point Eyedropper tool.
129 USING PHOTOSHOP Color and tonal adjustments 2 Click the Levels or Curves icon in the Adjustments panel, or choose Layer > New Adjustment Layer, and then choose Levels or Curves. Note: You can also choose Image > Adjustments, and then choose Level or Curves. You would complete the following steps in either the Level or Curves dialog box. But keep in mind that this method makes direct adjustments to the image layer and discards image information.
130 USING PHOTOSHOP Color and tonal adjustments 0/360 B 270 A 90 180 Color wheel A. Saturation B. Hue You can also select the On-image adjustment tool in the Adjustments panel and then Ctrl-click (Windows) or Command-click (Mac OS) on a color in the image. Drag left or right in the image to modify the hue value. 4 For Saturation, enter a value or drag the slider to the right to increase the saturation or to the left to decrease it.
131 USING PHOTOSHOP Color and tonal adjustments • Drag the center area to move the entire adjustment slider (which includes the triangles and vertical bars) to select a different color area. • Drag one of the vertical white bars to adjust the range of the color component. Moving a vertical bar from the center of the adjustment slider and closer to a triangle increases the color range and decreases the fall-off.
132 USING PHOTOSHOP Color and tonal adjustments Adjust color saturation using Vibrance Vibrance adjusts the saturation so that clipping is minimized as colors approach full saturation. This adjustment increases the saturation of less-saturated colors more than the colors that are already saturated. Vibrance also prevents skintones from becoming over saturated. 1 Do one of the following: • In the Adjustments panel, click the Vibrance icon . • Choose Layer > New Adjustment Layer > Vibrance.
133 USING PHOTOSHOP Color and tonal adjustments Color Sliders Adjust the gray tones of specific colors in an image. Drag a slider left to darken or right to lighten the gray tones of an image’s original color. • To adjust a particular color component, select the On-image adjustment tool and then click in the image. Drag left or right to modify the color slider for the predominant color at that location, making it darker or brighter in the image.
134 USING PHOTOSHOP Color and tonal adjustments Note: To increase shadow detail in an otherwise well-exposed image, try values in the 0-25% range for Shadows Amount and Shadows Tonal Width. 6 (Optional) Click the 7 Save As 8 Defaults button to save your current settings and make them the default settings for the Shadow/Highlights command. To restore the original default settings, hold down the Shift key while clicking the 9 Save As 10 Defaults button.
135 USING PHOTOSHOP Color and tonal adjustments not to make the clipping values too large, because doing so reduces detail in the shadows or highlights (the intensity values are clipped and rendered as pure black or pure white). Add contrast to a photo You can add contrast to an image in two ways, depending on the problem. If the image needs overall contrast because it doesn’t use the full tonal range, click the Levels icon in the Adjustments panel.
136 USING PHOTOSHOP Color and tonal adjustments Note: You can also choose Image > Adjustments > Exposure. But keep in mind that this method makes direct adjustments to the image layer and discards image information. Adjustment layers for 32-bit images are available in Photoshop Extended only. 2 In the Adjustments panel, set any of the following options: Exposure Adjusts the highlight end of the tonal scale with minimal effect in the extreme shadows.
137 USING PHOTOSHOP Color and tonal adjustments Using Levels to preserve highlight and shadow details for printing The Output Levels sliders let you set the shadow and highlight levels to compress the image into a range less than 0 to 255. Use this adjustment to preserve the shadow and highlight details when an image is being printed on a press whose characteristics you know.
138 USING PHOTOSHOP Color and tonal adjustments 4 To assign highlight values to the lightest area of the image, double-click the Set White Point Eyedropper tool in the Levels or Curves adjustment to display the Color Picker. Enter the values you want to assign to the lightest area in the image, and click OK. Then click the highlight you identified in step 3. If you accidentally click the wrong highlight, click the Reset button in the Adjustments panel.
139 USING PHOTOSHOP Color and tonal adjustments Matching, replacing, and mixing colors Match the color in different images The Match Color command matches colors between multiple images, between multiple layers, or between multiple selections. It also lets you adjust the colors in an image by changing the luminance, changing the color range, and neutralizing a color cast. The Match Color command works only in RGB mode. When you use the Match Color command, the pointer becomes the Eyedropper tool.
140 USING PHOTOSHOP Color and tonal adjustments 7 To adjust the color saturation in the target image, adjust the Color Intensity slider. Alternatively, enter a value in the Color Intensity box. The maximum value is 200, the minimum is 1 (which produces a grayscale image), and the default is 100. 8 To control the amount of adjustment applied to the image, move the Fade slider. Moving the slider to the right reduces the adjustment. 9 Click OK.
141 USING PHOTOSHOP Color and tonal adjustments Remove a color cast with Match Color The Match Color command can adjust the brightness, color saturation, and color balance in an image. The advanced algorithms in the Match Color command give you better control over luminance and color components of the image. Because you are adjusting the color in a single image rather than matching the colors between two images, the image you’re correcting is both the source and the target image.
142 USING PHOTOSHOP Color and tonal adjustments The selection becomes a mask on the adjustment layer. 3 In the Adjustments panel, change Hue and Saturation settings to replace the object’s color. If original color tints the new color, select Colorize, and readjust settings. (See “Adjust hue and saturation” on page 129.) Leave the Lightness setting at zero to maintain contrast. To maintain both contrast and saturation, select the Hue blending mode for the adjustment layer.
143 USING PHOTOSHOP Color and tonal adjustments Use the Color Replacement tool The Color Replacement tool paints over a targeted color with a replacement color. While this tool is good for quick edits, it often proves unsatisfactory, particularly with dark colors and black. If you don’t get good results after experimenting with tool options, see “Apply a Hue/Saturation adjustment to selected objects” on page 141. The Color Replacement tool doesn’t work in Bitmap, Indexed, or Multichannel color mode.
144 USING PHOTOSHOP Color and tonal adjustments More Help topics “Save adjustment settings” on page 119 “Reapply adjustment settings” on page 120 Mix color channels 1 In the Channels panel, select the composite color channel. 2 To access the Channel Mixer adjustment, do one of the following: • Click the Channel Mixer icon or a Channel Mixer preset in the Adjustments panel. • Choose Layer > New Adjustment Layer > Channel Mixer. Click OK in the New Layer dialog box.
145 USING PHOTOSHOP Color and tonal adjustments Note: You can also choose Image > Adjustments > Channel Mixer. But keep in mind that this method makes direct adjustments to the image layer and discards image information. 3 To control the amount of detail and contrast in the images before you convert them to grayscale, use the source channel sliders. Before adjusting the percentages of the source channels, view how each source channel affects the monochrome image.
146 USING PHOTOSHOP Color and tonal adjustments Note: You can also choose Image > Adjustments > Selective Color. But keep in mind that this method makes direct adjustments to the image layer and discards image information. 3 In the Adjustments panel, choose the color you want to adjust from the Colors menu. 4 Choose a method from the Adjustments panel menu: Relative Changes the existing amount of cyan, magenta, yellow, or black by its percentage of the total.
147 USING PHOTOSHOP Color and tonal adjustments Warming Filter (81) and Cooling Filter (82) Use light-balancing filters for minor adjustments in the color quality of an image. The Warming Filter (81) makes the image warmer (more yellow), and the Cooling Filter (82) makes the image cooler (bluer). Individual Colors Apply a hue adjustment to the image depending on the color preset you choose. Your choice of color depends on how you’re using the Photo Filter adjustment.
148 USING PHOTOSHOP Color and tonal adjustments Note: Use Legacy is automatically selected when editing Brightness/Contrast adjustment layers created with previous versions of Photoshop. 1 Do one of the following: • Click the Brightness/Contrast icon in the Adjustments panel. • Choose Layer > New Adjustment Layer > Brightness/Contrast. Click OK in the New Layer dialog box. Note: You can also choose Image > Adjustments > Brightness/Contrast.
149 USING PHOTOSHOP Color and tonal adjustments By default, when identifying the lightest and darkest pixels in an image, Auto Contrast clips the white and black pixels by 0.5%—that is, it ignores the first 0.5% of either extreme. You can change this default using the Auto Color Correction Options found in the Levels and the Curves dialog boxes. Auto Contrast can improve the appearance of many photographic or continuous-tone images. It does not improve flat-color images.
150 USING PHOTOSHOP Color and tonal adjustments Set Auto adjustment options The Auto Color Correction options control the automatic tone and color corrections available in both Levels and Curves. It also controls the settings for the Auto Tone, Auto Contrast, and Auto Color commands. The Auto Color Correction options let you specify shadow and highlight clipping percentages, and assign color values to shadows, midtones, and highlights.
151 USING PHOTOSHOP Color and tonal adjustments • To save the settings as the default, select Save as Defaults, and then click OK. The next time you access Levels or Curves in the Adjustments panel, you can apply the same setting by clicking the Auto button. The Auto Tone, Auto Contrast, and Auto Color commands also use the default clipping percentages.
152 USING PHOTOSHOP Color and tonal adjustments Using the Equalize command The Equalize command redistributes the brightness values of the pixels in an image so that they more evenly represent the entire range of brightness levels. Equalize remaps pixel values in the composite image so that the brightest value represents white, the darkest value represents black, and intermediate values are evenly distributed throughout the grayscale.
153 USING PHOTOSHOP Color and tonal adjustments Create a two-valued black and white image The Threshold adjustment converts grayscale or color images to high-contrast, black-and-white images. You can specify a certain level as a threshold. All pixels lighter than the threshold are converted to white; all pixels darker are converted to black. 1 Do one of the following: • Click the Threshold icon in the Adjustments panel. • Choose Layer > New Adjustment Layer > Threshold.
154 USING PHOTOSHOP Color and tonal adjustments 2 In the Adjustments panel, specify the gradient fill you want to use: • To choose from a list of gradient fills, click the triangle to the right of the gradient fill. Click to select the desired gradient fill, and then click in a blank area of the Adjustments panel to dismiss the list. For information on customizing the gradient fill list, see “Work with the Preset Manager” on page 47.
155 Chapter 7: Retouching and transforming For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Adjusting crop, rotation, and canvas Crop images Cropping is the process of removing portions of an image to create focus or strengthen the composition. You can crop and the Crop command. You can also trim pixels using the Crop And Straighten and an image using the Crop tool the Trim commands.
156 USING PHOTOSHOP Retouching and transforming • To scale the marquee, drag a handle. To constrain the proportions, hold down Shift as you drag a corner handle. • To rotate the marquee, position the pointer outside the bounding box (the pointer turns into a curved arrow), and drag. To move the center point around which the marquee rotates, drag the circle at the center of the bounding box. (The marquee can’t be rotated in Bitmap mode.
157 USING PHOTOSHOP Retouching and transforming A B C D Steps to transform perspective A. Draw initial cropping marquee B. Adjust cropping marquee to match the object’s edges C. Extend the cropping bounds D. Final image 1 Select the Crop tool and set the crop mode. 2 Drag the cropping marquee around an object that was rectangular in the original scene (although it doesn’t appear rectangular in the image). You’ll use the edges of this object to define the perspective in the image.
158 USING PHOTOSHOP Retouching and transforming For best results, you should keep 1/8 inch between the images in your scan, and the background (typically the scanner bed) should be a uniform color with little noise. The Crop and Straighten Photos command works best on images with clearly delineated outlines. If the Crop and Straighten Photos command cannot properly process the image file, use the Crop tool. 1 Open the scanned file that contains the images you want to separate.
159 USING PHOTOSHOP Retouching and transforming A D B C E F Rotating images A. Flip Horizontal B. Original image C. Flip Vertical D. Rotate 90° CCW E. Rotate 180° F. Rotate 90° CW ❖ Choose Image > Image Rotation, and choose one of the following commands from the submenu: 180° Rotates the image by a half-turn. 90° CW Rotates the image clockwise by a quarter-turn. 90° CCW Rotates the image counterclockwise by a quarter-turn. Arbitrary Rotates the image by the angle you specify.
160 USING PHOTOSHOP Retouching and transforming 4 Choose an option from the Canvas Extension Color menu: • Foreground to fill the new canvas with the current foreground color • Background to fill the new canvas with the current background color • White, Black, or Gray to fill the new canvas with that color • Other to select a new canvas color using the Color Picker Note: You can also click the white square to the right of the Canvas Extension Color menu to open the Color Picker.
161 USING PHOTOSHOP Retouching and transforming (Photoshop Extended) For timeline-based animations, the Clone Source panel also has options for specifying the frame relationship between the sample source video/animation frame and the target video/animation frame. See also “Cloning content in video and animation frames (Photoshop Extended)” on page 489 For a video on the Clone Source panel, see www.adobe.com/go/vid0011.
162 USING PHOTOSHOP Retouching and transforming 5 (Optional) In the Clone Source panel, click a clone source button and set an additional sampling point. You can set up to five different sampling sources. The Clone Source panel saves the sampled sources until you close the document. 6 (Optional) Do any of the following in the Clone Source panel: • To scale or rotate the source that you’re cloning, enter a value for W (width), H (height), or the rotation in degrees .
163 USING PHOTOSHOP Retouching and transforming • To rotate the sample source, enter a degree value or scrub the Rotate The Clone Source icon • To reset the sample source to its original size and orientation, click the Reset Transform button . . Adjust the sample source overlay options Adjust the sample source overlay options to see the overlay and underlying images better when painting with the Clone Stamp and Healing Brush tools.
164 USING PHOTOSHOP Retouching and transforming Sampled pixels and healed image 1 Select the Healing Brush tool . 2 Click the brush sample in the options bar and set brush options in the pop-up panel: Note: If you’re using a pressure-sensitive digitizing tablet, choose an option from the Size menu to vary the size of the healing brush over the course of a stroke. Choose Pen Pressure to base the variation on the pen pressure.
165 USING PHOTOSHOP Retouching and transforming If there is a strong contrast at the edges of the area you want to heal, make a selection before you use the Healing Brush tool. The selection should be bigger than the area you want to heal but should precisely follow the boundary of contrasting pixels. When you paint with the Healing Brush tool, the selection prevents colors from bleeding in from the outside.
166 USING PHOTOSHOP Retouching and transforming The create a larger or more precise selection for the Content-Aware option, use the Edit > Fill command. (See “Content-aware, pattern, or history fills” on page 321.) 5 Select Sample All Layers in the options bar to sample data from all visible layers. Deselect Sample All Layers to sample only from the active layer. 6 Click the area you want to fix, or click and drag to smooth over imperfections in a larger area.
167 USING PHOTOSHOP Retouching and transforming 2 Do one of the following: • Drag in the image to select the area you want to repair, and select Source in the options bar. • Drag in the image to select the area from which you want to sample, and select Destination in the options bar. Note: You can also make a selection prior to selecting the Patch tool. 3 To adjust the selection, do one of the following: • Shift-drag in the image to add to the existing selection.
168 USING PHOTOSHOP Retouching and transforming Smudge image areas The Smudge tool simulates the effect you see when you drag a finger through wet paint. The tool picks up color where the stroke begins and pushes it in the direction you drag. 1 Select the Smudge tool . 2 Choose a brush tip and options for the blending mode in the options bar. 3 Select Sample All Layers in the options bar to smudge using color data from all visible layers.
169 USING PHOTOSHOP Retouching and transforming 3 Drag over the part of the image you want to sharpen. More Help topics “Sharpen filters” on page 361 “Blending mode examples” on page 314 Dodge or burn areas Used to lighten or darken areas of the image, the Dodge tool and the Burn tool are based on a traditional photographer’s technique for regulating exposure on specific areas of a print.
170 USING PHOTOSHOP Retouching and transforming More Help topics “Select a preset brush” on page 299 Correcting image distortion and noise About lens distortion Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Pincushion distortion is the opposite effect, where straight lines bend inward.
171 USING PHOTOSHOP Retouching and transforming Search Criteria Filters the Lens Profiles list. By default, profiles based on image sensor size appear first. To list RAW profiles first, click the pop-up menu , and select Prefer RAW Profiles. Lens Profiles Select a matching profile. By default, Photoshop displays only profiles that match the camera and lens used to create the image. (The camera model does not have to match perfectly.
172 USING PHOTOSHOP Retouching and transforming Note: To avoid unintended scaling when adjusting perspective or angle settings, deselect Auto Scale Image on the Auto Correction tab. Scale Adjusts the image scale up or down. The image pixel dimensions aren’t changed. The main use is to remove blank areas of the image caused by pincushion, rotation, or perspective corrections. Scaling up effectively results in cropping the image and interpolating up to the original pixel dimensions.
173 USING PHOTOSHOP Retouching and transforming Luminance noise may be more pronounced in one channel of the image, usually the blue channel. You can adjust the noise for each channel separately in Advanced mode. Before opening the filter, examine each channel in your image separately to see if noise is prevalent in one channel. You preserve more image detail by correcting one channel rather than making an overall correction to all channels. 1 Choose Filter > Noise > Reduce Noise.
174 USING PHOTOSHOP Retouching and transforming For greatest control use the Unsharp Mask (USM) filter or the Smart Sharpen filter to sharpen your images. Although Photoshop also has the Sharpen, Sharpen Edges, and Sharpen More filter options, these filters are automatic and do not provide controls and options. You can sharpen your entire image or just a portion defined by a selection or mask.
175 USING PHOTOSHOP Retouching and transforming Sharpen using Unsharp Mask The Unsharp Mask sharpens an image by increasing contrast along the edges in an image. The Unsharp Mask does not detect edges in an image. Instead, it locates pixels that differ in value from surrounding pixels by the threshold you specify. It then increases the contrast of neighboring pixels by the amount you specify. So, for neighboring pixels the lighter pixels get lighter and the darker pixels get darker.
176 USING PHOTOSHOP Retouching and transforming 4 Drag the Amount slider or enter a value to determine how much to increase the contrast of pixels. For high- resolution printed images, an amount between 150% and 200% is usually recommended. 5 Drag the Threshold slider or enter a value to determine how different the sharpened pixels must be from the surrounding area before they are considered edge pixels and sharpened by the filter.
177 USING PHOTOSHOP Retouching and transforming • With the duplicate channel selected, choose Filter > Stylize > Find Edges. • Choose Image > Adjustments > Invert to invert the image. Find Edges filter applied and image inverted • With the inverted image still selected, choose Filter > Other > Maximum. Set the radius to a low number and click OK to thicken the edges and randomize the pixels. • Choose Filter > Noise > Median. Set the radius to a low number and click OK.
178 USING PHOTOSHOP Retouching and transforming Add lens blur Adds blur to an image to give the effect of a narrower depth of field so that some objects in the image stay in focus and others areas are blurred. You can use a simple selection to determine which areas are blurred, or you can provide a separate alpha channel depth map to describe exactly how you want the blur added. The Lens Blur filter uses the depth map to determine the position of pixels in an image.
179 USING PHOTOSHOP Retouching and transforming To make a transformation, first select an item to transform and then choose a transformation command. If necessary, adjust the reference point before manipulating the transformation. You can perform several manipulations in succession before applying the cumulative transformation. For example, you can choose Scale and drag a handle to scale, and then choose Distort and drag a handle to distort. Then press Enter or Return to apply both transformations.
180 USING PHOTOSHOP Retouching and transforming Important: You cannot transform the background layer. To transform it, first convert it to a regular layer. • To transform part of a layer, select the layer in the Layers panel, and then select part of the image on that layer. • To transform multiple layers, do either of the following in the Layers panel: link the layers together, or select multiple layers by Ctrl-clicking (Windows) or Command-clicking (Mac OS) more than one layer.
181 USING PHOTOSHOP Retouching and transforming • If you chose Warp, choose a warp from the Warp Style pop-up menu in the options bar, or to perform a custom warp, drag the control points, a line, or an area within the mesh to change the shape of the bounding box and mesh. • For all types of transformations, enter a value in the options bar. For example, to rotate an item, specify degrees in the rotation text box.
182 USING PHOTOSHOP Retouching and transforming Transform freely The Free Transform command lets you apply transformations (rotate, scale, skew, distort, and perspective) in one continuous operation. You can also apply a warp transformation. Instead of choosing different commands, you simply hold down a key on your keyboard to switch between transformation types. Note: If you are transforming a shape or entire path, the Transform command becomes the Transform Path command.
183 USING PHOTOSHOP Retouching and transforming • To cancel the transformation, press Esc or click the Cancel button in the options bar. Important: When you transform a bitmap image (versus a shape or path), the image becomes slightly less sharp each time you commit a transformation; therefore, performing multiple commands before applying the cumulative transformation is preferable to applying each transformation separately.
184 USING PHOTOSHOP Retouching and transforming • To the manipulate the shape, drag the control points, a segment of the bounding box or mesh, or an area within the mesh. When adjusting a curve, use the control point handles. This is similar to adjusting the handles in the curved segment of a vector graphic. To undo the last handle adjustment, choose Edit > Undo. A B Manipulating the shape of a warp A. Original warp mesh B.
185 USING PHOTOSHOP Retouching and transforming Expansion Expands or contracts the outer edge of the mesh. Show Mesh Deselect to show only adjustment pins, providing a clearer preview of your transformations. To temporarily hide adjustment pins, press the H key. 4 In the image window, click to add pins to areas you want to transform and areas you want to anchor in place. Moving a pin on the puppet mesh. Adjoining pins keep nearby areas intact.
186 USING PHOTOSHOP Retouching and transforming Content-aware scaling Resize images and protect content Content-Aware Scale resizes an image without changing important visual content such as people, buildings, animals, and so forth. While normal scaling affects all pixels uniformly when resizing an image, content-aware scaling mostly affects pixels in areas that don’t have important visual content.
187 USING PHOTOSHOP Retouching and transforming Protect Chooses an alpha channel that specifies an area to protect. Protect Skin Tones Attempts to preserve regions that contain skin-tones. 4 Drag a handle on the bounding box to scale the image. Press Shift as you drag a corner handle to scale proportionately. When positioned over a handle, the pointer becomes a double arrow. 5 Click either Cancel Transform or Commit Transform .
188 USING PHOTOSHOP Retouching and transforming A B C Liquify dialog box A. Toolbox B. Preview image C. Options Magnify or reduce the preview image ❖ Select the Zoom tool in the Liquify dialog box, and click or drag in the preview image to zoom in; hold down Alt (Windows) or Option (Mac OS), and click or drag in the preview image to zoom out. Alternatively, you can specify a magnification level in the Zoom text box at the bottom of the dialog box.
189 USING PHOTOSHOP Retouching and transforming Rotates pixels clockwise as you hold down the mouse button or drag. To twirl pixels counterclockwise, hold down Alt (Windows) or Option (Mac OS) as you hold down the mouse button or drag. Twirl Clockwise tool Moves pixels toward the center of the brush area as you hold down the mouse button or drag. Pucker tool Bloat tool Moves pixels away from the center of the brush area as you hold down the mouse button or drag.
190 USING PHOTOSHOP Retouching and transforming 6 Do one of the following: • Click OK to close the Liquify dialog box and apply the changes to the active layer. • Click Cancel to close the Liquify dialog box without applying changes to the layer. • Click Restore All to revert all distortions to the preview image, leaving all options in their current settings.
191 USING PHOTOSHOP Retouching and transforming Intersect With Selection Invert Selection Uses only pixels that are selected and currently frozen. Uses selected pixels to invert the current frozen area. Note: If a selection exists, the filter limits the preview and processing to the rectangular area containing that selection. (For rectangular marquee selections, the selected area and preview are identical, so choosing Selection from the pop-up menus above has no effect.
