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-Orion Williams 9/9/04

Record an Action

Discover the Healing Brush

Modifying Selections: Part I

Modifying Selections: Part II

Discover the Pen Tool & Paths

Path Editing

Discover the Background Eraser

Discover the Polygonal Lasso Tool

Discover the Quick Mask Mode

Discover the Layer Mask

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and can help you by clicking here.
Modifying Selections: Part I
When you have
made your selec-
tion and you This will retain that data of the selected
have the proper area. Now go to File: New, Press OK when
layer selected in the dialog box comes up to create a new
the layers palette document.
(here, the layer
with the wall if This feature has probably been around
there are other since the beginning of digital image editing
layers) then go to and Photoshop 1.0 I’m sure. It’s good to
Edit: Copy. learn the shortcuts Ctrl C, Ctrl N and Ctrl
V.

It’s important to note that when you copy a

selected area the new document will be cre-
ated based on the dimension or proportion
of the selected area on an X and Y basis.
Because the selected area reached the verti-
cal and horizontal limits of the original
image, the new document will be created
with the same dimensions as the original
document. If you want to create a new
document you can either Image: Duplicate
or select a layer that covers the entire image
dimensions such as the background layer
by Select: all and making sure the back-
ground layer is selected in the layers palette
and then you can create an exact dimension
copy.
 Now that you’ve pasted it you can see that we
did select the ‘background’. When you paste
it will automatically put that selection onto its
own layer.

Well what if we made this selection of

the background but wanted to select the
woman as the subject? Easy, just right
click (when on a marquee or lasso tool)
in the original document and then you
can choose Select Inverse. This will now
select the areas that haven’t been selected
which in this case happens to be the sub-
ject and the dead palm trees.
When making selections you’ll most often want to select the easiest way
and use the tools together to get a selection. It all depends on the circum-
stances. With difficult backgrounds sometimes there is no easy way. The
art of the selection will be covered in depth in the upcoming Advanced-
Photoshop.com.

Go to the moVe tool in the upper right corner of the toolbar and drag this
selection into the new document. Here in the layers palette you can see
that I have both of the separate selections on their own layers. To fully
understand layers you may want to read about the Basic Photoshop full
training here.

After you’ve made a selection and

put it on it’s own layer and you
plan on making more changes to
it; you might want to first make a
duplicate copy by dragging it to
the new layer icon and work on
this version of the layer.

With the eraser tool you can go

in and clean up areas of the selec-
tion that maybe got skipped over
before.
 Remember that you can change the size of the eraser
brush in the options bar or by using the [bracket] keys.
On the duplicated layer go ahead and erase the dead
palm trees (or whatever is on your sample image).
Photos.com doesn’t want me actually distributing these
images but you can get these same ones with full access
from their website. It’s well worth it if you’re at all seri-
ous about Photoshop and especially graphic design.

You can use some more of the

basic selection techniques such
as right clicking and choosing
Similar or grow after using
the magic wand tool to select
areas of blue that might be
remaining.

In using these, once again if you have accidentally selected areas

that you don’t want selected, you can use ‘subtract from selection’
in the options bar of the lasso (or marquee tools). Then simply
lasso around the area you want selected. See how easy it is for you
to learn? Do you have any idea how long it took me to fully under-
stand this simple concept? Good..
 You can use the eraser to get rid of
these spots but if they’re too small
you might want to select them first
ie. with the magic wand tool and
then you can Ctrl X them out of the
picture to clean it all up.

Now find another picture which you think would make a great
background. Now that you have the foreground subject and
you’ve essentially removed the background, you can pull in an-
other open image with the moVe tool by dragging it in.

It will automatically appear above whatever layer is selected in

the layers palette. In this case it shows up on top so you will
have to move its order in the layers palette to beneath the main
subject layer to ‘fit’ in the manually created ‘background’ space.
In this case the sunset was appear behind the main subject so if this happens to you remember that
you have your transform options under the Edit menu. Go ahead and flip it horizontally. Now the
sunset appears on the other side where there is breathing room for it to be. This is good common
design sense which you probably have, it’s just good to know the tools to how to do it!

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style.
 Modifying Selections: Part II

Here we will continue covering some basic-intermediate se-

lection techniques. Grab the polygonal lasso tool. Since we
already have a selection we’re going to get rid of a certain part
of the selection and keep the part that we want to keep.

Choose Subtract from Selection from the op-

tions bar.