192 USING PHOTOSHOP Retouching and transforming Remove all distortions ❖ Click the Restore All button in the Reconstruct Option area of the dialog box. This removes distortions even in frozen areas. Reconstruct part of a distorted image 1 Freeze areas you want to keep distorted. 2 Select the Reconstruct tool . Choose one of these Reconstruct tool modes from the Tool Options area of the dialog box. 3 Hold down the mouse button or drag over the area. Pixels move more quickly at the brush center.
193 USING PHOTOSHOP Retouching and transforming Affine Reconstructs unfrozen areas to match all distortions that exist at the start point, including displacement, rotation, horizontal and vertical scaling, and skew. Work with meshes Using a mesh helps you see and keep track of distortions. You can choose the size and color of a mesh, and save the mesh from one image and apply it to other images.
194 USING PHOTOSHOP Retouching and transforming Photoshop Extended users can also measure objects in an image, and export 3D information and measurements to DXF and 3DS formats for use in 3D applications. For a video on using Vanishing Point, see www.adobe.com/go/vid0019.
195 USING PHOTOSHOP Retouching and transforming Paints with a sample of the image. Unlike the Clone Stamp tool, the Stamp tool in Vanishing Point can’t clone elements from another image. See also “Paint with sampled pixels in Vanishing Point” on page 205 and “Retouch with the Clone Stamp tool” on page 161. Stamp tool Brush tool Paints a selected color in a plane. Transform tool Scales, rotates, and moves a floating selection by moving the bounding box handles.
196 USING PHOTOSHOP Retouching and transforming • To copy something in perspective from one Photoshop document to another, first copy the item while in Vanishing Point in one document. When you paste the item in another document while in Vanishing Point, the item’s perspective is preserved. 2. Choose Filter > Vanishing Point. 3. Define the four corner nodes of the plane surface. By default, the Create Plane tool is selected. Click in the preview image to define the corner nodes.
197 USING PHOTOSHOP Retouching and transforming 5. (Photoshop Extended only) Export 3D information and measurements to DXF or 3DS format. Textures are also exported to 3DS format. For detailed information, see “Export measurements, textures, and 3D information” on page 207. 6. Click OK. Grids can be rendered to Photoshop by choosing Render Grids To Photoshop from the Vanishing Point menu before you click OK. For detailed information, see “Render grids to Photoshop” on page 208.
198 USING PHOTOSHOP Retouching and transforming Dragging an edge node to increase the size of a plane to accommodate your edits The bounding box and grid of a perspective plane is normally blue. If there’s a problem with the placement of the corner nodes, the plane is invalid, and the bounding box and grid turn either red or yellow. When your plane is invalid, move the corner nodes until the bounding box and grid are blue.
199 USING PHOTOSHOP Retouching and transforming 2 (Optional) Do one of the following to change the angle of the newly torn off plane: • With either the Edit Plane tool or Create Plane tool selected, Alt-drag (Windows) or Option-drag (Mac OS) the center edge node on the side that’s opposite from the axis of rotation. • Enter a value in the Angle text box. • Move the Angle slider. 2 3 1 4 Changed plane angle.
200 USING PHOTOSHOP Retouching and transforming About selections in Vanishing Point Selections can be helpful when you’re painting or retouching to correct flaws, add elements, or enhance an image. In Vanishing Point, making selections let you paint or fill specific areas in an image while honoring the perspective defined by the planes in the image. Selections can also be used to clone and move specific image content in perspective.
201 USING PHOTOSHOP Retouching and transforming Copying a selection and moving a selection from one perspective plane to another More Help topics “Fill selections with another area of an image” on page 202 “Copy selections in Vanishing Point” on page 203 “Define and adjust perspective planes in Vanishing Point” on page 197 Make selections in Vanishing Point 1 Select the Marquee tool.
202 USING PHOTOSHOP Retouching and transforming Note: To select an entire plane, double-click the Marquee tool in the plane. Move selections in Vanishing Point 1 Make a selection in a perspective plane. 2 Choose one of the following from the Move Mode menu to determine the behavior when you move a selection: • To select the area you move the selection marquee to, choose Destination.
203 USING PHOTOSHOP Retouching and transforming The filled selection becomes a floating selection that you can scale, rotate, move, or clone using the Transform tool, or move or clone using the Marquee tool. A B C Ctrl-dragging (Windows) or Command-dragging (Mac OS) a selection A. Original selection B. Moving the selection to the source image C.
204 USING PHOTOSHOP Retouching and transforming Paste an item into Vanishing Point You can paste an item from the clipboard in Vanishing Point. The copied item can be from the same document or a different one. Once pasted into Vanishing Point, the item becomes a floating selection that you can scale, rotate, move or clone. When the floating selection moves into a selected plane, it conforms to the plane’s perspective. A B C Pasting an item into Vanishing Point A.
205 USING PHOTOSHOP Retouching and transforming 4 Choose a Healing mode: • To paint without blending with the color, lighting, and shading of the surrounding pixels, choose Off. • To paint and blend the strokes with the lighting of the surrounding pixels while retaining the selected color, choose Luminance. • To paint and blend with the colors, lighting, and shading of the surrounding pixels, choose On.
206 USING PHOTOSHOP Retouching and transforming 7 Drag over the area of the image you want to paint. Hold the Shift key down to drag a straight line that conforms to the plane’s perspective. You can also click a point with the Stamp tool and then Shift-click another point to paint a straight line in perspective. Measure in Vanishing Point (Photoshop Extended) Users ranging from architects and interior decorators to forensic scientists and woodworkers often need to know the size of objects in an image.
207 USING PHOTOSHOP Retouching and transforming Move a measurement in Vanishing Point In Vanishing Point, you can move a measurement line without changing its orientation (angle) or length. 1 Select the Measure tool. 2 Click anywhere along the length of an existing measurement and drag. Change the length or orientation of a measurement You can change the length or orientation (angle) of an existing measurement. 1 Select the Measure tool and move it over the end point of an existing measurement line.
208 USING PHOTOSHOP Retouching and transforming Render grids to Photoshop By default, the Vanishing Point grids are invisible when viewing an image in the Photoshop document window, even though the grids are preserved in the image and appear whenever you launch Vanishing Point. Grids can be rendered so when you finish working in Vanishing Point, they’re visible in the Photoshop document window. The rendered grids are raster not vector. ❖ Open the Vanishing Point menu and choose Render Grids To Photoshop.
209 USING PHOTOSHOP Retouching and transforming Keep the camera level Although Photomerge can process slight rotations between pictures, a tilt of more than a few degrees can result in errors when the panorama is assembled. Using a tripod with a rotating head helps maintain camera alignment and viewpoint. Stay in the same position Try not to change your position as you take a series of photographs, so that the pictures are from the same viewpoint.
210 USING PHOTOSHOP Retouching and transforming A B Applying Cylindrical Mapping A. Original B. Cylindrical Mapping applied Spherical Aligns and transforms the images as if they were for mapping the inside of a sphere. If you have taken a set of images that cover 360 degrees, use this for 360 degree panoramas. You might also use Spherical to produce nice panoramic results with other file sets.
211 USING PHOTOSHOP Retouching and transforming Do not include images that cover the top (zenith) or bottom (nadir) of the scene. You’ll add these images later. 3 Select Spherical for the Layout. If you photographed with a fisheye lens, select the Auto layout and Geometric Distortion Correction. If Photoshop cannot automatically identify your lens, download the free Adobe Lens Profile Creator from the Adobe website. 4 (Optional) Select Vignette Removal or Geometric Distortion for the Lens Correction.
212 Chapter 8: Selecting and masking For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Making selections For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. About selecting pixels A selection isolates one or more parts of your image.
213 USING PHOTOSHOP Selecting and masking Deselect selections ❖ Do one of the following: • Choose Select > Deselect. • If you are using the Rectangle Marquee tool, the Elliptical Marquee tool, or the Lasso tool, click anywhere in the image outside the selected area. Reselect the most recent selection ❖ Choose Select > Reselect. Select with the marquee tools The marquee tools let you select rectangles, ellipses, and 1-pixel rows and columns.
214 USING PHOTOSHOP Selecting and masking Dragging a marquee from the corner of an image (left), and from the center of an image (right) by pressing Alt/Option as you drag • With the Single Row or Single Column Marquee tool, click near the area you want to select, and then drag the marquee to the exact location. If no marquee is visible, increase the magnification of your image view.
215 USING PHOTOSHOP Selecting and masking 3 (Optional) Set feathering and anti-aliasing in the options bar. See “Soften the edges of selections” on page 224. 4 Click in the image to set the starting point. 5 Do one or more of the following: • To draw a straight segment, position the pointer where you want the first straight segment to end, and click. Continue clicking to set endpoints for subsequent segments.
216 USING PHOTOSHOP Selecting and masking On an image with well-defined edges, try a higher width and higher edge contrast, and trace the border roughly. On an image with softer edges, try a lower width and lower edge contrast, and trace the border more precisely. Stylus Pressure If you are working with a stylus tablet, select or deselect the Stylus Pressure option. When the option is selected, an increase in stylus pressure decreases the edge width. 5 Click in the image to set the first fastening point.
217 USING PHOTOSHOP Selecting and masking 3 To change the brush tip size, click the Brush pop-up menu in the options bar, and type in a pixel size or drag the slider. Use the Size pop-up menu options to make the brush tip size sensitive to pen pressure or a stylus wheel. When creating a selection, press the right bracket (]) to increase the Quick Selection tool brush tip size; press the left bracket ([) to decrease the brush tip size. 4 Choose Quick Selection options.
218 USING PHOTOSHOP Selecting and masking A B C D Selection options A. New B. Add To C. Subtract From D. Intersect With 3 In the options bar, specify any of the following: Tolerance Determines the color range of selected pixels. Enter a value in pixels, ranging from 0 to 255. A low value selects the few colors very similar to the pixel you click. A higher value selects a broader range of colors. Anti-aliased Creates a smoother-edged selection.
219 USING PHOTOSHOP Selecting and masking 4 Position the Eyedropper pointer over the image or preview area, and click to sample the colors you want included. Sampling color 5 Adjust the range of colors selected using the Fuzziness slider or by entering a value. The Fuzziness setting controls how wide a range of colors is in the selection, and increases or decreases the amount of partially selected pixels (gray areas in the selection preview).
220 USING PHOTOSHOP Selecting and masking 7 To preview the selection in the image window, choose a Selection Preview option: None Shows the original image. Grayscale shows white for completely selected pixels, gray for partially selected ones, and black for unselected ones. Black Matte Shows the original image for selected pixels, and black for unselected ones. This option is good for bright images. White Matte Shows the original image for selected pixels, and white for unselected ones.
221 USING PHOTOSHOP Selecting and masking You can apply geometric transformations to change the shape of a selection border. (See “Apply transformations” on page 178.) Control the movement of a selection • To constrain the direction to multiples of 45°, begin dragging, and then hold down Shift as you continue to drag. • To move the selection in 1-pixel increments, use an arrow key. • To move the selection in 10-pixel increments, hold down Shift, and use an arrow key.
222 USING PHOTOSHOP Selecting and masking 2 Using any selection tool, do one of the following: • Select the Intersect With Selection option in the options bar, and drag. • Hold down Alt+Shift (Windows) or Option+Shift (Mac OS) and drag over the portion of the original selection that you want to select. An “x” appears next to the pointer when you’re selecting an intersected area.
223 USING PHOTOSHOP Selecting and masking Expand a selection to include areas with similar color Do one of the following: • Choose Select > Grow to include all adjacent pixels falling within the tolerance range specified in the Magic Wand options. • Choose Select > Similar to include pixels throughout the image, not just adjacent ones, falling within the tolerance range. To increase the selection in increments, choose either command more than once.
224 USING PHOTOSHOP Selecting and masking Shift Edge Moves soft-edged borders inward with negative values or outward with positive ones. Shifting these borders inward can help remove unwanted background colors from selection edges. Decontaminate Colors Replaces color fringes with the color of fully selected pixels nearby. The strength of color replacement is proportionate to the softness of selection edges. Important: Because this option changes pixel color, it requires output to a new layer or document.
225 USING PHOTOSHOP Selecting and masking A B Selection without feathering and with feathering. A. Selection with no feather, same selection filled with pattern B. Selection with feather, same selection filled with pattern Remove fringe pixels from a selection When you move or paste an anti-aliased selection, some of the pixels surrounding the selection border are included with the selection. This can result in a fringe or halo around the edges of the pasted selection.
226 USING PHOTOSHOP Selecting and masking Moving, copying, and deleting selected pixels Move a selection 1 Select the Move tool . 2 Move the pointer inside the selection border, and drag the selection to a new position. If you have selected multiple areas, all move as you drag.
227 USING PHOTOSHOP Selecting and masking Copy a selection 1 Select the area you want to copy. 2 Choose Edit > Copy, or Edit > Copy Merged. Copy a selection while dragging 1 Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. 2 Hold down Alt (Windows) or Option (Mac OS), and drag the selection you want to copy and move. When copying between images, drag the selection from the active image window into the destination image window.
228 USING PHOTOSHOP Selecting and masking A B C E D Using the Paste Into command A. Window panes selected B. Copied image C. Paste Into command D. Layer thumbnails and layer mask in Layers panel E. Pasted image repositioned 4 Select the Move tool , or hold down the Ctrl (Windows) or Command (Mac OS) key to activate the Move tool. Then drag the source contents until the part you want appears through the mask.
229 USING PHOTOSHOP Selecting and masking More Help topics “About Smart Objects” on page 275 “About file compression” on page 426 “Remove fringe pixels from a selection” on page 225 Paste PostScript artwork from another application 1 In the supporting application, select your artwork, and choose Edit > Copy. 2 Select the image into which you’ll paste the selection. 3 Choose Edit > Paste.
230 USING PHOTOSHOP Selecting and masking Deleting a selection on a background layer replaces the original color with the background color. Deleting a selection on a standard layer replaces the original color with layer transparency. Channel basics About channels Channels are grayscale images that store different types of information: • Color information channels are created automatically when you open a new image. The image’s color mode determines the number of color channels created.
231 USING PHOTOSHOP Selecting and masking Resize or hide channel thumbnails ❖ Choose Panel Options from the Channels panel menu. Click a thumbnail size or click None to turn off the display of thumbnails. Viewing thumbnails is a convenient way of tracking channel contents; however, turning off the display of thumbnails can improve performance. Show or hide a channel You can use the Channels panel to view any combination of channels in the document window.
232 USING PHOTOSHOP Selecting and masking • To edit a channel, select it and then use a painting or editing tool to paint in the image. You can paint on only one channel at a time. Paint with white to add the selected channel’s color at 100% intensity. Paint with a value of gray to add the channel’s color at a lower intensity. Paint with black to fully remove the channel’s color.
233 USING PHOTOSHOP Selecting and masking • Choose Select > All, and then choose Edit > Copy. Select the channel in the destination image and choose Edit > Paste. The pasted channel overwrites the existing channel. Split channels into separate images You can split channels of flattened images only. Splitting channels is useful when you want to retain individual channel information in a file format that doesn’t preserve channels.
234 USING PHOTOSHOP Selecting and masking Delete a channel You may want to delete spot or alpha channels you no longer need before saving an image. Complex alpha channels can substantially increase the disk space required for an image. ❖ In Photoshop, select the channel in the Channels panel and do one of the following: • Alt-click (Windows) or Option-click (Mac OS) the Delete icon . • Drag the channel name in the panel to the Delete icon. • Choose Delete Channel from the Channels panel menu.
235 USING PHOTOSHOP Selecting and masking 6 For Blending, choose a blending option. For information on the Add and Subtract options, see “Add and Subtract blending modes” on page 235. For information on other blending options, see “Blending mode descriptions” on page 312. 7 Enter an Opacity value to specify the effect’s strength. 8 To apply the results only to opaque areas in the result layer, select Preserve Transparency. 9 If you want to apply the blending through a mask, select Mask.
236 USING PHOTOSHOP Selecting and masking Because higher pixel values represent lighter colors, adding channels with overlapping pixels lightens the image. Black areas in both channels remain black (0 + 0 = 0). White in either channel results in white (255 + any value = 255 or greater). Add mode divides the sum of the pixel values by the Scale amount, and then adds the Offset value to the sum. For example, to find the average of the pixels in two channels, add them, divide by 2, and enter no Offset value.
237 USING PHOTOSHOP Selecting and masking To save a selection more permanently, you can store it as an alpha channel. The alpha channel stores the selection as an editable grayscale mask in the Channels panel. Once stored as an alpha channel, you can reload the selection at any time or even load it into another image. Selection saved as an alpha channel in Channels panel Note: You can mask or hide parts of a layer using a layer mask.
238 USING PHOTOSHOP Selecting and masking A B C D Selecting in Standard mode and Quick Mask mode A. Standard mode B. Quick Mask mode C. Selected pixels appear as white in channel thumbnail D. Rubylith overlay protects area outside selection, and unselected pixels appear as black in channel thumbnail 3 To edit the mask, select a painting tool from the toolbox. The swatches in the toolbox automatically become black and white.
239 USING PHOTOSHOP Selecting and masking 5 Click the Standard Mode button in the toolbox to turn off the quick mask and return to your original image. A selection border now surrounds the unprotected area of the quick mask. If a feathered mask is converted to a selection, the boundary line runs halfway between the black pixels and the white pixels of the mask gradient.
240 USING PHOTOSHOP Selecting and masking 2 Paint on the new channel to mask out image areas. Select areas of the image before you create the channel for the mask. Then paint on the channel to refine the mask. Create an alpha channel mask and set options 1 Alt-click (Windows) or Option-click (Mac OS) the New Channel button at the bottom of the Channels panel, or choose New Channel from the Channels panel menu. 2 Specify options in the New Channel dialog box.
241 USING PHOTOSHOP Selecting and masking Save a selection to a new channel 1 Select the area or areas of the image you want to isolate. 2 Click the Save Selection button at the bottom of the Channels panel. A new channel appears, named according to the sequence in which it was created. Save a selection to a new or existing channel 1 Use a selection tool to select the area or areas of the image you want to isolate. 2 Choose Select > Save Selection.
242 USING PHOTOSHOP Selecting and masking Load a saved selection Note: If you are loading a saved selection from another image, make sure to open it. Also, make sure your destination image is active. 1 Choose Select > Load Selection. 2 Specify the Source options in the Load Selection dialog box: Document Chooses the source to load. Channel Chooses the channel containing the selection you want to load. Invert Selects the non-selected areas.
243 Chapter 9: Layers For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Layer basics About layers For a video about layers, see www.adobe.com/go/vid0001 Photoshop layers are like sheets of stacked acetate. You can see through transparent areas of a layer to the layers below. You move a layer to position the content on the layer, like sliding a sheet of acetate in a stack.
244 USING PHOTOSHOP Layers A special type of layer, called a Smart Object, contains one or more layers of content. You can transform (scale, skew, or reshape) a Smart Object without directly editing image pixels. Or, you can edit the Smart Object as a separate image even after placing it in a Photoshop image. Smart Objects can also contain smart filter effects, which allow you to apply filters non-destructively to images so that you can later tweak or remove the filter effect.
245 USING PHOTOSHOP Layers Convert background and layers When you create a new image with a white background or a colored background, the bottommost image in the Layers panel is called Background. An image can have only one background layer. You cannot change the stacking order of a background layer, its blending mode, or its opacity. However, you can convert a background into a regular layer, and then change any of these attributes.
246 USING PHOTOSHOP Layers Opacity Specifies an opacity level for the layer or group. Fill With Mode-Neutral Color Fills the layer with a preset, neutral color. Note: To add currently selected layers to a new group, choose Layer > Group Layers, or Shift-click the New Group button at the bottom of the Layers Panel. Create a layer from an existing file 1 Drag the file icon from Windows or Mac OS onto an open image in Photoshop. 2 Move, scale, or rotate the imported image.
247 USING PHOTOSHOP Layers • Select the Move tool , and drag from the source image to the destination image. The duplicate layer or group appears above the active layer in the Layers panel of the destination image. Shift-drag to move the image content to the same location it occupied in the source image (if the source and destination images have the same pixel dimensions) or to the center of the document window (if the source and destination images have different pixel dimensions).
248 USING PHOTOSHOP Layers Change transparency preferences 1 In Windows, choose Edit > Preferences > Transparency & Gamut; in Mac OS, choose Photoshop > Preferences > Transparency & Gamut. 2 Choose a size and color for the transparency checkerboard, or choose None for Grid Size to hide the transparency checkerboard. 3 Click OK. Selecting, grouping, and linking layers Select layers You can select one or more layers to work on them.
249 USING PHOTOSHOP Layers • In the options bar, select Auto Select, then choose Group from the drop-down menu, and click in the document on the content you want to select. The top group containing pixels under the cursor is selected. If you click an ungrouped layer, it becomes selected. • Right-click (Windows) or Control-click (Mac OS) in the image, and choose a layer from the context menu. The context menu lists all the layers that contain pixels under the current pointer location.
250 USING PHOTOSHOP Layers Moving, stacking, and locking layers Change the stack order of layers and groups ❖ Do one of the following: • Drag the layer or group up or down in the Layers panel. Release the mouse button when the highlighted line appears where you want to place the layer or group. • To move a layer into a group, drag a layer to the group folder . If the group is closed, the layer is placed at the bottom of the group.
251 USING PHOTOSHOP Layers You can select the layers that you want to move directly in the document window. In the Move tool’s options bar, select Auto Select, the choose Layer from the drop-down menu. Shift-click to select multiple layers. Select Auto Select, then choose Group, to select the entire group when you select one layer in the group. 3 Do one of the following: • In the document window, drag any object onto one of the selected layers. (All objects on the layer will move together.
252 USING PHOTOSHOP Layers Spaces the layers evenly, starting from the bottom pixel of each layer. Bottom Edges Left Edges Spaces the layers evenly, starting from the left pixel of each layer. Horizontal Centers Right Edges Spaces the layers evenly, starting from the horizontal center of each layer. Spaces the layers evenly, starting from the right pixel on each layer.
253 USING PHOTOSHOP Layers Scene Collage Aligns layers and matches overlapping content, without changing the shape of the objects in the image (for example, a circle will still be a circle). Reposition Only Aligns the layers and matches overlapping content, but does not transform (stretch or skew) any of the source layers.
254 USING PHOTOSHOP Layers 5 Select the Auto-Blend Objective: Panorama Blends overlapping layers into a panorama image. Stack Images Blends the best details in each corresponding area. This options works best with aligned layers. Note: Stack Images lets you blend multiple images of a scene with different areas in focus or different illuminations, to achieve the best results of all the images (you must auto-align the images first).
255 USING PHOTOSHOP Layers 2 Click one or more lock options in the Layers panel. Confines editing to the opaque portions of the layer. This option is equivalent to the Preserve Transparency option in earlier versions of Photoshop. Lock Transparent Pixels Lock Image Pixels Lock Position Prevents modification of the layer’s pixels using the painting tools. Prevents the layer’s pixels from being moved.
256 USING PHOTOSHOP Layers Shape Rasterizes a shape layer. Fill Content Rasterizes the fill of a shape layer, leaving the vector mask. Vector Mask Rasterizes the vector mask on a layer, turning it into a layer mask. Smart Object Converts a Smart Object into a raster layer. Video Rasterizes the current video frame to an image layer. 3D (Extended only) Rasterizes the current view of 3D data into a flat raster layer. Layer Rasterizes all vector data on the selected layers.
257 USING PHOTOSHOP Layers Merge and stamp layers When you have finalized the content of layers, you can merge them to reduce the size of your image files. When you merge layers, the data on the top layers replaces any data it overlaps on the lower layers. The intersection of all transparent areas in the merged layers remains transparent. Note: You cannot use an adjustment or fill layer as the target layer for a merge. In addition to merging layers, you can stamp them.
258 USING PHOTOSHOP Layers Flatten all layers Flattening reduces file size by merging all visible layers into the background and discarding hidden layers. Any transparent areas that remain are filled with white. When you save a flattened image, you cannot revert back to the unflattened state; the layers are permanently merged. Note: Converting an image between some color modes flattens the file. Save a copy of your file with all layers intact if you want to edit the original image after the conversion.
259 USING PHOTOSHOP Layers For a video on using blending modes, see www.adobe.com/go/vid0012. Descriptions and examples of each mode “Blending modes” on page 312 Filling new layers with a neutral color You can’t apply certain filters (such as the Lighting Effects filter) to layers with no pixels. Selecting Fill With (Mode)Neutral Color in the New Layer dialog box resolves this problem by first filling the layer with a preset, neutral color.
260 USING PHOTOSHOP Layers 4 Choose an option from the Knockout pop-up menu: • Select Shallow to knock out to the first possible stopping point, such as the first layer after the layer group or the base layer of the clipping mask. • Select Deep to knock out to the background. If there is no background, Deep knocks out to transparency.
261 USING PHOTOSHOP Layers • Select Blend Clipped Layers As Group to apply the blending mode of the base layer to all layers in the clipping mask. Deselecting this option, which is always selected by default, maintains the original blending mode and appearance of each layer in the group. A B C Advanced blending options A. Farm Logo and Paint Stroke layers, each with its own blending mode B. Blend Interior Effects As Group option selected C.
262 USING PHOTOSHOP Layers • Select an individual color channel (for example, red, green, or blue in an RGB image) to specify blending in that channel. 3 Use the This Layer and Underlying Layer sliders to set the brightness range of the blended pixels—measured on a scale from 0 (black) to 255 (white). Drag the white slider to set the high value of the range. Drag the black slider to set the low value of the range.
263 USING PHOTOSHOP Layers Apply preset styles You can apply preset styles from the Styles panel. The layer styles that come with Photoshop are grouped into libraries by function. For example, one library contains styles for creating web buttons; another library contains styles adding effects to text. To access these styles, you need to load the appropriate library. For information on loading and saving styles, see “Create and manage preset styles” on page 269.
264 USING PHOTOSHOP Layers Layer Style dialog box. Click a check box to apply the current settings without displaying the effect’s options. Click an effect name to display its options. You can create custom styles using one or more of the following effects: Drop Shadow Adds a shadow that falls behind the contents on the layer. Inner Shadow Adds a shadow that falls just inside the edges of the layer’s content, giving the layer a recessed appearance.
265 USING PHOTOSHOP Layers When you next open the dialog box, your custom defaults are automatically applied. If you adjust settings and want to return to your custom defaults, click Reset To Default. To return to Photoshop’s original defaults, see “Restore all preferences to default settings” on page 50. Layer style options Altitude For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground level, 90 is directly above the layer.
266 USING PHOTOSHOP Layers Noise Specifies the number of random elements in the opacity of a glow or shadow. Enter a value or drag the slider. Opacity Sets the opacity of the layer effect. Enter a value or drag the slider. Pattern Specifies the pattern of a layer effect. Click the pop-up panel and choose a pattern. Click the New Preset to create a new preset pattern based on the current settings.
267 USING PHOTOSHOP Layers Modify layer effects with contours When you create custom layer styles, you can use contours to control the shape of Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and Emboss, and Satin effects over a given range. For example, a Linear contour on a Drop Shadow causes the opacity to drop off in a linear transition. Use a Custom contour to create a unique shadow transition.
268 USING PHOTOSHOP Layers Display or hide layer styles When a layer has a style, an “fx” icon appears to the right of the layer’s name in the Layers panel. Hide or show all layer styles in an image ❖ Choose Layer > Layer Style > Hide All Effects or Show All Effects. Expand or collapse layer styles in the Layers panel ❖ Do one of the following: • Click the triangle next to the Add a Layer Style icon to expand the list of layer effects applied to that layer.
269 USING PHOTOSHOP Layers Remove an effect from a style 1 In the Layers panel, expand the layer style to see its effects. 2 Drag the effect to the Delete icon . Remove a style from a layer 1 In the Layers panel, select the layer containing the style you want to remove. 2 Do one of the following: • In the Layers panel, drag the Effects bar to the Delete icon . • Choose Layer > Layer Style > Clear Layer Style.
270 USING PHOTOSHOP Layers • Select a style in the Styles area of the Layer Style dialog box. Then choose Rename Style from the pop-up menu, enter a new name, and click OK. • When using a shape or Pen tool, select a style from the Style pop-up panel in the options bar. Then choose Rename Style from the pop-up panel menu. Delete a preset style ❖ Do one of the following: • Drag a style to the Delete icon at the bottom of the Styles panel.
271 USING PHOTOSHOP Layers Adjustment and fill layers About adjustment and fill layers An adjustment layer applies color and tonal adjustments to your image without permanently changing pixel values. For example, rather than making a Levels or Curves adjustment directly to your image, you can create a Levels or Curves adjustment layer.
272 USING PHOTOSHOP Layers A B C D Adjustment and fill layers A. Adjustment layer confined to “Log home” layer only B. Layer thumbnail C. Fill layer D. Layer mask Create an adjustment layer For information on specific adjustment layer options, see “Color and tonal adjustments” on page 109. ❖ Do one of the following: • Click an adjustment icon or select an adjustment preset in the Adjustments panel.
273 USING PHOTOSHOP Layers Create an adjustment or fill layer mask using a selection or path 1 In the Layers panel, select the layer to which you want to apply the adjustment or fill layer. 2 In the image, create a pixel selection, or create and select a closed path. A selection confines the new adjustment or fill layer with a layer mask. A path confines the new adjustment or fill layer with a vector mask. 3 Create an adjustment or fill layer.
274 USING PHOTOSHOP Layers 2 Make the desired changes in the Adjustments panel. Note: Inverted adjustment layers do not have editable settings. Merging adjustment or fill layers You can merge an adjustment or fill layer several ways: with the layer below it, with the layers in its own grouped layer, with other selected layers, and with all other visible layers. You cannot, however, use an adjustment or fill layer as the target layer for a merge.
275 USING PHOTOSHOP Layers More Help topics “About adjustment and fill layers” on page 271 “Crop images” on page 155 “About layer and vector masks” on page 283 “Retouch with the Clone Stamp tool” on page 161 “Retouch with the Healing Brush tool” on page 163 “Retouch with the Spot Healing Brush tool” on page 165 About Smart Objects Smart Objects are layers that contain image data from raster or vector images, such as Photoshop or Illustrator files.
276 USING PHOTOSHOP Layers Create Smart Objects ❖ Do any of the following: • Choose File > Open As Smart Object, select a file, and click Open. • Choose File > Place to import files as Smart Objects into an open Photoshop document. Although you can place JPEG files, it's better to place PSD, TIFF, or PSB files because you can add layers, modify pixels, and resave the file without loss.
277 USING PHOTOSHOP Layers Photoshop updates the Smart Object to reflect the changes you made. (If you don’t see the changes, make the Photoshop document containing the Smart Object active). Replace the contents of a Smart Object You can replace the image data in one Smart Object or multiple linked instances. This feature lets you quickly update a visual design, or replace low-resolution placeholder images with final versions.
278 USING PHOTOSHOP Layers Use filter masks to selectively mask Smart Filter effects. See “Mask Smart Filters” on page 279. Apply a Smart Filter For a video on applying smart filters, see www.adobe.com/go/vid0004. 1 Do one of the following: • To apply a Smart Filter to an entire Smart Object layer, select the layer in the Layers panel. • To constrain the effects of the Smart Filter to a selected area of a Smart Object layer, make a selection.
279 USING PHOTOSHOP Layers Hide Smart Filters ❖ Do one of the following: • To hide a single Smart Filter, click the eye icon next to the Smart Filter in the Layers panel. To show the Smart Filter, click in the column again. • To hide all Smart Filters applied to a Smart Object layer, click the eye icon next to the Smart Filters line in the Layers panel. To show the Smart Filters, click in the column again.
280 USING PHOTOSHOP Layers More Help topics “Select and display the layer mask channel” on page 287 “Load a layer or layer mask’s boundaries as a selection” on page 289 Mask Smart Filter effects 1 Click the filter mask thumbnail in the Layers panel to make it active. A border appears around the mask thumbnail. 2 Select any of the editing or painting tools. 3 Do one of the following: • To hide portions of the filter, paint the mask with black. • To show portions of the filter, paint the mask with white.
281 USING PHOTOSHOP Layers Delete a Smart Filter mask • Click the filter mask thumbnail in the Layers panel, then click the Delete icon in the Masks panel. • Drag the filter mask thumbnail in the Layers panel to the Delete icon. • Select the Smart Filter Effect, and choose Layer > Smart Filters > Delete Filter Mask. Add a filter mask If you delete a filter mask, you can subsequently add another mask.
282 USING PHOTOSHOP Layers 2 Click the Create New Layer Comp button at the bottom of the Layer Comps panel. The new comp reflects the current state of layers in the Layers panel. 3 In the New Layer Comp dialog box, name the comp, add descriptive comments, and choose options to apply to layers: Visibility, Position, and Appearance. 4 Click OK. The options you chose are stored as defaults for your next comp.
283 USING PHOTOSHOP Layers Delete a layer comp ❖ Do one of the following: • Select the layer comp in the Layer Comps panel and click the Delete icon in the panel, or choose Delete Layer Comp from the panel menu. • Drag it to the Delete icon in the panel. Export layer comps You can export layer comps to individual files. ❖ Choose File > Scripts > Layer Comps to Files and then choose the file type and set the destination.
284 USING PHOTOSHOP Layers A B C D Masking layer A. Layer mask thumbnail B. Vector mask thumbnail C. Vector Mask Link icon D. Add Mask You can edit a layer mask to add or subtract from the masked region. A layer mask is a grayscale image, so areas you paint in black are hidden, areas you paint in white are visible, and areas you paint in shades of gray appear in various levels of transparency.
285 USING PHOTOSHOP Layers Add layer masks When you add a layer mask, you can hide or show all of the layer, or base the mask on a selection or transparency. Later, you’ll paint on the mask to precisely hide portions of the layer, revealing the layers beneath. Add a mask that shows or hides the entire layer 1 Make sure that no part of your image is selected. Choose Select > Deselect. 2 In the Layers panel, select the layer or group.
286 USING PHOTOSHOP Layers 4 Do one of the following: • To subtract from the mask and reveal the layer, paint the mask with white. • To make the layer partially visible, paint the mask with gray. Darker grays make the level more transparent, lighter grays make it more opaque. • To add to the mask and hide the layer or group, paint the mask with black. The layers below become visible. To edit the layer instead of the layer mask, select it by clicking its thumbnail in the Layers panel.
287 USING PHOTOSHOP Layers Select and display the layer mask channel For easier editing of a layer mask, you can display the grayscale mask by itself or as a rubylith overlay on the layer. ❖ Do one of the following: • Alt-click (Windows) or Option-click (Mac OS) the layer mask thumbnail to view only the grayscale mask. To redisplay the layers, Alt-click or Option-click the layer mask thumbnail, or click an eye icon .
288 USING PHOTOSHOP Layers • To create a vector mask that hides the entire layer, Alt-click (Windows) or Option-click (Mac OS) the Vector Mask button in the Masks panel, or choose Layer > Vector Mask > Hide All. Add a vector mask that shows the contents of a shape 1 In the Layers panel, select the layer to which to add a vector mask. 2 Select a path, or use one of the shape or Pen tools to draw a work path. Note: To create a path with a Shape tool, click the Paths icon in the Shape tool options bar.
289 USING PHOTOSHOP Layers Unlinking layers and masks By default, a layer or group is linked to its layer mask or vector mask, as indicated by the link icon between the thumbnails in the Layers panel. The layer and its mask move together in the image when you move either one with the . Unlinking them lets you move them independently and shift the mask’s boundaries separately from Move tool the layer. • To unlink a layer from its mask, click the link icon in the Layers panel.
290 USING PHOTOSHOP Layers Mask layers with clipping masks A clipping mask lets you use the content of a layer to mask the layers above it. The masking is determined by the content of the bottom or base layer. The non-transparent content of the base layer clips (reveals), the content of the layers above it in the clipping mask. All other content in the clipped layers is masked out.
291 USING PHOTOSHOP Layers Combine multiple images into a group portrait You can use the Auto-Align Layers command from the Edit menu to make a composite photo from a pair of nearly identical images that may contain some unwanted areas. For example, one shot of a group portrait is ideal except that one of the subjects has her eyes closed. In another shot her eyes are open. Using Auto-Align Layers and layer masking, you can combine these shots and eliminate the flaw in the final image.
292 Chapter 10: Painting For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Painting tools For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. About painting tools, options, and panels Adobe Photoshop provides several tools for painting and editing image color.
293 USING PHOTOSHOP Painting Note: The Rotation tool rotates the canvas, which can facilitate easier painting. See “Use the Rotate View tool” on page 33. 1 Choose a foreground color. (See “Choose colors in the toolbox” on page 99.) 2 Select the Brush tool or Pencil tool . 3 Choose a brush from the Brush Presets panel. See “Select a preset brush” on page 299. 4 Set tool options for mode, opacity, and so on, in the options bar. See “Paint tool options” on page 294.
294 USING PHOTOSHOP Painting A B Increasing paint wetness A. 0% B. 100% Load Specifies the amount of paint loaded in the reservoir. At low load rates, paint strokes dry out more quickly. A B Increasing load rates A. 1% B. 100% Mix Controls the ratio of canvas paint to reservoir paint. At 100%, all paint is picked up from the canvas; at 0%, all paint comes from the reservoir. (The Wet setting, however, continues to determine how paints mix on the canvas.
295 USING PHOTOSHOP Painting Flow Sets the rate at which color is applied as you move the pointer over an area. As you paint over an area, keeping the mouse button down, the amount of color will build up based on the flow rate, up to the opacity setting. For example, if you set the opacity to 33% and the flow to 33%, each time you move over an area, its color moves 33% towards the brush color. The total will not exceed 33% opacity unless you release the mouse button and stroke over the area again.
296 USING PHOTOSHOP Painting A B C Example of using the Art History Brush tool A. Original B. Using a small brush C. Using a large brush 1 In the History panel, click the left column of the state or snapshot to use as the source for the Art History Brush tool. A brush icon appears next to the source history state. 2 Select the Art History Brush tool . 3 Do the following in the options bar: • Choose a brush from the Brush Presets picker, and set brush options.
297 USING PHOTOSHOP Painting Change similar pixels with the Magic Eraser tool When you click in a layer with the Magic Eraser tool, the tool changes all similar pixels to transparent. If you’re working in a layer with locked transparency, the pixels change to the background color. If you click in the background, it is converted to a layer and all similar pixels change to transparent. You can choose to erase contiguous pixels only or all similar pixels on the current layer.
298 USING PHOTOSHOP Painting 3 Click the brush sample in the options bar, and set brush options in the pop-up panel: • Choose settings for the Diameter, Hardness, Spacing, Angle, and Roundness options (see “Standard brush tip shape options” on page 303). • If you’re using a pressure-sensitive digitizing tablet, choose options from the Size and Tolerance menus to vary the size and tolerance of the background eraser over the course of a stroke.
299 USING PHOTOSHOP Painting • Full Size Brush Tip sizes the cursor to the entire area affected by the brush stroke. For soft brushes, this produces a larger cursor size than the Normal setting, to include the areas of the brush stroke with lighter opacity. To combine different types of cursors, select Show Crosshair in Brush Tip or Show Only Crosshair While Painting. Or, for the Pen and Brush tools, press the Caps Lock key to toggle between the standard cursor and the cross hair.
300 USING PHOTOSHOP Painting To dynamically preview brush strokes in the Brush panel, position the pointer over a brush in the Brush Presets panel until the tool tip appears. As you move the pointer over different brushes, the preview area at the bottom of the Brush panel will display sample brush strokes. Load, save, and manage brush presets You can manage libraries of preset brushes to keep your brushes organized.
301 USING PHOTOSHOP Painting 2 Do one of the following in the Brush Presets panel: • Choose New Brush Preset from the panel menu, enter a name for the preset brush, and click OK. • Click the Create New Brush button . Creating and modifying brushes You can create brushes that apply paint to images in a variety of ways. You select an existing preset brush, a brush tip shape, or create a unique brush tip from part of an image. You choose options from the Brush panel to specify how the paint is applied.
302 USING PHOTOSHOP Painting Click the check box to the left of the option set to enable or disable the options without viewing them. Create a brush tip from an image 1 Using any selection tool, select the image area you want to use as a custom brush. The brush shape can be up to 2500 pixels by 2500 pixels in size. When painting, you can’t adjust the hardness of sampled brushes. To create a brush with sharp edges, set Feather to zero pixels.
303 USING PHOTOSHOP Painting Standard brush tip shape options For standard brush tips, you can set the following options in the Brush panel: Diameter Controls the size of the brush. Enter a value in pixels or drag the slider. Brush strokes with different diameter values Use Sample Size Resets the brush to its original diameter. This option is available only if the brush tip shape was created by sampling pixels in an image. Flip X Changes the direction of a brush tip on its x axis.
304 USING PHOTOSHOP Painting Roundness Specifies the ratio between the brush’s short and long axes. Enter a percentage value, or drag the points in the preview box. A value of 100% indicates a circular brush, a value of 0% indicates a linear brush, and intermediate values indicate elliptical brushes. Adjusting roundness to compress a brush tip shape Hardness Controls the size of the brush’s hard center. Type a number, or use the slider to enter a value that is a percentage of the brush diameter.
305 USING PHOTOSHOP Painting Bristle tip shape options For a video about bristle tips, see www.adobe.com/go/lrvid5009_ps_en Bristle tips let you specify precise bristle characteristics, creating highly realistic, natural-looking strokes. Set the following brush tip shape options in the Brush panel: Shape Determines the overall arrangement of bristles. Bristles Controls overall bristle density. Length Changes bristle length. Thickness Controls the width of individual bristles.
306 USING PHOTOSHOP Painting Brush stokes without shape dynamics and with shape dynamics Size Jitter and Control Specifies how the size of brush marks vary in a stroke. For more information, see “Adding brush dynamics” on page 305. To specify the maximum percentage of jittering, type a number or use the slider to enter a value.
307 USING PHOTOSHOP Painting More Help topics “Adding brush dynamics” on page 305 “Create a brush and set painting options” on page 302 Brush scattering Brush scattering determines the number and placement of marks in a stroke. Brush strokes without scattering (left) and with scattering (right) Scatter and Control Specifies how brush marks are distributed in a stroke. When Both Axes is selected, brush marks are distributed in a radial direction.
308 USING PHOTOSHOP Painting Brush strokes without texture (left) and with texture (right) Click the pattern sample, and select a pattern from the pop-up panel. Set one or more of the following options: Invert Inverts the high and low points in the texture based on the tones in the pattern.
309 USING PHOTOSHOP Painting A B C A. Primary brush tip stroke (hard round 55). B. Secondary brush tip stroke (grass). C. Dual brush stroke (using both). Mode Sets a blending mode to use when combining brush marks from the primary tip and the dual tip. (See “Blending modes” on page 312.) Diameter Controls the size of the dual tip. Enter a value in pixels, drag the slider, or click Use Sample Size to use the original diameter of the brush tip.
310 USING PHOTOSHOP Painting Hue Jitter Specifies a percentage by which the hue of the paint can vary in a stroke. Type a number, or use the slider to enter a value. A lower value changes the hue while maintaining a close proximity to the hue of the foreground color. A higher value increases the difference between hues. Saturation Jitter Specifies a percentage by which the saturation of the paint can vary in a stroke. Type a number, or use the slider to enter a value.
311 USING PHOTOSHOP Painting More Help topics “Adding brush dynamics” on page 305 “Create a brush and set painting options” on page 302 Other brush options Noise Adds additional randomness to individual brush tips. This option is most effective when applied to soft brush tips (brush tips that contain gray values). Wet Edges Causes paint to build up along the edges of the brush stroke, creating a watercolor effect. Airbrush Applies gradual tones to an image, simulating traditional airbrush techniques.
312 USING PHOTOSHOP Painting Blending modes The blending mode specified in the options bar controls how pixels in the image are affected by a painting or editing tool. It’s helpful to think in terms of the following colors when visualizing a blending mode’s effect: • The base color is the original color in the image. • The blend color is the color being applied with the painting or editing tool. • The result color is the color resulting from the blend.
313 USING PHOTOSHOP Painting Overlay Multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced, but mixed with the blend color to reflect the lightness or darkness of the original color. Soft Light Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image.
314 USING PHOTOSHOP Painting Lighter Color Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color. Darker Color Compares the total of all channel values for the blend and base color and displays the lower value color.
315 USING PHOTOSHOP Painting Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Subtract Divide Hue Saturation Color Luminosity, 80% opacity Lighter Color Darker Color Gradients Apply a gradient fill The Gradient tool creates a gradual blend between multiple colors. You can choose from preset gradient fills or create your own. Note: The Gradient tool cannot be used with bitmap or indexed-color images. 1 To fill part of the image, select the desired area.
316 USING PHOTOSHOP Painting The Neutral Density preset provides a helpful photographic filter for sunsets and other high-contrast scenes. 4 Select an option to determine how the starting point (where the mouse is pressed) and ending point (where the mouse is released) affect gradient appearance. Linear gradient Shades from the starting point to the ending point in a straight line. Radial gradient Shades from the starting point to the ending point in a circular pattern.
317 USING PHOTOSHOP Painting 6 Position the pointer in the image where you want to set the starting point of the gradient, and drag to define the ending point. To constrain the line angle to a multiple of 45°, hold down Shift as you drag. Manage gradient presets Gradient presets allow you to quickly apply gradients that you use often. You can manage your presets in the Gradient Picker, Presets Manager, or Gradient Editor.
318 USING PHOTOSHOP Painting Gradient Editor overview To display the Gradient Editor dialog box, click the current gradient sample in the options bar. (When you hover over the gradient sample, a tool tip reading “Click to edit gradient” appears.) The Gradient Editor dialog box lets you define a new gradient by modifying a copy of an existing gradient. You can also add intermediate colors to a gradient, creating a blend between more than two colors. A B C D E Gradient Editor dialog box A.
319 USING PHOTOSHOP Painting 8 To adjust the location of the starting point or ending point, do one of the following: • Drag the corresponding color stop left or right to the location you want. • Click the corresponding color stop, and enter a value for Location in the Stops section of the dialog box. A value of 0% places the point at the far left end of the gradient bar; a value of 100%, at the far right end.
320 USING PHOTOSHOP Painting Create a noise gradient A noise gradient is a gradient that contains randomly distributed colors within the range of colors that you specify. A B C Noise gradient with different roughness values. A. 10% roughness B. 50% roughness C. 90% roughness 1 Select the Gradient tool . 2 Click in the gradient sample in the options bar to display the Gradient Editor dialog box.
321 USING PHOTOSHOP Painting The tolerance defines how similar in color a pixel must be (to the pixel you click) to be filled. Values can range from 0 to 255. A low tolerance fills pixels within a range of color values very similar to the pixel you click. A high tolerance fills pixels within a broader range. 6 To smooth the edges of the filled selection, select Anti-aliased.
322 USING PHOTOSHOP Painting 3 From the Use menu, select one of the following: Content-Aware Seamlessly fills the selection with similar image content nearby. For the best results, create a selection that extends slightly into the area you want to replicate. (A quick lasso or marquee selection is often sufficient.) Content-aware fills randomly synthesize similar image content. If you don’t like your original results, choose Edit > Undo, and apply another Content-aware fill.