Now go ahead and create a

lasso selection all the way
around the area that you want
to get rid of from the overall
selection. It doesn’t even have
to be pretty AT ALL, as long
as you keep the marching ants
inside the area.

Now that you have ‘subtracted’ or ‘deselected’ that

area find any other areas that you want deselected,
go over there and use the same method to enclose off
that area to deselect it from the overall selection.

Just work your way all the way

around the area you want to de-
select. With the polygonal it will
draw straight lines and you click
to add a point to move it in an-
other direction. What’s weird and
cool is that you can click ‘outside
of’ the actual document with the
polygonal lasso to help work your
way around to the start point to
close it off. Try this out.
 In this case I am getting rid
of the dead palm tree leaves
and wanting to retain just the
main subject herself.

It’s important to understand

these concepts of knowing
how to modify a selection.

Now with the moVe tool, remember that you can

move the selection from within the selected area. In
this case we already have a duplicate layer on top so
we’re just moving that selected version of her over.

Here you can see in the layers palette I’ve turned off
the layer and you can see the selection that we’ve
made.
 Go back in
History to Now let’s do something else. Once you have a selec-
move her tion you can save it a few ways. One of the ways is
back. You can by right clicking (when on the appropriate tool such
also use Edit: as lasso) and choosing Make Work Path...
Undo Move.

Under the Paths palette you can see the work path that
you’ve now created. You can see the hard edged line
around your subject.

This will convert the selection you

have into a ‘Path’. A path is one
way of ‘storing’ your selection and
takes up a nanobit of space in the
total file size because it is basically
a mathematical equation. It saves
much more space than duplicating
and retaining a copy of the layer
(fyi).

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shop. It’s got tons of video tutorials in
an easy-to-learn style.
Aren’t you glad you don’t have to
learn all this stuff the hard way?
Don’t be stubborn like I did. Just
keep on learning everything you can
Once you have work path you can
make it back into a selection by
highlighting it and then right click-
ing and choosing Make Selection...
Press enter again if you don’t want
to feather (add a light blur) and get
your exact selection back.
In the Paths palette you can
click off of the path and onto
the empty space as shown to
de-select the work path and
click on it to re-select or show
the work path.
You’ll want to understand
paths and path editing b/c
you can make your own work
paths (ending up in a selec-
tion or a custom shape) from
scratch and they are used all
the time in vector shapes and
design.
 Discover the Healing Brush
The healing brush is just an
incredible tool in Photoshop 7 &
CS. This tool alone is often worth
the price of the software if you’re
a professional photographer or
retoucher.

All you have to do is Alt/Opt

click to choose a source point
(aka ‘sample’) from which to heal
or replace into with the healing
brush. Try it out if you have the
appropriate version of Photoshop.

Choose a good part of skin that

you want to heal into a bad part.
And Alt click and then just use the
brush to magically ‘heal’ the bad
part. Photoshop does the actual
job of somehow replacing and
mixing the pixels.

Once again you have brush op-

tions. You can also choose Pattern
instead of sample if you want to
really screw up this guy’s fore-
head. Photo is from my photos.
com collezioni.

It will be up to you as the master of Photo-

shop and it’s tools to decide what parts to
blend in where. Because the skin tone is
generally consistent you can sample from
a good part of it to heal a worse part; vs.
sample from his hair to heal skin.

On the PSDer Disc II: Techniques training

I go over this tutorial in full motion right
inside Photoshop.
Here you can see a before and after view. I
only worked on it for about two minutes. It
is so much better than the old school way of
selecting with a lasso and copy pasting, the
healing brush is just a godsend for all Photo-
shop users in retouching jobs.

Here is the result af-

ter using the healing
brush to ‘heal’ clear
areas into the lacking
areas for the touchup
You can create a snapshot in the history palette job. It’s a powerful
of where you’re at. This saves the current state tool.
of the document at the top of the palette. As
long as the document’s open you can switch
between different snapshots.

Click here to check out how Complete Basic Photoshop Training has helped others and
can help you master Photoshop. It’s got tons of video tutorials in an easy-to-learn style.
 Discover the Background Eraser

Here is a demonstration of the background eraser

tool. This tutorial will also morph into how to use it
to get a selection.

This is by no means my favorite way of getting a

selection but the tool itself can come in handy in par-
ticular circumstances (such as touching up a finished
selection/layer that has pixels left between frizzy
long hair).