323 USING PHOTOSHOP Painting To create shape or layer borders that can be turned on or off like overlays and are anti-aliased to create softer-edged corners and edges, use the Stroke layer effect instead of the Stroke command. See “Layer effects and styles” on page 262. 1 Choose a foreground color. 2 Select the area or layer you want to stroke. 3 Choose Edit > Stroke. 4 In the Stroke dialog box, specify the width of the hard-edged border.
324 USING PHOTOSHOP Painting You can create new patterns and save them in libraries for use with different tools and commands. Preset patterns are displayed in pop-up panels in the options bar for the Paint Bucket, Pattern Stamp, Healing Brush, and Patch tools, as well as in the Layer Style dialog box. You can change how patterns are displayed in the pop-up panels by choosing a display option from the pop-up panel menu. You can also manage pattern presets using the preset manager.
325 USING PHOTOSHOP Painting 2 Enter a new name for the pattern, and click OK. Delete a preset pattern ❖ Do one of the following: • Select the pattern you want to delete, and choose Delete Pattern from the panel menu. • Hold down Alt (Windows) or Option (Mac OS), position the pointer over a pattern (the pointer turns into scissors), and click. The pattern is deleted only from the displayed group. To display the full library again, see “Load a library of patterns” on page 324.
326 Chapter 11: Drawing For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. About drawing Understanding shapes and paths Drawing in Adobe Photoshop involves creating vector shapes and paths. In Photoshop, you can draw with any of the shape tools, the Pen tool, or the Freeform Pen tool. Options for each tool are available in the options bar.
327 USING PHOTOSHOP Drawing Fill Pixels Paints directly on a layer—much as a painting tool does. When you work in this mode, you’re creating raster images—not vector graphics. You work with the shapes you paint just as you do with any raster image. Only the shape tools work in this mode. A B C B C A Drawing options A. Shape Layers B. Paths C.
328 USING PHOTOSHOP Drawing Drawing from the corner (left) and drawing from the center (right) Note: Drawing from the center out is the default behavior of the Star tool in Illustrator and the Polygon tool in Illustrator and Photoshop. For more information, see “Drawing and type tools gallery” on page 28. Draw multiple shapes in a layer You can draw separate shapes on a layer, or use the Add, Subtract, Intersect, or Exclude options to modify the current shape on a layer.
329 USING PHOTOSHOP Drawing Draw a custom shape You can draw custom shapes by using shapes from the Custom Shape pop-up panel, or save a shape or path to use as a custom shape. 1 Select the Custom Shape tool . (If the tool isn’t visible, hold down the Rectangle tool near the bottom of the toolbox.) 2 Select a shape from the Custom Shape pop-up panel in the options bar.
330 USING PHOTOSHOP Drawing • To change stroke width, select the shape layer in the Layers panel, and choose Layer >Layer Style > Stroke. • To modify the outline of a shape, click the shape layer’s vector mask thumbnail in the Layers panel or Paths panel. Then change the shape using the Direct Selection and pen tools. • To move a shape without changing its size or proportions, use the Move tool. For more information, see “Adjust path components” on page 343 and “Transform freely” on page 182.
331 USING PHOTOSHOP Drawing Unconstrained Lets you set the width and height of a rectangle, rounded rectangle, ellipse, or custom shape by dragging. Weight Determines width, in pixels, for the Line tool. To change stroke width for other shape tools, choose Layer > Layer Style > Stroke. (See “Apply or edit a custom layer style” on page 264.) Drawing with the Pen tools About the Pen tools Photoshop provides multiple Pen tools.
332 USING PHOTOSHOP Drawing Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose Edit > Undo, and click again. 3 Click again where you want the segment to end (Shift-click to constrain the angle of the segment to a multiple of 45°). 4 Continue clicking to set anchor points for additional straight segments.
333 USING PHOTOSHOP Drawing 4 Position the Pen tool where you want the curve segment to end, and do one of the following: • To create a C-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse button. A B C Drawing the second point in a curve A. Starting to drag second smooth point B. Dragging away from previous direction line, creating a C curve C.
334 USING PHOTOSHOP Drawing For a video on using the Pen tool in Illustrator, see www.adobe.com/go/vid0037. Finish drawing a path ❖ Complete a path in one of the following ways: • To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen tool pointer when it is positioned correctly. Click or drag to close the path. Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.
335 USING PHOTOSHOP Drawing Draw curves followed by straight lines 1 Using the Pen tool, drag to create the first smooth point of the curved segment, and release the mouse button. 2 Reposition the Pen tool where you want the curved segment to end, drag to complete the curve, and release the mouse button. 3 Select the Convert Point tool from the toolbox, and then click the selected end point to convert it from a smooth point to a corner point.
336 USING PHOTOSHOP Drawing More Help topics “Path segments, components, and points” on page 339 Draw using the magnetic pen options The Magnetic Pen is an option of the Freeform Pen tool that lets you draw a path that snaps to the edges of defined areas in your image. You can define the range and sensitivity of the snapping behavior, as well as the complexity of the resulting path. The Magnetic Pen and Magnetic Lasso tools share many of the same options.
337 USING PHOTOSHOP Drawing • Hold down Alt (Windows) or Option (Mac OS), and double-click to close the path with a straight segment. Managing paths Paths panel overview The Paths panel (Window > Paths) lists the name and a thumbnail image of each saved path, the current work path, and the current vector mask. Turning thumbnails off can improve performance. To view a path, you must first select it in the Paths panel. A B C Paths panel A. Saved path B. Temporary work path C.
338 USING PHOTOSHOP Drawing 3 Draw additional path components if desired. You can easily switch between drawing tools by clicking a tool button in the options bar. Choose a path area option to determine how overlapping path components intersect: Add To Path Area Adds the new area to overlapping path areas. Removes the new area from the overlapping path area. Subtract From Path Area Intersect Path Areas Restricts the path to the intersection of the new area and the existing area.
339 USING PHOTOSHOP Drawing Editing paths Path segments, components, and points A path consists of one or more straight or curved segments. Anchor points mark the end points of the path segments. On curved segments, each selected anchor point displays one or two direction lines, ending in direction points. The positions of direction lines and points determine the size and shape of a curved segment. Moving these elements reshapes the curves in a path. A B C D E A path A. Curved line segment B.
340 USING PHOTOSHOP Drawing Separate path components selected Select a path Selecting a path component or path segment displays all of the anchor points on the selected portion, including any direction lines and direction points if the selected segment is curved. Direction points appear as filled circles, selected anchor points as filled squares, and unselected anchor points as hollow squares.
341 USING PHOTOSHOP Drawing Adjust path segments You can edit a path segment at any time, but editing existing segments is slightly different from drawing them. Keep the following tips in mind when editing segments: • If an anchor point connects two segments, moving that anchor point always changes both segments.
342 USING PHOTOSHOP Drawing Drag the anchor point, or drag the direction point. Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point. Delete a segment 1 (Optional) If you’re creating an opening in a closed path, select the Add Anchor Point tool , and add two points where you want the cut to occur. 2 Select the Direct Selection tool , and select the segment you want to delete.
343 USING PHOTOSHOP Drawing In InDesign, you can also use the Pathfinder panel to join paths. To close the path of an open path, select the path and click Close Path in the Pathfinder panel. To close the end points between two paths, select the paths and click Join Path. You may want to click Join Path a second time to join the second endpoint. Move or nudge anchor points or segments using the keyboard 1 Select the anchor point or path segment.
344 USING PHOTOSHOP Drawing Dragging a path to a new location Note: If you drag a path so that the move pointer is over another open image, the path is copied to that image. Reshape a path component 1 Select the path name in the Paths panel, and use the Direct Selection tool to select an anchor point in the path. 2 Drag the point or its handles to a new location. Merge overlapping path components 1 Select the path name in the Paths panel, and select the Path Selection tool .
345 USING PHOTOSHOP Drawing Delete a path component 1 Select the path name in the Paths panel, and click a path component with the Path Selection tool . 2 Press Backspace (Windows) or Delete (Mac OS) to delete the selected path component. Align and distribute path components You can align and distribute path components that are described in a single path.
346 USING PHOTOSHOP Drawing 3 To add an anchor point, position the pointer over a path segment and click. To delete an anchor point, position the pointer over an anchor point and click. In Illustrator, you can add anchor points to a path by selecting the object and choosing Object > Path > Add Anchor Points. Disable or temporarily override automatic Pen tool switching You can override automatic switching of the Pen tool to the Add Anchor Point tool or the Delete Anchor Point tool.
347 USING PHOTOSHOP Drawing • To convert a smooth point to a corner point with independent direction lines, drag either direction point. Converting a smooth point to a corner point More Help topics “Path segments, components, and points” on page 339 Converting between paths and selection borders Convert paths to selection borders Paths provide smooth outlines that you can convert into precise selection borders.
348 USING PHOTOSHOP Drawing 4 Select an Operation option: New Selection Selects only the area defined by the path. Add To Selection Adds the area defined by the path to the original selection. Subtract From Selection Removes the area defined by the path from the current selection. Intersect With Selection Selects the area common to both the path and the original selection. If the path and selection do not overlap, nothing is selected. 5 Click OK.
349 USING PHOTOSHOP Drawing Important: When you fill a path, the color values appear on the active layer. Make sure that a standard or background layer is active before completing the steps below. (You cannot fill a path when a mask, text, fill, adjustment, or Smart Object layer is active.) Fill a path using the current Fill Path settings 1 Select the path in the Paths panel. 2 Click the Fill Path button at the bottom of the Paths panel.
350 USING PHOTOSHOP Drawing Path selected (left) and stroked (right) Stroke a path using the current Stroke Path options 1 Select the path in the Paths panel. 2 Click the Stroke Path button at the bottom of the Paths panel. Each click of the Stroke Path button builds up the opacity of the stroke and, depending upon the current brush options, makes it look thicker. Stroke a path and specify options 1 Select the path in the Paths panel. 2 Select the painting or editing tool you want to stroke the path.
351 Chapter 12: Filters For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Filter basics Using filters You can use filters to clean up or retouch your photos, apply special art effects that give your image the appearance of a sketch or impressionistic painting, or create unique transformations using distortions and lighting effects. The filters provided by Adobe appear in the Filter menu.
352 USING PHOTOSHOP Filters Apply a filter from the Filter menu You can apply a filter to the active layer, or to a Smart Object. Filters applied to a Smart Object are nondestructive and can be readjusted at any time. 1 Do one of the following: • To apply a filter to an entire layer, make sure the layer is active or selected. • To apply a filter to an area of a layer, select that area.
353 USING PHOTOSHOP Filters A B C D E F G H I J Filter Gallery dialog box A. Preview B. Filter category C. Thumbnail of selected filter D. Show/Hide filter thumbnails E. Filters pop-up menu F. Options for selected filter G. List of filter effects to apply or arrange H. Filter effect selected but not applied I. Filter effects applied cumulatively but not selected J. Hidden filter effect Display the Filter Gallery ❖ Choose Filter > Filter Gallery.
354 USING PHOTOSHOP Filters • To apply a filter non-destructively, so you can change your filter settings later, select the Smart Object that contains the image content that you want to filter. 2 Choose Filter > Filter Gallery. 3 Click a filter name to add the first filter. You may need to click the inverted triangle next to the filter category to see the complete list of filters. Once added, the filter appears in the applied filter list in the lower right corner of the Filter Gallery dialog box.
355 USING PHOTOSHOP Filters Tips for creating special effects Creating edge effects You can use various techniques to treat the edges of an effect applied to only part of an image. To leave a distinct edge, simply apply the filter. For a soft edge, feather the edge, and then apply the filter. For a transparent effect, apply the filter, and then use the Fade command to adjust the selection’s blending mode and opacity.
356 USING PHOTOSHOP Filters Filter effects reference Note: Complete information on using some filters is available in other sections. Search Adobe Help for information on the sharpening, blurring, Lens Correction, Lens Blur, Note: Noise Reduction Note: , Liquify, and Vanishing Point filters. Artistic filters Filters from the Artistic submenu help you achieve painterly and artistic effects for a fine arts or commercial project. For example, use the Cutout filter for collages or typography.
357 USING PHOTOSHOP Filters Blur filters The Blur filters soften a selection or an entire image, and are useful for retouching. They smooth transitions by averaging the pixels next to the hard edges of defined lines and shaded areas in an image. Before (left) and after (right) using the Lens Blur filter; the background is blurred but the foreground stays sharp. Note: To apply a Blur filter to the edges of a layer, deselect the Lock Transparent Pixel option in the Layers panel.
358 USING PHOTOSHOP Filters Shape Blur Uses the specified kernel to create the blur. Choose a kernel from the list of custom shape presets, and use the radius slider to adjust its size. You can load different shape libraries by clicking the triangle and choosing from the list. Radius determines the size of the kernel; the larger the kernel, the greater the blur. Smart Blur Blurs an image with precision. You can specify a radius, a threshold, and a blur quality.
359 USING PHOTOSHOP Filters Ocean Ripple Adds randomly spaced ripples to the surface of the image so that it appears to be underwater. Pinch Squeezes a selection. A positive value up to 100% shifts a selection toward its center; a negative value up to – 100% shifts a selection outward. Polar Coordinates Converts a selection from its rectangular to polar coordinates, and vice versa, according to a selected option.
360 USING PHOTOSHOP Filters Pixelate filters The filters in the Pixelate submenu sharply define a selection by clumping pixels of similar color values in cells. Color Halftone Simulates the effect of using an enlarged halftone screen on each channel of the image. For each channel, the filter divides the image into rectangles and replaces each rectangle with a circle. The circle size is proportional to the brightness of the rectangle. See “Apply the Color Halftone filter” on page 366.
361 USING PHOTOSHOP Filters Sharpen filters The Sharpen filters focus blurred images by increasing the contrast of adjacent pixels. Sharpen and Sharpen More Focus a selection and improve its clarity. The Sharpen More filter applies a stronger sharpening effect than does the Sharpen filter. Sharpen Edges and Unsharp Mask Find the areas in the image where significant color changes occur and sharpen them. The Sharpen Edges filter sharpens only edges while preserving the overall smoothness of the image.
362 USING PHOTOSHOP Filters Plaster Molds an image from 3D plaster, and then colorizes the result using the foreground and background color. Dark areas are raised, and light areas are recessed. Reticulation Simulates the controlled shrinking and distortion of film emulsion to create an image that appears clumped in the shadows and lightly grained in the highlights. Stamp Simplifies the image so that it appears to be created with a rubber or wood stamp.
363 USING PHOTOSHOP Filters Texture filters Use the Texture filters to simulate the appearance of depth or substance, or to add an organic look. Craquelure Paints an image onto a high-relief plaster surface, producing a fine network of cracks that follow the contours of the image. Use this filter to create an embossing effect with images that contain a broad range of color or grayscale values.
364 USING PHOTOSHOP Filters Offset Moves a selection a specified horizontal or vertical amount, leaving an empty space at the selection’s original location. You can fill the empty area with the current background color, with another part of the image, or with your choice of fill if the selection is near the edge of an image. Digimarc filters The Digimarc filters embed a digital watermark into an image to store copyright information. Note: Digimarc plug-ins require a 32-bit operating system.
365 USING PHOTOSHOP Filters Defining undistorted areas The Displace, Shear, and Wave filters in the Distort submenu and the Offset filter in the Other submenu let you treat areas undefined (or unprotected) by the filter in the following ways: Wrap Around Fills the undefined space with content from the opposite edge of the image. Repeat Edge Pixels Extends the colors of pixels along the edge of the image in the direction specified. Banding may result if the edge pixels are different colors.
366 USING PHOTOSHOP Filters Apply the Color Halftone filter 1 Choose Filter > Pixelate > Color Halftone. 2 Enter a value in pixels for the maximum radius of a halftone dot, from 4 to 127. 3 Enter a screen-angle value (the angle of the dot from the true horizontal) for one or more channels: • For Grayscale images, use only channel 1. • For RGB images, use channels 1, 2, and 3, which correspond to the red, green, and blue channels.
367 USING PHOTOSHOP Filters 2 Select the center text box, which represents the pixel being evaluated. Enter the value by which you want to multiply that pixel’s brightness value, from –999 to +999. 3 Select a text box representing an adjacent pixel. Enter the value by which you want the pixel in this position multiplied. For example, to multiply the brightness value of the pixel to the immediate right of the current pixel by 2, enter 2 in the text box to the immediate right of the center text box.
368 USING PHOTOSHOP Filters Exposure Increases (positive values) or decreases (negative values) light. A value of 0 has no effect. Ambience Diffuses the light as if it were combined with other light in a room, such as sunlight or fluorescent light. Choose a value of 100 to use only the light source, or a value of –100 to remove the light source. To change the color of the ambient light, click the color box and use the Color Picker that appears.
369 USING PHOTOSHOP Filters • To increase the light angle, drag the handle to shorten the line. To decrease the light angle, drag to lengthen the line. • To stretch the ellipse or rotate the light, drag one of the handles. Shift-drag to keep the angle constant and change only the size of the ellipse. Ctrl-drag (Windows) or Command-drag (Mac OS) to keep the size constant and change the angle or direction of the spotlight.
370 USING PHOTOSHOP Filters Create, save, or delete a Lighting Effects style ❖ In the Lighting Effects dialog box, do one of the following: • To create a style, choose Default for Style and drag the light bulb icon at the bottom of the dialog box into the preview area. Repeat as desired for a maximum of 16 lights. • To save a style, click Save, name the style, and click OK. Saved styles include all the settings for each light and appear in the Style menu whenever you open the image.
371 Chapter 13: Type For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Creating type Type in Adobe Photoshop consists of vector-based type outlines—mathematically defined shapes that describe the letters, numbers, and symbols of a typeface.
372 USING PHOTOSHOP Type Entering type There are three ways to create type: at a point, inside a paragraph, and along a path. • Point type is a horizontal or vertical line of text that begins where you click in the image. Entering text at a point is a useful way to add a few words to your image. • Paragraph type uses boundaries to control the flow of characters, either horizontally or vertically. Entering text this way is useful when you want to create one or more paragraphs, such as for a brochure.
373 USING PHOTOSHOP Type 5 When you finish entering or editing the type, do one of the following: • Click the Commit button in the options bar. • Press the Enter key on the numeric keypad. • Press Ctrl+Enter (Windows) or Command+Return (Mac OS). • Select any tool in the toolbox; click in the Layers, Channels, Paths, Actions, History, or Styles panel; or select any available menu command.
374 USING PHOTOSHOP Type • To skew the bounding box, hold down Ctrl (Windows) or Command (Mac OS) and drag one of the middle handles. The pointer turns into an arrowhead . Skewing type using the bounding box • To scale the type as you resize the bounding box, Ctrl-drag (Windows) or Command-drag (Mac OS) a corner handle. • To resize the bounding box from the center point, Alt-drag (Windows) or Option-drag (Mac OS) a corner handle.
375 USING PHOTOSHOP Type “Line and character spacing” on page 387 “Fonts” on page 383 Specify curly or straight quotes Typographer’s quotes, often called curly quotes or smart quotes, blend in with the curves of the font. Typographer’s quotes are traditionally used for quotation marks and apostrophes. Straight quotes are traditionally used as abbreviations for feet and inches. 1 Choose Edit > Preferences > Type (Windows) or Photoshop > Preferences > Type (Mac OS).
376 USING PHOTOSHOP Type Check and correct spelling When you check the spelling in a document, Photoshop questions any words that aren’t in its dictionary. If a questioned word is spelled correctly, you can confirm its spelling by adding the word to your personal dictionary. If a questioned word is misspelled, you can correct it. 1 If necessary, in the Character panel, choose a language from the pop-up menu at the bottom of the panel. This is the dictionary Photoshop uses to check spelling.
377 USING PHOTOSHOP Type Case Sensitive Searches for a word or words that exactly match the case of the text in the Find What text box. For example, with the Case Sensitive option selected, a search for “PrePress” does not find “Prepress” or “PREPRESS.” Whole Word Only Disregards the search text if it is embedded in a larger word. For example, if you are searching for “any” as a whole word, “many” is disregarded. 5 Click Find Next to begin the search. 6 Click one of the following buttons.
378 USING PHOTOSHOP Type 2 In the Character panel, set the Vertical Scaling option or the Horizontal Scaling option . Rotate type ❖ Do the following: • To rotate type, select the type layer and use any rotate command or the Free Transform command. For paragraph type, you can also select the bounding box and use a handle to rotate the type manually. • To rotate multiple characters in vertical Asian text, use the tate-chu-yoko.
379 USING PHOTOSHOP Type Rasterize type layers Some commands and tools—such as filter effects and painting tools—are not available for type layers. You must rasterize the type before applying the command or using the tool. Rasterizing converts the type layer into a normal layer and makes its contents uneditable as text. A warning message appears if you choose a command or tool that requires a rasterized layer. Some warning messages provide an OK button you can click to rasterize the layer.
380 USING PHOTOSHOP Type • With a type tool selected, click the Panel button in the options bar. To set an option in the Character panel, choose a value from the pop-up menu on the right side of the option. For options with numeric values, you can also use the up and down arrows to set the value, or you can edit the value directly in the text box.
381 USING PHOTOSHOP Type Dynamic shortcuts appear in the Character panel menu only when you are entering point or paragraph type, when type is selected, or when the I-beam is in text. Specify type size The type size determines how large the type appears in the image. The default unit of measurement for type is points. One PostScript point is equal to 1/72 of an inch in a 72-ppi image; however, you can switch between using the PostScript and traditional definitions of point size.
382 USING PHOTOSHOP Type • Apply an overlay layer style to the type layer to apply a color, gradient, or pattern on top of the existing color. You can’t apply an overlay layer style selectively; it affects all characters in the type layer. • Click the foreground color selection box in the toolbox, and select a color using the Adobe Color Picker. Alternatively, click a color in the Color panel, or the Swatches panel.
383 USING PHOTOSHOP Type Apply all caps or small caps You can enter or format type as uppercase characters, either all caps or small caps. When you format text as small caps, Photoshop automatically uses the small-cap characters designed as part of the font, if available. If the font does not include small caps, Photoshop generates faux small caps. Regular capital letters (top) compared to small-cap letters (bottom) 1 Select the type you want to change.
384 USING PHOTOSHOP Type To make fonts available to Photoshop and other Adobe Creative Suite applications, install them in these system folders: Windows Windows/Fonts Mac OS Library/Fonts More Help topics “OpenType fonts” on page 385 “About missing fonts and glyph protection” on page 385 Previewing fonts You can view samples of a font in the font family and font style menus in the Character panel and other areas in the application from where you can choose fonts.
385 USING PHOTOSHOP Type You can choose a font family and style by typing its name in the text box. As you type, the name of the first font or style beginning with that letter appears. Continue typing until the correct font or style name appears. 2 To choose a font style, do one of the following: • Choose a font style from the Font Style menu in the Character panel or options bar.
386 USING PHOTOSHOP Type A B C Regular (left) and OpenType (right) fonts A. Ordinals B. Discretionary ligatures C. Swashes OpenType fonts may include an expanded character set and layout features to provide richer linguistic support and advanced typographic control. OpenType fonts from Adobe that include support for central European (CE) languages include the word “Pro,” as part of the font name in application font menus.
387 USING PHOTOSHOP Type Titling Alternatives Formats characters (usually all in capitals) designed for use in large-size settings, such as titles. Ornaments Are devices that add a personal signature to the type family and can be used as title page decoration, paragraph markers, dividers for blocks of text, or as repeated bands and borders. Ordinals Automatically formats ordinal numbers (such as 1st and 2nd) with superscript characters.
388 USING PHOTOSHOP Type Change the default auto leading percentage 1 Choose Justification from the Paragraph panel menu. 2 For Auto Leading, enter a new default percentage. Kern and track Kerning is the process of adding or subtracting space between specific pairs of characters. Tracking is the process of loosening or tightening the spacing between the characters in selected text or an entire block of text. You can automatically kern type using metrics kerning or optical kerning.
389 USING PHOTOSHOP Type • To automatically adjust the spacing between selected characters based on their shapes, select Optical for the Kerning option in the Character panel. • To adjust kerning manually, place an insertion point between two characters, and set the desired value for the Kerning option in the Character panel. (Note that if a range of text is selected, you can’t manually kern the text. Instead, use tracking.
390 USING PHOTOSHOP Type Formatting paragraphs Format paragraphs For point type, each line is a separate paragraph. For paragraph type, each paragraph can have multiple lines, depending on the dimensions of the bounding box. You can select paragraphs and then use the Paragraph panel to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a type layer. ❖ Select the Horizontal Type tool or the Vertical Type tool .
391 USING PHOTOSHOP Type Specify alignment You can align type to one edge of a paragraph (left, center, or right for horizontal type; top, center, or bottom for vertical type). Alignment options are available only for paragraph type. 1 Do one of the following: • Select a type layer if you want all the paragraphs in that type layer to be affected. • Select the paragraphs you want affected. 2 In the Paragraph panel or options bar, click an alignment option.
392 USING PHOTOSHOP Type Note: Justification (right, center, and left align, and justify all) for type on a path starts at the insertion point and ends at the end of the path. Adjust word and letter spacing in justified text You can precisely control how Photoshop spaces letters and words and scales characters. Adjusting spacing is especially useful with justified type, although you can also adjust spacing for unjustified type.
393 USING PHOTOSHOP Type Adjust paragraph spacing 1 Select the paragraphs you want affected, or select a type layer if you want all the paragraphs in that type layer to be affected. If you don’t insert the cursor in a paragraph or select a type layer, the setting applies to new text you create. 2 In the Paragraph panel, adjust the values for Add Space Before Paragraph and Add Space After Paragraph .
394 USING PHOTOSHOP Type Adjust hyphenation automatically The settings you choose for hyphenation affect the horizontal spacing of lines and the aesthetic appeal of type on a page. Hyphenation options determine whether words can be hyphenated and, if so, what breaks are allowable. 1 To use automatic hyphenation, do any of the following: • To turn automatic hyphenation on or off, select or deselect the Hyphenate option in the Paragraph panel.
395 USING PHOTOSHOP Type Every-line Composer The Every-line Composer considers a network of break points for a range of lines and thus can optimize earlier lines in the paragraph in order to eliminate especially unattractive breaks later on.
396 USING PHOTOSHOP Type e c cactus | h i cactus | e c h i no o n cactus t c c a u s r tu e s. Echniocac B a r rib to s and up sp ine canthus e a y aty c a n t h u pl sp l s 0 s 5 Horizontal and vertical type on an open path.
397 USING PHOTOSHOP Type Move or flip type along a path ❖ Select the Direct Selection tool I-beam with an arrow or Path Selection tool and position it over the type. The pointer changes to an . • To move text, click and drag the type along the path. Be careful not to drag across the path. • To flip text to the other side of the path, click and drag the type across the path. Ca Ca Using the Direct Selection tool or Path Selection tool to move or flip type on a path.
398 USING PHOTOSHOP Type Example of type warped with Fish style. More Help topics “Warp an item” on page 183 Warp type 1 Select a type layer. 2 Do one of the following: • Select a type tool, and click the Warp button in the options bar. • Choose Layer > Type > Warp Text. Note: You can use the Warp command to warp text in a type layer. Choose Edit > Transform Path > Warp. 3 Choose a warp style from the Style pop-up menu. 4 Select the orientation of the warp effect—Horizontal or Vertical.
399 USING PHOTOSHOP Type Convert type to shapes When you convert type to shapes, the type layer is replaced by a layer with a vector mask. You can edit the vector mask and apply styles to the layer; however, you cannot edit characters in the layer as text. ❖ Select a type layer, and choose Layer > Type > Convert To Shape. Note: You cannot create shapes from fonts that don't include outline data (such as bitmap fonts).
400 USING PHOTOSHOP Type 2 Select the Horizontal Type tool or the Vertical Type tool in the toolbox. 3 Click the Character tab to bring the Character panel to the front or, if the panel isn’t open, choose Window > Character. 4 In the Character panel, select the font and other type attributes for the text. Large, bold, thick letters work best. 5 Click an insertion point in the document window and type the desired text.
401 USING PHOTOSHOP Type Reduce spacing around Asian type characters Tsume reduces the space around a character by a specified percentage value. As a result, the character itself is not stretched or squeezed. Instead, the space between the character’s bounding box and the em box is compressed. When tsume is added to a character, spacing around both sides of the character is reduced by an equal percentage. 1 Select the characters you want to adjust.
402 USING PHOTOSHOP Type Align Asian characters with mojisoroe Mojisoroe is the alignment of characters in Asian type. When a line of text contains different sizes of characters, you can specify how to align text to the largest characters in the line: to the top, center, or bottom of the em box (right, center, and left for vertical frames), to the roman baseline, or to the top or bottom of the ICF box (right or left for vertical frames).
403 USING PHOTOSHOP Type • (Mac OS) From the Input pop-up menu at the right side of the menu bar, choose Show Character Viewer. Note: (Mac OS) If the Input menu does not display in the menu bar, choose Apple menu > System Preferences > Language & Text, then click Input Sources, and select Keyboard & Character Viewer. 5 Do one of the following: • (Windows) In Character Map, select the Advanced View option, choose All from the Group By menu, and then choose Unicode for Character Set. A B Character Map A.
404 USING PHOTOSHOP Type Asian OpenType options Additional OpenType options are available, depending on the font. Japanese 78 Substitutes the standard glyph with the jp78-variant glyph. Japanese Expert Substitutes the standard glyph with the expert-variant glyphs. Japanese Traditional Substitutes the standard glyph with the traditional-variant glyph. Proportional Metrics Substitutes the half-width and the full-width glyphs with the proportional glyph.
405 USING PHOTOSHOP Type Mojikumi Set 3, and Mojikumi Set 4 Set kinsoku shori options Kinsoku shori specifies line breaks for Japanese text. Characters that cannot begin a line or end a line are known as kinsoku characters. Photoshop includes weak and maximum kinsoku sets based on the Japanese Industrial Standard (JIS) X 4051-1995. Weak kinsoku sets omit long vowel symbols and small hiragana characters.
406 USING PHOTOSHOP Type Specify a kinsoku line-breaking option Kinsoku shori or mojikumi must be selected to use the following line-breaking options. ❖ From the Paragraph panel menu, choose Kinsoku Shori Type and then choose one of the following methods: Push In First Moves characters up to the previous line to prevent prohibited characters from ending or beginning a line. Push Out First Moves characters down to the next line to prevent prohibited characters from ending or beginning a line.
407 Chapter 14: Saving and exporting images For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Saving images Save a file Use the Save command to save changes to the current file or the Save As command to save changes to a different file. More Help topics “Duplicate an image” on page 72 “Make a snapshot of an image” on page 56 Save changes to the current file ❖ Choose File > Save. The file remains in the current format.
408 USING PHOTOSHOP Saving and exporting images To copy an image without saving it to your hard disk, use the Duplicate command. To store a temporary version of the image in memory, use the History panel to create a snapshot. File saving options You can set a variety of file saving options in the Save As dialog box. The availability of options depends on the image you are saving and the selected file format. As A Copy Saves a copy of the file while keeping the current file open on your desktop.
409 USING PHOTOSHOP Saving and exporting images Save As to Original Folder When saving, defaults to the folder images originated from. Deselect this option to instead default to the folder you last saved in. Mac OS image preview options In Mac OS, you can select one or more of the following preview types (to speed the saving of files and minimize file size, select only the previews you need). Icon Uses the preview as a file icon on the desktop.
410 USING PHOTOSHOP Saving and exporting images 4 Select the Visible Layers Only option if you want to export only those layers that have visibility enabled in the Layers panel. Use this option if you don’t want all the layers exported. Turn off visibility for layers that you don’t want exported. 5 Choose a file format from the 6 File Type 7 menu. Set options as necessary. 8 Select the Include ICC Profile option if you want the working space profile embedded in the exported file.
411 USING PHOTOSHOP Saving and exporting images 11 In the Save 12 For Web 13 & Devices dialog box, select the desired format and change other export settings as desired. 14 Click Device Central. A temporary file with the export settings specified is displayed in the Device Central Emulator tab. To continue testing, double-click the name of a different device in the Device Sets or Local Library list. 15 If, after previewing the file in Device Central, make changes to the file, go back to Photoshop.
412 USING PHOTOSHOP Saving and exporting images Creative Suite components, including Photoshop, InDesign®, Illustrator®, GoLive®, and Acrobat®. More Help topics “Save an Adobe PDF preset” on page 418 “Play an action on a file” on page 570 Save in Photoshop PDF format 1 Choose File > 2 Save As 3 , and then choose Photoshop PDF from the Format menu. You can select a Color option if you want to embed a color profile or use the profile specified with the 4 Proof Setup 5 command.
413 USING PHOTOSHOP Saving and exporting images 13 (Optional) If you want to reuse the PDF save settings, click Save Preset and save your settings as a PDF preset. The new preset appears in the Adobe PDF Preset menu the next time you save a Photoshop PDF file and in any product in the Adobe 14 Creative Suite 15 . See also “Save an Adobe PDF preset” on page 418. 16 Click Save PDF. Photoshop closes the Save Adobe PDF dialog box and creates the PDF document file.
414 USING PHOTOSHOP Saving and exporting images printing condition for which they are prepared. PDF files created with PDF/X-1a compliance can be opened in Acrobat 4.0 and Acrobat Reader 4.0 and later. PDF/X-1a uses PDF 1.3, downsamples color and grayscale images to 300 ppi and monochrome images to 1200 ppi, embeds subsets of all fonts, creates untagged PDFs, and flattens transparency using the High Resolution setting.
415 USING PHOTOSHOP Saving and exporting images components, see the PDF Integration Guide on the Creative Suite DVD. About PDF/X and PDF/A standards PDF/X and PDF/A standards are defined by the International Organization for Standardization (ISO). PDF/X standards apply to graphic content exchange; PDF/A standards apply to long-term archiving of electronic documents. During PDF conversion, the file that is being processed is checked against the specified standard.
416 USING PHOTOSHOP Saving and exporting images Acrobat 3.0 (PDF 1.3) Acrobat 5.0 (PDF 1.4) Acrobat 6.0 (PDF 1.5) Acrobat 7.0 (PDF 1.6) and Acrobat X (PDF 1.7) DeviceN color space with 8 colorants is supported. DeviceN color space with 8 colorants is supported. DeviceN color space with up to 31 DeviceN color space with up to 31 colorants is supported. colorants is supported. Multibyte fonts can be Multibyte fonts can be embedded. (Distiller converts the embedded. fonts when embedding.
417 USING PHOTOSHOP Saving and exporting images • Bicubic Downsampling To Uses a weighted average to determine pixel color, which usually yields better results than the simple averaging method of downsampling. Bicubic is the slowest but most precise method, resulting in the smoothest gradations. Compression Determines the type of compression that is used.
418 USING PHOTOSHOP Saving and exporting images dialog box) to the color space of the target output device. Profile Inclusion Policy Determines whether a color profile is included in the file. Output Intent Profile Name Specifies the characterized printing condition for the document. An output intent profile is required for creating PDF/X-compliant files. This menu is available only if a PDF/X standard (or preset) is selected in the Adobe PDF Options dialog box.
419 USING PHOTOSHOP Saving and exporting images • To edit an existing custom preset, select the preset and click Edit. (You can’t edit the default presets.) 3 Set the PDF options. 4 Save your preset by doing one of the following: • In the New PDF Preset or the Edit PDF Preset dialog box, click OK. The new preset appears in the Adobe PDF Presets list. Click Done when you finish creating presets. • In the Save dialog box, type a name for the preset in the File Name text box and click Save.
420 USING PHOTOSHOP Saving and exporting images • button, give the preset a new name (if necessary), browse to the destination, and click Save. More Help topics “Save an Adobe PDF preset” on page 418 Saving files in graphics formats Save in TIFF format TIFF is a flexible raster (bitmap) image format supported by virtually all paint, image-editing, and page-layout applications. 1 Choose File > 2 Save As 3 , choose TIFF from the Format menu, and click Save.
421 USING PHOTOSHOP Saving and exporting images More Help topics “TIFF” on page 432 “About file compression” on page 426 Save in JPEG format You can use the Save As command to save CMYK, RGB, and grayscale images in JPEG (*.jpg) format. JPEG compresses file size by selectively discarding data. You can also save an image as one or more JPEG using the Save For Web & Devices command. JPEG supports only 8-bit images. If you save a 16-bit image to this format, Photoshop automatically lowers the bit depth.
422 USING PHOTOSHOP Saving and exporting images command to save RGB, Indexed Color, Grayscale, and Bitmap mode images in PNG format. Note: You can also save an image as one or more PNG files using the Save For Web & Devices command. 1 Choose File > 2 Save As 3 , and choose PNG from the Format menu. 4 Select an Interlace option: None Displays the image in a browser only when download is complete. Interlaced Displays low-resolution versions of the image in a browser as the file downloads.
423 USING PHOTOSHOP Saving and exporting images Save in Photoshop EPS format Virtually all page-layout, word-processing, and graphics applications accept imported or placed EPS (Encapsulated PostScript) files. To print EPS files, you should use a PostScript printer. Non-PostScript printers will print only the screen-resolution preview. 1 Choose File > 2 Save As 3 , and choose Photoshop EPS from the Format menu.
424 USING PHOTOSHOP Saving and exporting images Save in Photoshop DCS format DCS (Desktop Color Separations) format is a version of EPS that lets you save color separations of CMYK or multichannel files. 1 Choose File > 2 Save As 3 , and choose Photoshop DCS 1.0 or Photoshop DCS 2.0 from the Format menu. 4 In the DCS Format dialog box, select the options you want, and click OK. The dialog box includes all the options available for Photoshop EPS files.
425 USING PHOTOSHOP Saving and exporting images 5 In the BMP Options dialog box, select a file format, specify the bit depth and, if necessary, select Flip Row Order. For more options, click Advanced Modes and specify the BMP options. 6 Click OK. More Help topics “BMP format” on page 429 Save in Cineon format (16-bit images only) RGB images that are 16 bits per channel can be saved in Cineon format for use in the Kodak Cineon Film System.
426 USING PHOTOSHOP Saving and exporting images The standard bit depth for images is 8 bits per channel. To achieve greater dynamic range with 16- or 32-bit images, use the following formats: Formats for 16-bit images (require Save As command) Photoshop, Large Document Format (PSB), Cineon, DICOM, IFF, JPEG, JPEG 2000, Photoshop PDF, Photoshop Raw, PNG, Portable Bit Map, and TIFF. Note: The Save Note: For Web Note: & Devices command automatically converts 16-bit images to 8-bit.
427 USING PHOTOSHOP Saving and exporting images Note: If you save an image in an earlier version of Photoshop, features that version doesn’t support are discarded. 1 Choose Edit > Preferences > File Handling (Windows) or Photoshop > Preferences > File Handling (Mac OS). 2 From the Maximize PSD and PSB File Compatibility menu, choose any of the following: Always Saves a composite (flattened) image along with the layers of your document. Ask Asks whether to maximize compatibility when you save.
428 USING PHOTOSHOP Saving and exporting images EPS format supports Lab, CMYK, RGB, Indexed Color, Duotone, Grayscale, and Bitmap color modes, and does not support alpha channels. EPS does support clipping paths. Desktop Color Separations (DCS) format, a version of the standard EPS format, lets you save color separations of CMYK images. You use DCS 2.0 format to export images containing spot channels. To print EPS files, you must use a PostScript printer.
429 USING PHOTOSHOP Saving and exporting images Digital Negative format (DNG) Digital Negative (DNG) is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. DNG, Adobe’s publicly available, archival format for camera raw files, is designed to provide compatibility and decrease the current proliferation of camera raw file formats. The Camera Raw plug-in can save camera raw image data in the DNG format.
430 USING PHOTOSHOP Saving and exporting images JPEG format Joint Photographic Experts Group (JPEG) format is commonly used to display photographs and other continuoustone images in hypertext markup language (HTML) documents over the World Wide Web and other online services. JPEG format supports CMYK, RGB, and Grayscale color modes, and does not support transparency. Unlike GIF format, JPEG retains all color information in an RGB image but compresses file size by selectively discarding data.
431 USING PHOTOSHOP Saving and exporting images Photoshop recognizes two types of PDF files: Photoshop PDF files Created when Preserve Photoshop Editing Capabilities is selected in the Save Adobe PDF dialog box. Photoshop PDF files can contain only a single image. Photoshop PDF format supports all color modes (except Multichannel) and features that are supported in standard Photoshop format.
432 USING PHOTOSHOP Saving and exporting images The Portable Bit Map format serves as the common language of a large family of bitmap conversion filters including Portable FloatMap (PFM), Portable Graymap (PGM), Portable Pixmap (PPM), and Portable Anymap (PNM). While the PBM file format stores monochrome bitmaps, PGM additionally stores grayscale bitmaps, and PPM can also store color bitmaps. PNM is not a different file format in itself, but a PNM file can hold PBM, PGM, or PPM files.
433 USING PHOTOSHOP Saving and exporting images More Help topics “Save large documents” on page 409 WBMP format WBMP format is the standard format for optimizing images for mobile devices, such as cell phones. WBMP supports 1-bit color, which means that WBMP images contain only black and white pixels. Metadata and notes About metadata Metadata is a set of standardized information about a file, such as author name, resolution, color space, copyright, and keywords applied to it.
434 USING PHOTOSHOP Saving and exporting images In some cases, multiple views exist for the same metadata property. For example, a property may be labeled Author in one view and Creator in another, but both refer to the same underlying property. Even if you customize these views for specific workflows, they remain standardized through XMP. Notes You can attach notes to an image in Photoshop. This is useful for associating review comments, production notes, or other information with the image.
435 USING PHOTOSHOP Saving and exporting images • Clear All • in the options bar. Digimarc copyright protection Note: Digimarc plug-ins require a 32-bit operating system. They are unsupported in 64-bit versions of Windows and Mac OS. Read a Digimarc watermark 1 Choose Filter > Digimarc > Read Watermark. If the filter finds a watermark, a dialog box displays the Digimarc ID, creator information, and image attributes. 2 Click OK, or for more information, click Web Lookup.
436 USING PHOTOSHOP Saving and exporting images Workflow Digital watermarking should be one of the very last tasks you perform on an image, except for file compression. Use the following recommended workflow: • Make all necessary modifications to your image until you are satisfied with its final appearance (this includes resizing and color correction). • Embed the Digimarc watermark. • If needed, compress the image by saving it in JPEG or GIF format.
437 USING PHOTOSHOP Saving and exporting images Using the Watermark Durability setting The default Watermark Durability setting is designed to strike a balance between watermark durability and visibility in most images. However, you can adjust the Watermark Durability setting yourself to suit the needs of your images. Low values are less visible in an image but less durable, and may be damaged by applying filters or by performing some image editing, printing, and scanning operations.
438 USING PHOTOSHOP Saving and exporting images 3 Save As 4 . 5 In the 6 Save As 7 dialog box, choose the appropriate format from the Format menu. The format you choose depends on the final output for the document. For printing to non-PostScript printers, choose TIFF. For printing to PostScript printers, choose Photoshop EPS. Then click Save. 8 In the TIFF Options or EPS Options dialog box, set the following options. Leave any remaining options at their default settings, and click OK.
439 USING PHOTOSHOP Saving and exporting images You may want to use only part of a Photoshop image when printing it or placing it in another application. For example, you may want to use a foreground object and exclude the background. An image clipping path lets you isolate the foreground object and make everything else transparent when the image is printed or placed in another application. Note: Paths are vector-based; therefore, they have hard edges.
440 USING PHOTOSHOP Saving and exporting images Printing image clipping paths Sometimes an imagesetter cannot interpret image clipping paths, or an image clipping path is too complex for a printer, resulting in a Limitcheck error or a general PostScript error. Sometimes you can print a complex path on a low-resolution printer without difficulty but run into problems when printing the same path on a high-resolution printer.
441 USING PHOTOSHOP Saving and exporting images Link or embed a selection or image in an OLE application ❖ Do one of the following: • Copy a selection in Photoshop, and insert it in your OLE container application using the application’s Paste Special command. Refer to your word-processing or page-layout application documentation for more instructions. Pasted selections can only be embedded, not linked.
442 Chapter 15: Printing For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Printing from Photoshop For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com.
443 USING PHOTOSHOP Printing Monitors display images using light, whereas desktop printers reproduce images using inks, dyes, or pigments. For this reason, a desktop printer can’t reproduce all the colors displayed on a monitor. However, by incorporating certain procedures (such as a color management system) into your workflow, you can achieve predictable results when printing your images to a desktop printer.
444 USING PHOTOSHOP Printing A B C D E F Print dialog box A. Preview print B. Set printer and print job options C. Set paper orientation D. Position and scale image E. Specify prepress output options F. Specify color management and proofing options 2 Select the printer, number of copies, and paper orientation. In Mac OS, send 16-bit data to the printer to produce the highest possible quality in subtle graduated tones, such as bright skies.
445 USING PHOTOSHOP Printing Note: If you get a warning that your image is larger than the printable area of the paper, click Cancel, choose File > Print, and select the Scale To Fit Media box. To make changes to your paper size and layout, click Print Settings, and attempt to print the file again. Set printer options 1 In the Print dialog box, click Print Settings. 2 Set paper size, source, and page orientation as desired.
446 USING PHOTOSHOP Printing • To achieve the desired scale, select Bounding Box, and drag a bounding box handle in the preview area. Print vector data If an image includes vector graphics, such as shapes and type, Photoshop can send the vector data to a PostScript printer. When you choose to include vector data, Photoshop sends the printer a separate image for each type layer and each vector shape layer.
447 USING PHOTOSHOP Printing Choose Color Management to display additional options. 5 Select Document. The profile is displayed in parentheses on the same line. 6 For Color Handling, choose Printer Manages Colors. 7 (Optional) Choose a rendering intent for converting colors to the destination color space. Many non-PostScript printer drivers ignore this option and use the Perceptual rendering intent. (For more information, see About rendering intents.
448 USING PHOTOSHOP Printing Let Photoshop determine printed colors If you have a custom color profile for a specific printer, ink, and paper combination, letting Photoshop manage colors may produce better results than letting the printer manage colors. See Letting the application determine colors when printing. 1 Choose File > Print. 2 Choose 3 Color Management 4 from the pop-up menu. 5 For Color Handling, choose Photoshop Manages Colors.
449 USING PHOTOSHOP Printing Print a hard proof A hard proof (sometimes called a proof print or match print) is a printed simulation of what your final output on a printing press will look like. A hard proof is produced on an output device that’s less expensive than a printing press. Some inkjet printers have the resolution necessary to produce inexpensive prints that can be used as hard proofs. 1 Choose View > 2 Proof Setup 3 , and select the output conditions you want to simulate.
450 USING PHOTOSHOP Printing Printing images to a commercial printing press Preparing images for press From Photoshop, you can prepare image files for offset lithography, digital printing, gravure, and other commercial printing processes. Generally, your workflow depends on the capabilities of the prepress facility. Before you begin a workflow for commercial printing, contact the prepress staff to learn their requirements.
451 USING PHOTOSHOP Printing A B C Olé No Moire D 177lpi 45o cyan magenta yellow black carnival series E F G H Page marks A. Gradient tint bar B. Label C. Registration marks D. Progressive color bar E. Corner crop mark F. Center crop mark G. Description H. Star target 1 Choose File > Print. 2 Choose Output from the pop-up menu. 3 Set one or more of the following options: Calibration Bars Prints an 11-step grayscale, a transition in density from 0 to 100% in 10% increments.
452 USING PHOTOSHOP Printing whether your print shop requires film with positive emulsion up, negative emulsion up, positive emulsion down, or negative emulsion down. Background Selects a background color to be printed on the page outside the image area. For example, a black or colored background may be desirable for slides printed to a film recorder. To use this option, click Background, and then select a color from the Color Picker. This is a printing option only; it does not affect the image itself.
453 USING PHOTOSHOP Printing More Help topics “Save in Photoshop EPS format” on page 423 Prepare an image with spot channels for printing from another application 1 If the image is a duotone, convert it to Multichannel color mode. 2 Save the image in DCS 2.0 format. 3 In the DCS 2.0 Format dialog box, deselect the Include Halftone Screen and the Include Transfer Function options. 4 Open or import the image in Photoshop, and set your screen angles.
454 USING PHOTOSHOP Printing • Pure cyan and pure magenta spread under each other equally. 1 Choose Edit > 2 Convert To Profile 3 to view the image in the color space of the output device. See Convert document colors to another profile (Photoshop). 4 Choose Image > Trap. 5 For Width, enter the trapping value provided by your print shop. Then select a unit of measurement, and click OK. Consult your print shop to determine how much misregistration to expect.
455 USING PHOTOSHOP Printing To produce the scan, enter the resulting file size in your scanner settings. Don’t worry about resolution or image dimensions. After you have scanned the image and imported it into Photoshop, use the Image Size command (with the Resample Image option deselected) to enter the correct width and height for the image. Duotones About duotones In Photoshop, duotone refers to monotones, tritones, and quadtones as well as duotones.
456 USING PHOTOSHOP Printing More Help topics “About spot colors” on page 458 Modify the duotone curve for a given ink In a duotone image, each ink has a separate curve that specifies how the color is distributed across the shadows and highlights. This curve maps each grayscale value in the original image to a specific ink percentage. 1 To preview any adjustments, select the Preview option in the Duotones Options dialog box. 2 Click the curve box next to the ink color box.
457 USING PHOTOSHOP Printing 4 Select the desired color in the Color Picker, and click OK. 5 Repeat steps 3 and 4 until you are satisfied with the ink combination. Then click OK. Saving and loading duotone settings Use the Save button in the Duotone Options dialog box to save a set of duotone curves, ink settings, and overprint colors. Use the Load button to load a set of duotone curves, ink settings, and overprint colors. You can then apply these settings to other grayscale images.
458 USING PHOTOSHOP Printing Printing spot colors About spot colors Spot colors are special premixed inks used instead of, or in addition to, the process color (CMYK) inks. Each spot color requires its own plate on the press. (Because a varnish requires a separate plate, it is considered a spot color, too.) If you are planning to print an image with spot colors, you need to create spot channels to store the colors. To export spot channels, save the file in DCS 2.0 format or PDF.
459 USING PHOTOSHOP Printing 5 Enter a name for the spot channel. If you choose a custom color, the channel automatically takes the name of that color. Be sure to name spot colors so they’ll be recognized by other applications reading your file. Otherwise the file might not print. 6 For Solidity, enter a value between 0% and 100%. This option lets you simulate on-screen the density of the printed spot color.
460 USING PHOTOSHOP Printing 2 Use a painting or editing tool to paint in the image. Paint with black to add more spot color at 100% opacity; paint with gray to add spot color with lower opacity. Note: Unlike the Solidity option in the Spot Channel Options dialog box, the Opacity option in the painting or editing tool’s options determines the actual density of ink used in the printed output. Change a spot channel’s color or solidity 1 Double-click the spot channel thumbnail in the Channels panel.
461 USING PHOTOSHOP Printing 4 To create a trap when knocking out the underlying color, choose Select > Modify > Expand or Contract, depending on whether the overlapping spot color is darker or lighter than the spot color beneath it. In the Channels panel, select the underlying spot channel that contains the areas you want to knock out. Press Backspace (Windows) or Delete (Mac OS). This method can be used to knock out areas from any channels under a spot color, such as the CMYK channels.
462 Chapter 16: Web graphics For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Working with web graphics The Photoshop web tools make it easy to build component pieces for your web pages or to output complete web pages in preset or customized formats. • Use layers and slices to design web pages and web page interface elements. (See “Layers” on page 243 and “Slicing web pages” on page 464.
463 USING PHOTOSHOP Web graphics When you save rollover images, use a naming convention to distinguish the primary (non-rollover state) image from the secondary (rollover state) image. After creating a rollover image set in Photoshop, use Dreamweaver to place the images on a web page and automatically add the JavaScript code for the rollover action. For a video on designing web sites with Photoshop and Dreamweaver, see www.adobe.com/go/lrvid4043_dw.
464 USING PHOTOSHOP Web graphics • dialog box, click the color swatch or choose Matte > Other. In the Adobe Color Picker, right-click the hexadecimal value, and choose Copy. 2 Open the desired file in an HTML editing application, and choose Edit > Paste. Slicing web pages Slices divide an image into smaller images that are reassembled on a web page using an HTML table or CSS layers.
465 USING PHOTOSHOP Web graphics Slices created with the Slice tool are called user slices; slices created from a layer are called layer-based slices. When you create a new user slice or layer-based slice, additional auto slices are generated to account for the remaining areas of the image. In other words, auto slices fill the space in the image that is not defined by user slices or layer-based slices. Auto slices are regenerated every time you add or edit user slices or layer-based slices.
466 USING PHOTOSHOP Web graphics Create a slice from a layer A layer-based slice encompasses all the pixel data in the layer. If you move the layer or edit the layer’s content, the slice area automatically adjusts to include the new pixels. A layer-based slice is updated when the source layer is modified. Layer-based slices are less flexible than user slices; however, you can convert (“promote”) a layer-based slice to a user slice. See “Convert auto and layer-based slices to user slices” on page 466.
467 USING PHOTOSHOP Web graphics For Web & Devices dialog box uses color adjustments to dim unselected slices. These adjustments are for display purposes only and do not affect the color of the final image. By default, the color adjustment for auto slices is twice the amount of that for user slices. Slice numbers Slices are numbered from left to right and top to bottom, beginning in the upper-left corner of the image.
468 USING PHOTOSHOP Web graphics • Select the Slice Select tool in the Save for Web & Devices dialog box, and click in an auto slice or outside the image area, and drag across the slices you want to select. (Clicking in a user slice and dragging moves the slice.) • Choose File > Save • For Web • & Devices. In the dialog box, use the Slice tool to select a slice.
469 USING PHOTOSHOP Web graphics Note: You cannot divide layer-based slices. 1 Select one or more slices. 2 With the Slice Select tool , click Divide in the options bar. 3 Select Preview in the Divide Slice dialog box to preview the changes. 4 In the Divide Slice dialog box, select one or both of the following options: Divide Horizontally Into Divides the slice lengthwise. Divide Vertically Into Divides the slice widthwise.
470 USING PHOTOSHOP Web graphics Combine slices You can combine two or more slices into a single slice. Photoshop determines the dimensions and position of the resulting slice from the rectangle created by joining the outer edges of the combined slices. If the combined slices are not adjacent or have different proportions or alignments, the newly combined slice may overlap other slices. The combined slice takes the optimization settings of the first slice in the series of slices you select.
471 USING PHOTOSHOP Web graphics More Help topics “Align objects on different layers” on page 251 Delete a slice When you delete a user slice or layer-based slice, auto slices are regenerated to fill the document area. Deleting a layer-based slice does not delete the associated layer; however, deleting the layer associated with a layerbased slice does delete the layer-based slice. Note: You cannot delete auto slices.
472 USING PHOTOSHOP Web graphics Rename a slice As you add slices to an image, you may find it helpful to rename slices based on their content. By default, user slices are named according to the settings in the Output Settings dialog box. (See Output settings for web graphics.) ❖ Select a slice and double-click the slice with the Slice Select tool to display the Slice Options dialog box. In the Slice Options dialog box, type a new name in the Name text box.
473 USING PHOTOSHOP Web graphics Specify browser messages and Alt text You can specify what messages appear in the browser. These options are available only for Image slices and appear only in exported HTML files. 1 Select a slice. If you are working in Photoshop, double-click the slice with the Slice Select tool to display the Slice Options dialog box. 2 In the Slice Options dialog box, type the desired text.
474 USING PHOTOSHOP Web graphics Top Aligns the text to the top of the slice area. Baseline Sets a common baseline for the first line of text in cells in the same row (of the resulting HTML table). Each cell in the row must use the Baseline option. Middle Centers the text vertically in the slice area. Bottom Aligns the text to the bottom of the slice area.
475 Chapter 17: Video and animation For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Video and animation overview About video layers in Photoshop Extended For a video on working with video layers, see www.adobe.com/go/vid0027. You can use Photoshop Extended to edit individual frames of video and image sequence files.
476 USING PHOTOSHOP Video and animation Supported video and image sequence formats (Photoshop Extended) In Photoshop Extended, you can open video files and image sequences in the following formats. QuickTime video formats • MPEG-1 (.mpg or .mpeg) • MPEG-4 (.mp4 or .m4v) • MOV • AVI • MPEG-2 is supported if an MPEG-2 encoder is installed on your computer. Image sequence formats • BMP • DICOM • JPEG • OpenEXR • PNG • PSD • Targa • TIFF • Cineon and JPEG 2000 are supported if the plug-ins are installed.
477 USING PHOTOSHOP Video and animation A B C D E F H G I Animation panel (frame mode) A. Selects the first frame B. Selects the previous frame C. Plays animation D. Selects the next frame E. Tweens animation frames F. Duplicates selected frames G. Deletes selected frames H. Converts to timeline mode (Photoshop Extended only) I. Animation panel menu In Photoshop Extended, you can use the Animation panel in either frame mode or timeline mode.
478 USING PHOTOSHOP Video and animation Comments track Choose Edit Timeline Comment from the panel menu to insert a text comment at the current time. in the comments track. Move the pointer over these icons to display comments as tool Comments appear as icons tips. Double-click these icons to revise comments. To navigate from one comment to the next, click the Go To Previous or Go To Next buttons at the far left of the Comments track.
479 USING PHOTOSHOP Video and animation Show or hide layer properties in the timeline (Photoshop Extended) In Photoshop Extended, as you add layers to a document, they appear as tracks in the timeline. Expand layer tracks to show layer properties that can be animated. ❖ To show or hide layer properties, click the triangle to the left of the layer name. Show or hide layers in the timeline (Photoshop Extended) In Photoshop Extended, all document layers appear in the timeline by default.
480 USING PHOTOSHOP Video and animation Specify timeline duration and frame rate (Photoshop Extended) When you are working in timeline mode, you can specify the duration and frame rate of a document containing video or animation. Duration is the overall time length of the video clip, from the first frame you specify to the last. Frame rate or frames per second (fps), is usually determined by the type of output you produce: NTSC video has a frame rate of 29.
481 USING PHOTOSHOP Video and animation A B Video preset file size guides A. Action safe area (outer rectangle) B. Title safe area (inner rectangle) Note: If you are creating content for the web or for CD, the title-safe and action-safe margins do not apply to your project because the entire image is displayed in these media. Preview options To help you create images for video, Photoshop has a Pixel Aspect Ratio Correction viewing mode that displays images at the specified aspect ratio.
482 USING PHOTOSHOP Video and animation 4 16 3 9 4:3 frame aspect ratio (left), and wider 16:9 frame aspect ratio (right) Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. Different video standards use different pixel aspect ratios. For example, many computer video standards define a 4:3 aspect ratio frame as 640 pixels wide by 480 pixels high, which results in square pixels.
483 USING PHOTOSHOP Video and animation Important: By default, nonsquare pixel documents open with Pixel Aspect Ratio Correction enabled. This setting scales the image so it appears as it would on the nonsquare-pixel output device (usually a video monitor). 5 To view the image as it would appear on a computer monitor (square pixel), choose View > Pixel Aspect Ratio Correction.
484 USING PHOTOSHOP Video and animation Adjust pixel aspect ratio You can create a custom pixel aspect ratio in existing documents, or delete or reset pixel aspect ratios previously assigned to a document. Assign a pixel aspect ratio value to an existing document ❖ With a document open, choose View > Pixel Aspect Ratio and then choose a pixel aspect ratio that’s compatible with the video format that you’ll be using your Photoshop file with.
485 USING PHOTOSHOP Video and animation Before you export a layered Photoshop file for use in After Effects , do the following to reduce preview and rendering time and to avoid problems with importing and updating Photoshop layers. • Organize and name layers. If you change a layer name or delete a layer in a Photoshop document after you import it into • After Effects • , • After Effects • won’t be able to find the renamed or deleted layer.
486 USING PHOTOSHOP Video and animation 3 Select a video file and then click Open. You can also open video directly from Bridge: select a video file and then choose File > Open With > Adobe Photoshop. More Help topics “Supported video and image sequence formats (Photoshop Extended)” on page 476 Import image sequences (Photoshop Extended) When you import a folder of sequenced image files, each image becomes a frame in a video layer. For a video on image sequences, see www.adobe.com/go/vid0026.
487 USING PHOTOSHOP Video and animation 3 (Optional) Use the control points to scale, rotate, move, or warp the imported content. 4 Click the Commit Transform button in the options bar to place the file. You can also place video directly from Adobe Bridge. Select the video file and then choose File > Place > In Photoshop.
488 USING PHOTOSHOP Video and animation Alpha channel interpretation in video and image sequences Video and image sequences with alpha channels can be straight or premultiplied. If you’re working with video or image sequences containing alpha channels, it’s important to specify how Photoshop Extended interprets the alpha channel to get the results you expect. When premultiplied video or images are in a document with certain background colors, it’s possible to get undesirable ghosting or halos.
489 USING PHOTOSHOP Video and animation More Help topics “Paint with the Brush tool or Pencil tool” on page 292 “Retouching and repairing images” on page 160 “Restore frames in video layers (Photoshop Extended)” on page 490 “Create hand-drawn animations (Photoshop Extended)” on page 507 Cloning content in video and animation frames (Photoshop Extended) In Photoshop Extended, you can use the Clone Stamp and Healing Brush tools to retouch or duplicate objects in video or animation frames.
490 USING PHOTOSHOP Video and animation 7 Do any of the following in the Clone Source panel: • To scale or rotate the source that you’re cloning, enter a value for W (width) or H (height), or the rotation in degrees . • To show an overlay of the source that you’re cloning, select • Show Overlay • and specify the overlay options. (The Clipped option restricts the overlay to the brush size. Deselect this option to overlay the entire source image.
491 USING PHOTOSHOP Video and animation Often, you can solve a mismatch by assigning a color profile to the document that corresponds to the imported footage, and leaving the video layer unmanaged. For example, with standard definition video, you can leave the video layer unmanaged and assign the document the SDTV (Rec. 601 NTSC) color profile. In this case, the imported frame pixels are stored directly in the video layer without color conversion.
492 USING PHOTOSHOP Video and animation More Help topics “Importing video files and image sequences (Photoshop Extended)” on page 485 “Place a video or image sequence (Photoshop Extended)” on page 486 “Replace footage in a video layer (Photoshop Extended)” on page 487 Open a video file ❖ Choose File > Open, select a video file, and click Open. The video appears on a video layer in a new document.
493 USING PHOTOSHOP Video and animation Note: To delete footage in one or more layers, use the Lift Note: Work Area Note: command. To delete a specific duration from all video or animated layers, use the Extract Note: Work Area Note: command. Trim or move a video layer (Photoshop Extended) To hide frames at the start or end of a video or animation layer, trim the layer. To start or end video at a different time point, move the video layer.
494 USING PHOTOSHOP Video and animation Layers before applying the Lift Work Area command Layers after applying the Lift Work Area command Extract work area (Photoshop Extended) To delete portions of video and automatically remove the time gap, use the Extract Work Area command. The remaining content is copied to new video layers. 1 Select the layers you want to edit. 2 In the Animation panel, set the work area to specify the duration of the video or animation that you want to omit.
495 USING PHOTOSHOP Video and animation Original layer before using the Split Layer command Resulting two layers after using the Split Layer command Group layers in a video or animation (Photoshop Extended) As you add more layers to your video or animation, you might want to organize them into a hierarchy. One of the easiest ways is to group the layers. Photoshop preserves the frames in your video or animation in grouped layers. You can also group a group of layers.
496 USING PHOTOSHOP Video and animation Note: To rasterize more than one video layer at a time, select the layers in the Layers panel, set the current-time indicator to the frame you want to preserve in the topmost video layer, and then choose Layer > Rasterize > Layers. Creating frame animations Frame animation workflow In Photoshop, you use the Animation panel to create animation frames. Each frame represents a configuration of layers.
497 USING PHOTOSHOP Video and animation • Change layer opacity to make content fade in or out. • Change the blending mode of layers. • Add a style to layers. Photoshop provides tools for keeping characteristics of a layer the same across frames. See “Unifying layer properties in animation frames” on page 499. 7. Add more frames and edit layers as needed. The number of frames you can create is limited only by the amount of system memory available to Photoshop.
498 USING PHOTOSHOP Video and animation Select animation frames Before you can work with a frame, you must select it as the current frame. The contents of the current frame appear in the document window. In the Animation panel, the current frame is indicated by a narrow border (inside the shaded selection highlight) around the frame thumbnail. Selected frames are indicated by a shaded highlight around the frame thumbnails.
499 USING PHOTOSHOP Video and animation More Help topics “Select animation frames” on page 498 Unifying layer properties in animation frames The unify buttons (Unify Layer Position, Unify Layer Visibility, and Unify Layer Style) in the Layers panel determine how the changes you make to attributes in the active animation frame apply to the other frames in the same layer.
500 USING PHOTOSHOP Video and animation 6 Select a Paste method: Replace Frames Replaces the selected frames with the copied frames. No new layers are added. The properties of each existing layer in the destination frames are replaced by those of each copied layer. When you paste frames between images, new layers are added to the image; however, only the pasted layers are visible in the destination frames (the existing layers are hidden).
501 USING PHOTOSHOP Video and animation 4 Do one of the following: • Click the Tweens button in the Animation panel. • Select Tween from the Animation panel menu. 5 Specify the layer or layers to be varied in the added frames: All Layers Varies all layers in the selected frame or frames. Selected Layer Varies only the currently selected layer in the selected frame or frames.
502 USING PHOTOSHOP Video and animation Specify a delay time in frame animations You can specify a delay—the time that a frame is displayed—for single frames or for multiple frames in an animation. Delay time is displayed in seconds. Fractions of a second are displayed as decimal values. For example, one-quarter of a second is specified as .25. If you set a delay on the current frame, every frame you create after that will remember and apply that delay value.
503 USING PHOTOSHOP Video and animation Specify looping in frame animations You select a looping option to specify how many times the animation sequence repeats when played. 1 (Photoshop Extended) Make sure the Animation panel is in frame animation mode. 2 Click the Looping Option Selection box at the lower left corner of the Animation panel. 3 Select a looping option: Once, 3 Times, Forever, or Other. 4 If you selected Other, enter a value in the Set Loop Count dialog box, and click OK.
504 USING PHOTOSHOP Video and animation 1. Create a new document. Specify the size and background contents. Make sure the pixel aspect ratio and dimensions are appropriate for the output of your animation. The color mode should be RGB. Unless you have special reasons for making changes, leave the resolution at 72 pixels/inch, the bit depth at 8 bpc, and the pixel aspect ratio at square. 2. Specify the document timeline settings in the Animation panel menu. Specify the duration and frame rate.
505 USING PHOTOSHOP Video and animation 9. Add additional layers with content and edit their layer properties as needed. 10. Move or trim the layer duration bar to specify when a layer appears in an animation. See “Specify when a layer appears in a video or animation (Photoshop Extended)” on page 492 and “Set the timeline area to preview (Photoshop Extended)” on page 510. 11. Preview the animation. Use the controls in the Animation panel to play the animation as you create it.
506 USING PHOTOSHOP Video and animation Each layer property has a Time-Vary stopwatch icon that you click to begin animating. When the stopwatch is active for a specific property, Photoshop automatically sets new keyframes whenever you change the current time and the property value. When the stopwatch is inactive for a property, the property has no keyframes. If you type a value for a layer property while the stopwatch is inactive, the value remains in effect for the duration of the layer.
507 USING PHOTOSHOP Video and animation Move keyframes (Photoshop Extended) 1 Select one or more keyframes. 2 Drag any of the selected keyframe icons to the desired time. (If you selected multiple keyframes, they move as a group and maintain the same time spacing.) To expand or compress the spacing of multiple keyframes, Alt-drag (Windows) or Option-drag (Mac OS) the first or last keyframe in the selection.
508 USING PHOTOSHOP Video and animation 6 Paint or add content to the layer in a slightly different position from the content in the previous frame. You can add a blank video frame, duplicate a frame, or delete a frame from the blank video layer by choosing Layer > Video Layers and then choosing the appropriate command. As you create more hand-drawn frames, you can either drag the current time indicator or use the playback controls in the Animation panel to preview your animation.
509 USING PHOTOSHOP Video and animation A B C Onion skinning A. Current frame with one frame after B. Current frame with both one frame before and after C. Current frame with one frame before More Help topics “Blending mode descriptions” on page 312 Open a multilayer animation You can open animations that were saved in older versions of Photoshop as multilayer Photoshop (PSD) files. The layers are placed in the Animation panel in their stacking order, with the bottom layer becoming the first frame.
510 USING PHOTOSHOP Video and animation Previewing video and animations Preview a frame animation 1 Do one of the following: • Click the Play button in the Animation panel. • Use the spacebar to play and pause the animation. The animation is displayed in the document window. The animation repeats indefinitely unless you specified another repeat value in the Play Options dialog box. 2 To stop the animation, click the Stop button . 3 To rewind the animation, click the Selects First Frame button .
511 USING PHOTOSHOP Video and animation Previewing video or timeline animations (Photoshop Extended) Your video or animation can be previewed in the document window. Photoshop uses RAM to preview the video or animation during your editing session. When you play or drag to preview frames, they are automatically cached for faster playback the next time they’re played. The cached frames are indicated by the green bar in the work area of the Animation panel.
512 USING PHOTOSHOP Video and animation 2 With a document open in Photoshop, do one of the following: • If you don’t want to set output options for viewing your document on a device, choose File > Export > Send Video Preview To Device. You can skip the rest of the steps in this procedure. • To set output options before viewing your document on the device, choose File > Export > Video Preview. The Video Preview dialog box opens.
513 USING PHOTOSHOP Video and animation By default, the Apply Pixel Aspect Ratio To Preview check box is selected to maintain the image’s pixel aspect ratio. In general, you would deselect this option if the document’s pixel aspect ratio is assumed to be square and you want to view the image as it would appear on a computer (square pixel) monitor. 9 Click OK to export the document to the device display.
514 USING PHOTOSHOP Video and animation Flatten frames into layers When you flatten frames into layers, a single layer is created for each frame in a video layer. This can be useful, for example, if you’re exporting the individual video frames as separate image files, or if you’re planning to use the video of a static object in an image stack. 1 In the Animation or Layers panel, select the video layer. 2 In the Animation panel, choose Flatten Frames Into Layers from the Panel menu.
515 USING PHOTOSHOP Video and animation More Help topics “Saving and exporting images” on page 407 “Interpret video footage” on page 487 QuickTime export file formats 3G A file format developed for third-generation mobile devices. FLC An animation format for playback of computer-generated animations on workstations, Windows, and Mac OS. This format is also referred to as FLI. Flash Video (FLV) Adobe® Flash® Video is the Adobe format for streaming audio and video over the web and other networks.
516 USING PHOTOSHOP Video and animation • Optimized For Specifies the intended delivery method if you choose H.264 from the Video Format menu, click Video Options, and select Best Quality. This setting tells the codec how much the data rate can vary above and below the data rate you choose. • Image Size Specifies a standard for sending the file to a mobile phone. Current maintains the source material size; the resulting file may not play on a mobile phone.
517 USING PHOTOSHOP Video and animation Motion Sets the playback frame rate. Specify AVI export settings 1 In the Render Video dialog box, select QuickTime Export and then choose AVI from the pop-up menu. 2 Click the Settings button. 3 In the AVI Settings dialog box, make sure Video is selected. Important: Sound options are disabled because Photoshop Extended does not include audio in exported AVI files.
518 USING PHOTOSHOP Video and animation Scan Mode Specifies whether the exported video has interlaced fields or no fields (Progressive Scan). Aspect Ratio Specifies an aspect ratio of 4:3 or 16:9. Preserve Aspect Ratio Using Specifies an option if the movie is scaled to new pixel dimensions. Letterbox scales the source proportionally to fit into the clean aperture, adding black bars to the top and bottom or sides as necessary. Crop centers, scales, and trims to the clean aperture.
519 USING PHOTOSHOP Video and animation Image Size menu, choose Custom. Preserve Aspect Ratio Using Specifies an option if the movie needs to be scaled to the new pixel dimensions. Letterbox scales the source proportionally to fit into the clean aperture, adding black bars to the top and bottom or sides as necessary. Crop centers, scales, and trims to the clean aperture. Fit Within Size adjusts to the destination size by fitting to the longest side, scaling if necessary.
520 USING PHOTOSHOP Video and animation Motion Specify the frame rate for your video by choosing the number of frames per second (fps). Some codecs support a specific set of frame rates. Increasing the frame rate may produce smoother motion (depending on the original frame rates of the source clips) but uses more disk space. If available, specify how often the key frames are generated. (See “Understanding QuickTime key frames” on page 515.
521 Chapter 18: 3D For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Essential 3D concepts and tools (Photoshop Extended) Understanding and displaying 3D files (Photoshop Extended) Photoshop lets you position and animate 3D models, edit textures and lighting, and choose from several render modes. 3D fundamentals 3D files consist of the following components: Meshes Provide the underlying structure of a 3D model.
522 USING PHOTOSHOP 3D More Help topics “3D object and camera tools (Photoshop Extended)” on page 522 “3D panel overview (Photoshop Extended)” on page 525 “Creating 3D objects and animations (Photoshop Extended)” on page 541 “3D rendering and saving (Photoshop Extended)” on page 548 3D object and camera tools (Photoshop Extended) The 3D object and camera tools become active when a 3D layer is selected.
523 USING PHOTOSHOP 3D For tips about each 3D tool, choose Panel Options from the Info panel menu , and select Show Tool Hints. Click a tool, then move the cursor into the image window to view tool details in the Info Panel. A B C D E F H G I J 3D camera tools and options A. Return to initial camera position B. Rotate C. Roll D. Pan E. Walk F. Zoom G. View menu H. Save current camera view I. Delete current camera view J.
524 USING PHOTOSHOP 3D B A C D E F 3D Axis with Mesh Rotate tool selected A. Selected tool B. Minimize or maximize 3D Axis C. Move item along axis D. Rotate item E. Compress or elongate item F. Resize item Note: OpenGL must be enabled to display the 3D Axis. See “Enable OpenGL and optimize GPU settings” on page 58. Show or hide the 3D Axis • Choose View > Show > 3D Axis. Minimize, restore, move, or resize the 3D Axis 1 Move the pointer over the 3D Axis to display the control bar.
525 USING PHOTOSHOP 3D 3D panel settings (Photoshop Extended) 3D panel overview (Photoshop Extended) When you select a 3D layer, the 3D panel shows the components of the associated 3D file. The top section of the panel lists the meshes, materials, and lights in the file. The bottom section of the panel shows settings and options for the 3D component selected in the top section. A B C D E F G H 3D panel displaying Scene options A. Display Scene, Meshes, Materials, or Lights options B.
526 USING PHOTOSHOP 3D Show or hide a 3D mesh or light ❖ Click the eye icon next to the mesh or light entry in the top section of the 3D panel. Note: You cannot turn material display on or off from the 3D panel. To show or hide materials, change the visibility settings for their associated textures in the Layers panel. See “3D Materials settings (Photoshop Extended)” on page 529. Access settings for the 3D scene 1 Click the Scene button.
527 USING PHOTOSHOP 3D A B Outlining selected items in the document window A. Materials are surrounded by a colored line B. Meshes by a bounding box 3D Scene settings (Photoshop Extended) Use 3D Scene settings to change render modes, select a texture to paint on, or create cross sections. To access scene in the 3D panel, then select the Scene entry in the top section of the panel. settings, click the Scene button Render Settings Specifies the render preset for the model.
528 USING PHOTOSHOP 3D View cross sections You can view a cross section of a 3D model by intersecting it with an invisible plane that slices through the model at any angle and displays content only on one side of the plane. 1 Select Cross Section in the bottom section of the Scenes tab. 2 Choose options for alignment, position, and orientation: Plane Select to display the intersecting plane that creates the cross section. You can choose plane color and opacity.
529 USING PHOTOSHOP 3D Show or hide a mesh ❖ Click the eye icon next to a mesh name in the top section of the 3D panel. Manipulate individual meshes Use the mesh position tools to move, rotate, or scale a selected mesh without moving the model as a whole. The position tools operate in the same way as the main 3D position tools in the Tools panel. For information on each tool, see “Move, rotate, or scale a model with 3D object tools” on page 522. 1 Select a mesh in the top section of the 3D panel.
530 USING PHOTOSHOP 3D To see a thumbnail of a texture map image, hover the mouse over the texture name (for example, Reflection or Illumination). Diffuse The color of the material. The diffuse map can be a solid color or any 2D content. The Diffuse color swatch value sets the diffuse color if you choose to remove the diffuse texture map. You can also create a diffuse map by painting directly on the model. See “3D painting (Photoshop Extended)” on page 535.
531 USING PHOTOSHOP 3D Specular The color displayed for specular properties (for example, highlight glossiness and shininess). Ambient Sets the color for ambient light visible on reflective surfaces. This color interacts with the Global Ambient Color for the entire scene. See “3D Scene settings (Photoshop Extended)” on page 527. Refraction Sets the refractive index when scene Quality is set to Ray Traced and the Refractions option is selected in the 3D > Render Settings dialog box.
532 USING PHOTOSHOP 3D Click the material preview to display the preset pop-up panel. 1 In the 3D panel, click the material preview. 2 In the preset pop-up panel, do any of the following: • To apply a preset, double-click a thumbnail preview. • To create a preset from the current texture settings, click the pop-up menu icon , and choose New Material. • To rename or delete selected presets, click the pop-up menu icon, and choose Rename or Delete Material.
533 USING PHOTOSHOP 3D Create a bump texture map A bump texture map filled with a neutral grayscale value provides more range when painting on the map. 1 In the Tools panel, click the Set 1 Background Color 1 swatch. 2 In the Color Picker, set brightness to 50%, and set R, G, and B values to equal values. Click OK. 3 In the 3D panel, click the folder icon next to Bump. 4 Choose New Texture.
534 USING PHOTOSHOP 3D More Help topics “Create UV overlays” on page 539 3D Lights settings (Photoshop Extended) 3D lights illuminate models from different angles, adding realistic depth and shadows. Add or delete individual lights ❖ In the 3D panel, do either of the following: • To add a light, click the Create A New Light button , and choose the light type: • Point lights shine in all directions, like light bulbs. • Spot lights shine in a cone shape, which you can adjust.
535 USING PHOTOSHOP 3D To quickly aim a light at a specific area, Alt-click (Windows) or Option-click (Mac OS) in the document window. (Spot and point lights only) Moves the light to a different position in the same 3D plane. Pan tool (Spot and point lights only) Moves the light to a different 3D plane. Slide tool Point Light at Origin (Spot light only) Directs light at the center of the model. Move to Current View Places light in the same position as the camera.
536 USING PHOTOSHOP 3D When painting directly on the model, you can choose which underlying texture map to apply paint to. Typically paint is applied to the diffuse texture map, which gives a model material its color properties. You can also paint on other texture maps, such as the bump map or opacity map. If you paint on an area of the model that lacks the type of texture map you’re painting on, a texture map is automatically created.
537 USING PHOTOSHOP 3D Set the paint falloff angle When painting on a model, the paint falloff angle controls how much paint is applied to a surface as it curves away from the forward-facing view. The falloff angle is calculated based on a “normal”, or straight line projecting out from the part of the model surface that faces you. For example, in a spherical model such as a soccer ball, the falloff angle to the exact center of the ball as it faces you is 0 degrees.
538 USING PHOTOSHOP 3D The areas selected by Select Paintable Areas, and the paintable areas shown in Paint Mask mode, are partially determined by the current Paint Falloff setting. A higher paint falloff setting increases the paintable area, a lower setting decreases the paintable area. See “Set the paint falloff angle” on page 537. 3D texture editing (Photoshop Extended) You can use the Photoshop painting and adjustment tools to edit the textures contained in a 3D file, or to create new textures.
539 USING PHOTOSHOP 3D 3 Make the window containing the 3D model active to see the updated texture applied to the model. 4 Close the texture document and save changes. Display or hide a texture You can display and hide a texture to help identify what area of the model the texture is applied to. ❖ Click the eye icon next to the Texture layer. To hide or display all textures, click the eye icon next to the top-level Texture layer.
540 USING PHOTOSHOP 3D • Fewer Seams minimizes the number of seams that appear on the model. This can produce more stretching or pinching of the texture, depending on the model. Reparameterized texture using Low Distortion (left) and Fewer Seams (right) 4 (Optional) If the reparameterization option you chose does not create optimal surface coverage, choose Edit > Undo and try the other option.
541 USING PHOTOSHOP 3D Creating 3D objects and animations (Photoshop Extended) Create 3D repoussé (Photoshop Extended) The term repoussé describes a metalworking technique in which object faces are shaped and patterned by hammering on the opposite side. In Photoshop, the Repoussé command converts 2D objects into 3D meshes, which you can precisely extrude, inflate, and reposition in 3D space. The Repoussé command works with RGB images. If you start with a grayscale image, Repoussé converts it to RGB.
542 USING PHOTOSHOP 3D Scene Settings Lights in the form of a spherical panorama shine onto the object; choose a style of lights from the menu. Render Settings control how object surfaces look. (See “Select a render preset” on page 548.) Higher Mesh Quality settings increase mesh density, improving appearance but reducing processing speed. The Shaded and Solid Wireframe render settings superimpose the 3D mesh on objects, revealing any mesh distortion that will distort textures.
543 USING PHOTOSHOP 3D Panning hole constraint to increase depth Create internal constraints from selections, work paths, or text 1 Do one of the following: • Create a selection or path that falls entirely within the front surface of a repoussé object. • For text objects that already have internal paths, like the letter A, skip to step 3. 2 Choose 3D > Repoussé > Create Constraints From Selection or Work Path. 3 In the Repoussé dialog box, click the triangle to expand the Internal Constraints section.
544 USING PHOTOSHOP 3D To reapply a deleted constraint, click Add Selection or Add Path. Create 3D objects from 2D images (Photoshop Extended) Photoshop can build a variety of basic 3D objects using 2D layers as a starting point. After creating a 3D object, you can move it in 3D space, change render settings, add lighting, or merge it with other 3D layers. • Convert 2D layers into 3D postcards (planes with 3D properties). If your starting layer is a text layer, any transparency is retained.
545 USING PHOTOSHOP 3D Note: You can add your own custom shapes to the shape menu. Shapes are Collada (.dae) 3D model files. To add a shape, place the Collada model file in the Presets\Meshes folder inside the Photoshop program folder. • The 2D layer is converted to a 3D layer in the Layers panel. • The original 2D layer appears in the Layers panel as a Diffuse texture map. It may be used on one or more surfaces of the new 3D object.
546 USING PHOTOSHOP 3D • 3D render settings. Change render modes, with the ability to tween transitions between some render modes. For example, change Vertices mode gradually to Wireframe over time, to simulate the sketching-in of a model’s structure. • 3D cross section. Rotate an intersecting plane to display a changing cross section over time. Change cross section settings between frames to highlight different model areas during an animation.
547 USING PHOTOSHOP 3D Combine 3D and 2D layers (Photoshop Extended) You can combine 3D layers with one or more 2D layers to create composite effects. For example, you can place a model against a background image and change its position or viewing angle to match the background. ❖ Do one of the following: • With the 2D file open, choose 3D > New Layer from 3D File, and open a 3D file.
548 USING PHOTOSHOP 3D 3D rendering and saving (Photoshop Extended) Change 3D render settings (Photoshop Extended) Render settings determine how 3D models are drawn. Photoshop installs several presets with common settings. Customize settings to create your own presets. Note: Render settings are layer-specific. If a document contains multiple 3D layers, specify separate render settings for each. Select a render preset The standard render preset is Default, which displays the visible surfaces of models.
549 USING PHOTOSHOP 3D The Two-Sided preset applies only to cross sections, displaying a solid model on one half of the section, and a wireframe on the other. Customize render settings 1 At the top of the 3D panel, click the Scene button . 2 To the right of the Render Settings menu, click Edit. 3 (Optional) To see the effect of new settings as you make changes, select Preview. Or, deselect this option to slightly improve performance.
550 USING PHOTOSHOP 3D Edge options Edge options determine how wireframe lines appear. Edge Style Reflects the Constant, Flat, Solid, and Bounding Box options described for Face Style above. Crease Threshold Adjusts the number of structural lines that appear in the model. A crease or line, is formed when two polygons in a model come together at a particular angle. If edges meet at an angle below the Crease Threshold setting (0-180), the line they form is removed.
551 USING PHOTOSHOP 3D • Lighting from object reflectance (color bleed). • Reduced noise in soft shadows. Note: A final render can be time-consuming, depending on the model, lighting, and maps in your 3D scene. 1 Make any necessary adjustments to your model, including lighting and shadow effects. You don’t need to change Anti-Alias settings for the scene before rendering. By default, theBest setting is used.
552 Chapter 19: Technical imaging For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. DICOM files (Photoshop Extended) About DICOM files (Photoshop Extended) For a video about DICOM files, see www.adobe.com/go/vid0028. DICOM (an acronym for Digital Imaging and Communications in Medicine) is the most common standard for receiving medical scans. Photoshop Extended allows you to open and work with DICOM (.dc3, .dcm, .
553 USING PHOTOSHOP Technical imaging Open a DICOM file (Photoshop Extended) Before you open a DICOM file, you can specify how DICOM frames are opened (as layers, in a grid, or as a 3D volume), and set options (in the DICOM File Import dialog box) that anonymize patient metadata and display overlays. During the import you can also perform pans, zooms, and window leveling.
554 USING PHOTOSHOP Technical imaging Photoshop creates a 3D volume of the DICOM frames and places it on a 3D layer in the Layers panel. You can use Photoshop’s 3D position tools to view the 3D volume from any angle, or change render settings to better visualize data. • The original DICOM file is preserved as a Diffuse texture layer associated with the 3D volume layer. For information on 3D textures, see “3D texture editing (Photoshop Extended)” on page 538.
555 USING PHOTOSHOP Technical imaging White-Black Color Scale Transfer function using a white-black color component. 4 (Optional) To create a custom render mode, click Render Settings in the 3D panel to open the 3D Render Settings dialog box. Select options in the Volume Styles section of the dialog. See “Change 3D render settings (Photoshop Extended)” on page 548.
556 USING PHOTOSHOP Technical imaging More Help topics “Export video files or image sequences” on page 514 “Creating frame animations” on page 496 “Timeline animation workflow (Photoshop Extended)” on page 503 Measurement (Photoshop Extended) About measurement (Photoshop Extended) Using the Photoshop Extended Measurement feature you can measure any area defined with the Ruler tool or with a selection tool, including irregular areas selected with the Lasso, Quick Select, or Magic Wand tools.
557 USING PHOTOSHOP Technical imaging 4 Click OK in the Measurement Scale dialog box to set the measurement scale on the document. 5 Choose File > Save to save the current measurement scale setting with the document. To display the scale in the Info panel, choose Panel Options from the panel menu in the Status Information area. , and select Measurement Scale To display the measurement scale at the bottom of the document window, choose Show > Measurement Scale from the document window menu.
558 USING PHOTOSHOP Technical imaging Add or replace scale markers You can place multiple scale markers in a document, or replace existing markers. Note: Additional scale markers are placed in the same position on the image and can obscure each other, depending on their length. To view an underlying marker, turn off the scale marker layer set. 1 Choose Analysis > Place Scale Marker. 2 Click Remove or Keep. 3 Enter settings for the new marker and click OK.
559 USING PHOTOSHOP Technical imaging Note: When you measure with a particular tool, only the data points associated with that tool are displayed in the log, even if other data points are selected. For example, if you make a measurement with the Ruler tool, only the Ruler tool data points appear in the Measurement Log, along with any Common data points that are selected. 4 Choose an image feature and measurement tool to match the selected data points.
560 USING PHOTOSHOP Technical imaging Integrated Density The sum of the values of the pixels in the selection. This is equivalent to the product of Area (in pixels) and Mean Gray Value. Label Identifies and automatically numbers each measurement as Measurement 1, Measurement 2, and so on. For multiple selections measured simultaneously, each selection is assigned an additional Feature label and number.
561 USING PHOTOSHOP Technical imaging Display the Measurement Log ❖ Do one of the following: • Choose Analysis > Record Measurements. • Choose Window > Measurement Log. Select rows in the log ❖ Do one of the following: • Click a row in the log to select it. • To select multiple contiguous rows, click the first row and drag through additional rows, or click the first row and then Shift-click the last row.
562 USING PHOTOSHOP Technical imaging Export Measurement Log data You can export data from the Measurement Log into a comma-delimited text file. You can open the text file in a spreadsheet application and perform statistical or analytical calculations from the measurement data. 1 Select one or more rows of data in the log. 2 Do one of the following: • Choose Export from the Measurement Log options menu. • Click the Export icon at the top of the panel.
563 USING PHOTOSHOP Technical imaging 5 (Optional) To display or hide the count numbers: • Choose View > Show > Count. • Choose View > Extras, View > Show > All, or View > Show > None. 6 (Optional) Choose Analysis > Record Measurements or click Record Measurements in the Measurement Log panel to record the count number to the Measurement Log. Note: To record a count to the Measurement Log, you must have Count selected as a measurement data point.
564 USING PHOTOSHOP Technical imaging Set up MATLAB and Photoshop Install Photoshop and MATLAB on your computer. Once you have installed Photoshop Extended and MATLAB, you should verify the MATLAB integration. For 64-bit systems, install the appropriate compiler To use the Photoshop interface on a 64-bit system, a C compiler must be installed: • In Windows, install Microsoft Developer Studio. • In Mac OS, install XCode.
565 USING PHOTOSHOP Technical imaging 3 Choose Desktop Tools > View Source Files. 4 Click the Refresh Start button, then Close, then retry the Help menu. MATLAB commands Typing commands in the MATLAB command line lets you connect and disconnect to Photoshop, and generate pixels viewable in a Photoshop document. For a list of all MATLAB Photoshop commands, browse the file psfunctionscat.html, available in the MATLAB folder in the directory where you installed Photoshop.
566 USING PHOTOSHOP Technical imaging B Specifies the bit depth: 1, 8, 16, or 32. The default is 8. P Specifies the color profile. The default is the working color space for the specified color mode. The working spaces are specified in the Photoshop Color Settings dialog box. Image Stacks (Photoshop Extended) About image stacks An image stack combines a group of images with a similar frame of reference, but differences of quality or content across the set.
567 USING PHOTOSHOP Technical imaging The output is a composite image the same size as the original image stack. You may need to experiment with different plug-ins to get the best enhancement for a particular image. To change the rendering effect, choose a different Stack Mode from the submenu. Stack rendering is not cumulative—each render effect operates on the original image data in the stack and replaces previous effects.
568 USING PHOTOSHOP Technical imaging Edit an image stack Because an image stack is a Smart Object, you can edit the original images that make up the stack layers at any time. ❖ Choose Layer > Smart Objects > Edit Contents, or double-click the layer thumbnail. After you save the edited Smart Object, the stack is automatically rendered with the last rendering option applied to the stack. Convert an image stack To preserve rendering effects on an image stack, convert the Smart Object to a regular layer.
569 Chapter 20: Automating tasks For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Playing and managing actions About actions An action is a series of tasks that you play back on a single file or a batch of files—menu commands, panel options, tool actions, and so on. For example, you can create an action that changes the size of an image, applies an effect to the image, and then saves the file in the desired format.
570 USING PHOTOSHOP Automating tasks View actions by name only ❖ Choose Button Mode from the Actions panel menu. Choose Button Mode again to return to list mode. Note: You can’t view individual commands or sets in Button mode. Select actions in the Actions panel ❖ Click an action name. Shift-click action names to select multiple, contiguous actions, and Ctrl-click (Windows) or Command-click (Mac OS) action names to select multiple, discontiguous actions.
571 USING PHOTOSHOP Automating tasks Manage actions Manage actions in the Actions panel to keep them organized and to make available only the actions you need for a project. You can rearrange, duplicate, delete, rename, and change options for actions in the Actions panel. Rearrange actions in the Actions panel ❖ In the Actions panel, drag the action to its new location before or after another action. When the highlighted line appears in the desired position, release the mouse button.
572 USING PHOTOSHOP Automating tasks Note: Any actions that you create are automatically listed in the Actions panel, but to truly save an action and not risk losing it if you delete your preferences file (Illustrator) or Actions panel file (Photoshop), you have to save it as part of an action set. Save a set of actions 1 Select a set. If you want to save a single action, first create an action set and move the action to the new set. 2 Choose Save Actions from the Actions panel menu.
573 USING PHOTOSHOP Automating tasks • To rename a set of actions, double-click the name of the set in the Actions panel or choose Set Options from the Actions panel menu. Then enter the new name of the set, and click OK. • To replace all actions in the Actions panel with a new set, choose Replace Actions from the Actions panel menu. Select an actions file, and click Load (Photoshop) or Open (Illustrator). Important: The Replace Actions command replaces all sets of actions in the current document.
574 USING PHOTOSHOP Automating tasks 2 In the Actions panel, click the Create New Action button , or choose New Action from the Actions panel menu. 3 Enter an action name, select an action set, and set additional options: Function Key Assigns a keyboard shortcut to the action.
575 USING PHOTOSHOP Automating tasks You can also display a short message when the action reaches the stop as a reminder of what needs to be done before continuing with the action. You can include a Continue button in the message box in case no other task needs to be done. 1 Choose where to insert the stop by doing one of the following: • Select an action’s name to insert a stop at the end of the action. • Select a command to insert a stop after the command.
576 USING PHOTOSHOP Automating tasks Insert a non-recordable menu command You cannot record the painting and toning tools, tool options, View commands, and Window commands. However, you can insert many non-recordable commands into an action using the Insert Menu Item command. You can insert a command when recording an action, or after it has been recorded. An inserted command doesn’t execute until the action is played, so the file remains unchanged when the command is inserted.
577 USING PHOTOSHOP Automating tasks 3 If a dialog box appears, change the settings, and click OK to record them, or click Cancel to retain the same values. Processing a batch of files Convert files with the Image Processor The Image Processor converts and processes multiple files. Unlike the Batch command, the Image Processor lets you process files without first creating an action.
578 USING PHOTOSHOP Automating tasks Note: are temporary and used only with the Note: Image Processor Note: . The image’s current camera raw settings are used to process the image, unless you change them in the Note: Image Processor Note: . 4 Select the location where you want to save the processed files. If you process the same file multiple times to the same destination, each file is saved with its own file name and not overwritten. 5 Select the file types and options to save.
579 USING PHOTOSHOP Automating tasks You can also import PDF images from Acrobat Capture or other software. When batch-processing files, you can leave all the files open, close and save the changes to the original files, or save modified versions of the files to a new location (leaving the originals unchanged). If you are saving the processed files to a new location, you may want to create a new folder for the processed files before starting the batch.
580 USING PHOTOSHOP Automating tasks • ” action step is overridden by the document’s original folder. Note: You must have a “ Note: Save As Note: ” step in the action; the Batch command does not automatically save files. You can use this procedure, for example, to sharpen, resize, and save images as JPEGs in their original folders. You create an action that has a sharpen step, a resize step, and then a “ Save As JPEG” step.
581 USING PHOTOSHOP Automating tasks • References to file names are not supported between operating systems. If an action step references a file or folder name (such as an Open command, • Save As • command, or adjustment command that loads its settings from a file), execution pauses and the user is prompted for a file name. Process a file with a droplet ❖ Drag a file or folder onto the droplet icon. Photoshop starts if it is not already running.
582 USING PHOTOSHOP Automating tasks command in the action specifies a filename, the Batch command overwrites the same file (the file specified in the action) each time it processes an image. If you want the Batch command to process files using the original filenames in the folder you specified in the Batch command, save your image in the action. Then, when you create the batch, select Override Action " Save As " Command and specify a destination folder.
583 USING PHOTOSHOP Automating tasks Save As command followed by the Close command as part of your original action. Then choose Override Action “Save As” Commands for the Destination when setting up the batch process. Error menu Specifies how to handle processing errors: • Stop For Errors Suspends the process until you confirm the error message. • Log Errors to File Records each error in a file without stopping the process. If errors are logged to a file, a message appears after processing.
584 USING PHOTOSHOP Automating tasks 2 Select Enable Events To Run Scripts/Actions. 3 From the Photoshop Event menu, choose the event that will trigger the script or action. 4 Select either Script or Action, and then choose the script or action to run when the event occurs. Photoshop has several sample scripts you can choose. To run a different script, choose Browse and then navigate to the script.
585 USING PHOTOSHOP Automating tasks A B Flower Daisy Lily Rose C Creating different versions of an image using variables A. Source file template B. User defines layers as variables. C. Different versions of the image can be created, each with a different variable data set. Define variables You use variables to define which elements in a template change. You can define three types of variables. Visibility variables show or hide the content of a layer.
586 USING PHOTOSHOP Automating tasks You cannot define variables for the Background layer. 1 Choose Image > Variables > Define. 2 Select a layer from the Layer pop-up menu that contains the content you want to define as a variable. 3 Select one or more types of variables: Visibility Shows or hides the content of the layer. Pixel Replacement Replaces the pixels in the layer with pixels from another image file. Text Replacement Replaces a string of text in a type layer.
587 USING PHOTOSHOP Automating tasks 2 Click the New Data Set button . 3 Select a variable from the Name pop-up menu or the list at the bottom of the dialog box. 4 Edit the variable data: • For Visibility variables , select Visible to show the layer’s content or Invisible to hide the layer’s content. • For Pixel Replacement variables , click Select File and select a replacement image file. Click Do Not Replace before the data set is applied to leave the layer in its current state.
588 USING PHOTOSHOP Automating tasks VariableName1VariableName2 VariableNameN Value1-1Value2-1ValueN-1 Value1-2Value2-2ValueN-2 Value1-MValue2-MValueN-M All the variable names are listed on the first line, in the order that the values are given in subsequent lines. Each subsequent line represents one data set, with the values for each variable given.
589 USING PHOTOSHOP Automating tasks 3 Set up your import options. Use First Column For Data Set Names Names each data set using the content of the first column of the text file (the values for the first variable listed). Otherwise, the data sets are named “Data Set 1, Data Set 2, and so on.” Replace Existing Data Sets Deletes any existing data sets before importing. 4 Set the encoding of the text file or leave the setting Automatic. 5 Click OK.
590 Chapter 21: Optional plug-ins Some older Adobe Photoshop plug-ins are available via download for Windows or Mac OS. The download includes an OptionalPluginsReadMe file with installation instructions. To ask questions, request features, or report problems, visit feedback.photoshop.com. Picture packages and contact sheets To create contact sheets in Photoshop CS5, see Create a PDF contact sheet in Adobe Bridge Help.
591 USING PHOTOSHOP Optional plug-ins If you’re using only the frontmost image or a selected image from Bridge, skip to step 3. 4 Add one or more images to the layout by doing one of the following: • In the Source Images area of the Picture Package dialog box, choose either File or Folder from the Use menu and click Browse (Windows) or Choose (Mac OS). If you choose Folder, you can select Include All Subfolders to include images inside any subfolders.
592 USING PHOTOSHOP Optional plug-ins Customize a picture package layout You can modify existing layouts or create new layouts using the Picture Package Edit Layout feature. Custom layouts are saved as text files and stored in the Layouts folder inside the Presets folder. You can then reuse your saved layouts. The Picture Package Edit Layout feature uses a graphic interface that eliminates the need to write text files to create or modify layouts.
593 USING PHOTOSHOP Optional plug-ins Create contact sheets with Adobe Bridge The image search and sorting capabilities of Adobe Bridge make it easy to create contact sheets. In Bridge, the Adobe Output Module creates contact sheets in PDF format, which any recipient can review, annotate, and print using the free Adobe Reader. For instructions and links to helpful tutorials, see Create a PDF contact sheet in Adobe Bridge Help.
594 USING PHOTOSHOP Optional plug-ins When Rotate For Best Fit is deselected, thumbnails appear in their correct orientation (left). When it is selected, the pictures are rotated to achieve the best fit (right). 7 Select Use Filename As Caption to label the thumbnails using their source image filenames. Use the menu to specify a caption font and font size. 8 Click OK. Creating web photo galleries To create web galleries with Photoshop CS5, see Create a web photo gallery in Adobe Bridge Help.
595 USING PHOTOSHOP Optional plug-ins Create a web photo gallery Create web galleries using Adobe Bridge Adobe Bridge provides updated web gallery features. For instructions, see Create a web photo gallery in Adobe Bridge Help, or view the tutorials below. Use the older, optional Photoshop plug-in 1 Download and install the older Web Photo Gallery plug-in for Windows or Mac OS. 2 “Run Photoshop in 32-bit mode (64-bit Mac OS only)” on page 605.
596 USING PHOTOSHOP Optional plug-ins , image colors may change when viewed in a web gallery by a browser that doesn’t read embedded color profiles. If this happens, try converting the image profiles to sRGB (which most browsers use as a default) before optimizing them or including them in a Web Photo Gallery. Convert them to sRGB in one of the following ways. It is a good idea to work with a copy of the images. • To convert a single image, choose Edit > • Convert To Profile • and then choose sRGB.
597 USING PHOTOSHOP Optional plug-ins Note: Photoshop uses the default image interpolation method set in preferences. Choose Bicubic Sharper as the default for best results when reducing image size. • Border Size Specifies the width, in pixels, of the border around the image. • Titles Use (Available for some site styles) Specifies options for displaying captions under each image.
598 USING PHOTOSHOP Optional plug-ins Mac OS Adobe Photoshop CS5 /Presets/Web Photo Gallery. The name of each folder in this location appears as an option in the Styles menu in the Web Photo Gallery dialog box. Each folder contains the following HTML template files, which Photoshop uses to generate the gallery: Caption.htm Determines the layout of the caption that appears below each thumbnail on the home page. FrameSet.htm Determines the layout of the frame set for displaying pages. IndexPage.
599 USING PHOTOSHOP Optional plug-ins • To create a new style, create a new folder for the new style, and store it in the same location as the existing style folders. The new or customized style (named for its folder) appears in the Styles menu in the Web Photo Gallery dialog box. 3 Using an HTML editor, do one of the following: • Customize the HTML template file. • Create the necessary HTML template files and store them inside the style folder.
600 USING PHOTOSHOP Optional plug-ins %COPYRIGHT% Inserts the copyright information for a caption from the file information. %CREDITS% Inserts the credits for a caption from the file information. %CURRENTINDEX% Determines the link for the current home page. %CURRENTINDEXANCHOR% Resides in SubPage.htm and points to the first index page. %DATE% Determines the date that appears on the banner. %EMAIL% Determines the e-mail address contact information for the gallery.
601 USING PHOTOSHOP Optional plug-ins %THUMBBORDER% Determines the size of thumbnail borders. %THUMBNAIL_HEIGHT% Enables the Add Width And Height Attributes For Images check box. This allows the user to download the attributes, reducing download time. %THUMBNAIL_HEIGHT_NUMBER% This token is replaced with a numeral (only) representing the height of the thumbnail. %THUMBNAILS% This token is replaced with thumbnails using the Thumbnail.htm file for the frame styles.
602 USING PHOTOSHOP Optional plug-ins Selected area highlighted and filled, and extracted object 1 Because the Refine Edge command is superior, the Extract plug-in is not installed with Photoshop. Download the optional Windows plug-in here. 2 In the Layers palette, select the layer containing the object you want to extract. If you select a background layer, it becomes a normal layer after the extraction. If the layer contains a selection, the extraction erases the background only in the selected area.
603 USING PHOTOSHOP Optional plug-ins If you need to erase the highlight, select the Eraser tool , and drag it over the highlight. To erase the entire highlight, press Alt+Backspace (Windows) or Option+Delete (Mac OS). If the object has a well-defined interior, make sure the highlight forms a complete enclosure. You do not need to highlight areas where the object touches the image boundaries. If the object lacks a clear interior, highlight the entire object.
604 USING PHOTOSHOP Optional plug-ins The Pattern Maker filter slices and reassembles an image to make a pattern. The Pattern Maker works in two ways: • Fills a layer or selection with a pattern. The pattern can be made of one large tile, or multiple duplicate tiles. • Creates tiles that you can save as a pattern preset and use with other images. You can generate multiple patterns from the same sample until you find one that you like. 1 Pattern Maker is an optional plug-in.
605 USING PHOTOSHOP Optional plug-ins 9 Navigate through the generated tiles in the Tile History panel to select the tile that you want to use to fill the layer or to save as a pattern preset. • To move through the tiles you’ve generated, click the First Tile button, Previous Tile button, Next Tile button, or Last Tile button. Or, type the number of the pattern preview you want to view, and press Enter (Windows) or Return (Mac OS).
606 Chapter 22: Keyboard shortcuts For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Customizing keyboard shortcuts Photoshop lets you view a list of all shortcuts, and edit or create shortcuts. The Keyboard Shortcuts dialog box serves as a shortcut editor, and includes all commands that support shortcuts, some of which aren’t addressed in the default shortcut set.
607 USING PHOTOSHOP Keyboard shortcuts • To discard all changes and exit the dialog box, click Cancel. Note: If you haven’t saved the current set of changes, you can click Cancel to discard all changes and exit the dialog box. Clear shortcuts from a command or tool 1 Choose Edit > Keyboard Shortcuts. 2 In the Keyboard Shortcuts dialog box, select the command or tool name whose shortcut you want to delete. 3 Click Delete Shortcut. Delete a set of shortcuts 1 Choose Edit > Keyboard Shortcuts.
608 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Magic Wand tool W W C C I I J J B B S S Y Y E E G G O O P P T T Quick Selection tool Crop tool Slice tool Slice Select tool Eyedropper tool† Color Sampler tool Ruler tool Note tool Count tool* Spot Healing Brush tool Healing Brush tool Patch tool Red Eye tool Brush tool Pencil tool Color Replacement tool Mixer Brush tool Clone Stamp tool Pattern Stamp tool History Brush tool Art History Brush tool Eraser tool† Backgro
609 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Path Selection tool A A U U K K N N Hand tool† H H Rotate View tool R R Zoom tool† Z Z Direct Selection tool Rectangle tool Rounded Rectangle tool Ellipse tool Polygon tool Line tool Custom Shape tool 3D Object Rotate tool* 3D Object Roll tool* 3D Object Pan tool* 3D Object Slide tool* 3D Object Scale tool* 3D Camera Rotate tool* 3D Camera Roll tool* 3D Camera Pan tool* 3D Camera Walk tool* 3D Camera Zoom* † Use same short
610 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Toggle (forward) canvas color Space + F (or right-click canvas background Space + F (or Control-click canvas and select color) background and select color) Toggle (backward) canvas color Space + Shift + F Space + Shift + F Fit image in window Double-click Hand tool Double-click Hand tool Magnify 100% Double-click Zoom tool or Double-click Zoom tool or Ctrl + 1 Command + 1 Switch to Hand tool (when not in text-edit mode) Spacebar
611 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Cancel completely Esc Esc Undo last pin adjustment Ctrl + Z Command + Z Select all pins Ctrl + A Command + A Deselect all pins Ctrl + D Command + D Select multiple pins Shift-click Shift-click Move multiple selected pins Shift-drag Shift-drag Temporarily hide pins H H Result Windows Mac OS Open the Refine Edge dialog box Control + Alt + R Command + Option + R Cycle (forward) through preview modes F F Cycle (backw
612 USING PHOTOSHOP Keyboard shortcuts Keys for Liquify Result Windows Mac OS Forward Warp tool W W Reconstruct tool R R Twirl Clockwise tool C C Pucker tool S S Bloat tool B B Push Left tool O O Mirror tool M M Turbulence tool T T Freeze Mask tool F F Thaw Mask tool D D Reverse direction for Bloat, Pucker, Push Left, and Mirror tools Alt + tool Option + tool Continually sample the distortion Alt-drag in preview with Reconstruct tool, Displace, Amplitwist, or Affine mo
613 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Increase brush hardness (Brush, Stamp tools) Shift + ] Shift + ] Decrease brush hardness (Brush, Stamp tools) Shift + [ Shift + [ Undo last action Control + Z Command + Z Redo last action Control + Shift + Z Command + Shift + Z Deselect all Control + D Command + D Hide selection and planes Control + H Command + H Move selection 1 pixel Arrow keys Arrow keys Move selection 10 pixels Shift + arrow keys Shift + arrow keys
614 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Color Sampler tool S S Crop tool C C Straighten tool A A Spot Removal B B Red Eye Removal tool E E Basic panel Ctrl+Alt+1 Command+Option+1 Tone Curve Ctrl+Alt+2 Command+Option+2 Detail panel Ctrl+Alt+3 Command+Option+3 HSL/Grayscale panel Ctrl+Alt+4 Command+Option+4 Split Toning Ctrl+Alt+5 Command+Option+5 Ctrl+Alt+6 Command+Option+6 Ctrl+Alt+7 Command+Option+7 Presets panel Ctrl+Alt+8 Command+Option+8 (Mac
615 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Adjustment Brush K K G G Increase/decrease brush size ]/[ ]/[ Increase/decrease brush feather Shift + ] / Shift + [ Shift + ] / Shift + [ Increase/decrease = (equal sign) / - (hyphen) = (equal sign) / - (hyphen) tool Graduated Filter tool Adjustment Brush tool flow in increments of 10 Temporarily switch from Add to Erase mode Alt for the Option Adjustment Brush tool, or from Erase to Add mode Increase/decrease temporary Alt
616 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Toggle overlay for V V Rotate image left L or Ctrl + ] L or Command + ] Rotate image right R or Ctrl + [ R or Command + [ Zoom in Ctrl + + (plus) Command + + (plus) Zoom out Ctrl + - (hyphen) Command + - (hyphen) Temporarily switch to Ctrl Command Alt Option Toggle preview P P Full screen mode F F Temporarily activate the Shift Shift Select multiple points in Curves panel Click the first point; Shift-click additi
617 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Display highlights that will be clipped in Preview Alt-drag Exposure, Recovery, or Black sliders Option-drag Exposure, Recovery, or Black sliders Highlight clipping warning O O Shadows clipping warning U U (Filmstrip mode) Add 1 - 5 star rating Ctrl+1 - 5 Command+1 - 5 (Filmstrip mode) Increase/decrease rating Ctrl+. (period) / Ctrl+, (comma) Command+.
618 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Set a point to the composite curve Control-click the image Command-click the image Set a point to the channel curves Shift + Control-click the image Shift + Command-click the image Toggle grid size Alt-click the field Option-click the field Keys for selecting and moving objects This partial list provides shortcuts that don’t appear in menu commands or tool tips.
619 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Snap guide to ruler ticks (except when View > Snap is unchecked) Shift-drag guide Shift-drag guide Convert between horizontal and vertical guide Alt-drag guide Option-drag guide †Hold down Shift to move 10 pixels ‡ Applies to shape tools Keys for transforming selections, selection borders, and paths This partial list provides shortcuts that don’t appear in menu commands or tool tips.
620 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Select foreground color from color picker Any painting tool + Shift + Alt + right-click and drag Any painting tool + Control + Option + Command and drag Select foreground color from image with Eyedropper tool Any painting tool + Alt or any shape tool + Alt (except when Paths option is selected) Any painting tool + Option or any shape tool + Option (except when Paths option is selected) Select background color Eyedropper tool + Alt-clic
621 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Color Burn Shift + Alt + B Shift + Option + B Linear Burn Shift + Alt + A Shift + Option + A Lighten Shift + Alt + G Shift + Option + G Screen Shift + Alt + S Shift + Option + S Color Dodge Shift + Alt + D Shift + Option + D Linear Dodge Shift + Alt + W Shift + Option + W Overlay Shift + Alt + O Shift + Option + O Soft Light Shift + Alt + F Shift + Option + F Hard Light Shift + Alt + H Shift + Option + H Vivid Light
622 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Move type in image Control-drag type when Type layer is selected Command-drag type when Type layer is selected Select 1 character left/right or 1 line down/up, or 1 word left/right Shift + Left Arrow/Right Arrow or Down Arrow/Up Arrow, or Control + Shift + Left Arrow/Right Arrow Shift + Left Arrow/Right Arrow or Down Arrow/Up Arrow, or Command + Shift + Left Arrow/Right Arrow Select characters from insertion point to mouse click point
623 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Decrease or increase baseline shift 2 points or pixels Shift + Alt + Down Arrow or Up Arrow†† Shift + Option + Down Arrow or Up Arrow†† Decrease or increase kerning/tracking 20/1000 ems Alt + Left Arrow or Right Arrow†† Option + Left Arrow or Right Arrow†† †Hold †† down Alt (Win) or Option (Mac OS) to decrease/increase by 10 Hold down Ctrl (Windows) or Command (Mac OS) to decrease/increase by 10 Keys for slicing and optimizing Result
624 USING PHOTOSHOP Keyboard shortcuts Keys for the Actions panel Result Windows Mac OS Turn command on and all others off, or turns all commands on Alt-click the check mark next to a command. Option-click the check mark next to a command.
625 USING PHOTOSHOP Keyboard shortcuts Keys for the Animation panel in Timeline Mode (Photoshop Extended) Note: To enable all shortcuts, choose Enable Timeline Shortcut Keys from the Animation (Timeline) panel menu. Result Windows Mac OS Start playing the timeline or Animation panel Spacebar Spacebar Switch between timecode and frame numbers (current time view) Alt + click the current-time display in the upper-left corner of the timeline.
626 USING PHOTOSHOP Keyboard shortcuts Keys for the Brush panel Result Windows Mac OS Delete brush Alt-click brush Option-click brush Rename brush Double-click brush Double-click brush Change brush size Alt + right click + drag left or right Ctrl + Option + drag left or right Decrease/increase brush softness/hardness Alt + right click + drag up or down Ctrl + Option + drag up or down Select previous/next brush size , (comma) or . (period) , (comma) or .
627 USING PHOTOSHOP Keyboard shortcuts Keys for the Clone Source panel Result Windows Mac OS Show Clone Source (overlays image) Alt + Shift Opt + Shift Nudge Clone Source Alt + Shift + arrow keys Opt + Shift + arrow keys Rotate Clone Source Alt + Shift + < or > Opt + Shift + < or > Scale (increase or reduce size) Clone Source Alt + Shift + [ or ] Opt + Shift + [ or ] Keys for the Color panel Result Windows Mac OS Select background color Alt-click color in color bar Option-click color in
628 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Load filter mask as a selection Control-click filter mask thumbnail Command-click filter mask thumbnail Group layers Control + G Command + G Ungroup layers Control + Shift + G Command-Shift + G Create/release clipping mask Control + Alt + G Command-Option + G Select all layers Control + Alt + A Command + Option + A Merge visible layers Control + Shift + E Command + Shift + E Create new empty layer with dialog box Alt-click
629 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Toggle between filter mask/composite image Alt-click filter mask thumbnail Option-click filter mask thumbnail Toggle rubylith mode for layer mask on/off \ (backslash), or Shift + Alt-click \ (backslash), or Shift + Option-click Select all type; temporarily select Type tool Double-click type layer thumbnail Double-click type layer thumbnail Create a clipping mask Alt-click the line dividing two layers Option-click the line dividing t
630 USING PHOTOSHOP Keyboard shortcuts Result Windows Mac OS Retain intersection of path as selection Control + Shift + Alt-click pathname Command + Shift + Option-click pathname Hide path Control + Shift + H Command + Shift + H Set options for Fill Path with Alt-click button Option-click button Foreground Color button, Stroke Path with Brush button, Load Path as a Selection button, Make Work Path from Selection button, and Create New Path button Keys for the Swatches panel Result Windows M
631 USING PHOTOSHOP Keyboard shortcuts Camera Tool Right-click (Windows) / Controlclick (Mac OS) Alt (Windows) / Option (Mac OS ) Roll Changes to Slide tool Changes to Rotate tool Pan Changes to Orbit tool Changes to Slide tool Walk Changes to Roll tool Changes to Drag tool Keys for measurement (Photoshop Extended) Result Windows Mac OS Record a measurement Shift + Control + M Shift + Command + M Deselects all measurements Control + D Command + D Selects all measurements Control + A
632 USING PHOTOSHOP Keyboard shortcuts Result (Extract and Pattern Maker) Windows Mac OS Cycle through controls on right from top Tab Tab Cycle through controls on right from bottom Shift + Tab Shift + Tab Temporarily activate Hand tool Spacebar Spacebar Change Cancel to Reset Alt Option Result (Extract only) Windows Mac OS Edge Highlighter tool B B Fill tool G G Eyedropper tool I I Cleanup tool C C Edge Touchup tool T T Toggle between Edge Highlighter tool and Eraser tool
633 USING PHOTOSHOP Keyboard shortcuts Result (Pattern Maker only) Windows Mac OS Delete current selection Control + D Command + D Undo a selection move Control + Z Command + Z Generate or generate again Control + G Command + G Intersect with current selection Shift + Alt + select Shift + Option + select Toggle view: original/generated pattern X X Go to first tile in Tile History Home Home Go to last tile in Tile History End End Go to previous tile in Tile History Left Arrow, Page