Get the tool and you can right click or use

the options bar or brush palette to choose an
eraser brush size. In most cases you’ll want
a large one.
To erase the background simply move the background eraser around. It is the
crosshairs in the middle that determine the point of what is going to be erased of
everything that is within the circle of the brush. What is actually erased and to
what degree is determined by the tolerance % level.

In this case of varying greens on the grass I’m probably going to have to adjust
the tolerance a bit. It’s best to use a regular eraser for vast expanses of back-
ground that need to be erased and use the background eraser when you want to
erase close to your foreground subject that hopefully has a distinct color differ-
ence than the background (once again tolerance comes into play).

A higher tolerance will erase pixels that are more and more different in color
range from the original (or continuous) sample point of the crosshairs (see the
sampling menu).

The difference between contiguous and discontiguous is really quite

simple. Contiguous will erase everything that is within the color range
closest to the crosshairs. If there is something in the way (such as a braid
of hair) that breaks up the flow of the closest color range, it won’t reach
beyond to erase it (even if it is within the reach of the brush). For ex-
ample here you see that contiguous isn’t getting that patch of green on the
other side of her.

When you turn on ‘discontiguous’ (I hate typing that)

the eraser will basically jump across the vastly different
outside-the-color-range-braid-of-hair over to erase the
within-range-color of the patch of grass. Try it out for
yourself.
 Keep using the magic eraser to go
around the outskirts of the sub-
ject. It’s ok to overlap of course
for example with his reddish
black hair because it’s not in the
sampling color range and toler-
ance of the crosshairs.

Here’s a spot for a regular eraser which you can

use later because the erasing is leaving particles
and it is getting too choppy. Remember that you
have a lot of tools at your disposal to edit images
with. It’s important to understand them all.
 Here’s another example of discontiguous in
action. Note how it jumps beyond off color
range of the picnic basket to get to the in-color
sampling range of the grass inside the handle.

Here’s a result of using the

background eraser tool.
It’s pretty accurate for
creating a clearly defined
foreground object as long
as you have a distinct back-
ground that separates them.
When color ranges are too
close together then you get
a lot of spilling over and it
gets ugly and even toler-
ance might not save you.
 To take it further..I don’t use this method anymore..but you
could now make an official selection of your work. Grab the
Lasso tool (L) and draw a loose selection all the way around
the subject.

Now switch to the moVe tool

and nudge up once and then
down once with your arrow
keys on the keyboard. This
will close the selection in
around the subject.

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style.
 Now you can do such things as make a new
background layer by creating a new layer and
then filling it with a color of your choice using
any of my taught methods.

To fill an entire layer you’ll want to Select: Deselect (Ctrl/Cmd D) the selec-
tion and then fill otherwise you’ll fill the selected area on a new layer. Make
sure that layer is beneath the foreground layer in the layers palette.

Grab a large regular eraser and just clean up the spots or pixel dust that is
left behind on the layer of your foreground subject.

Prepare to fill the background with another color if

you want, after clearing up extraneous pixels.
 Change the color if you want to, swipe a gradi-
ent, pull in a different background image with the
moVe tool, add some text, etc. and you’re ready for
print.

In this case I want you to know I didn’t spend the time cleaning up the rest of the fore-
ground layer. Hopefully the designer in you is cringing and thinking what is that ugly red
background doing with this nice family?...good you’re thinking. (I was in a hurry making
60 of these tutorials in a few days) Now pull in a background picture that would work nice
in my other tutorials. I would also recommend a background if you want to keep any grass
that would complement the foreground layer and which you could do some ‘radial gradient
layer masking’ to get a perfect blend (zhooommmm).

The more I look at this photo the more I wonder what I was thinking. But hopefully you
learned the background eraser tool and much more in this tutorial. Check out many more
Photoshop tutorials here; there’s lots to learn!
 Discover the Polygonal Lasso Tool

Get the polygonal lasso tool from

the lasso menu on the toolbar.
Open up an image of a nice easy
to select shape with a few straight
lines such as this oriental heating
duct.

To use the tool just click at each corner point

and drag in a new direction. If you have a
perfectly straight line or want one then hold
down the shift key when going to your next
intersection.

You must complete a full lap all the way

around to close off the selection properly.
Now that you’ve made a selection of your
object, right click and choose layer via copy.
This will put (the selection of) the object onto
its own layer.
 This is pretty standard procedure and not that hard to mas-
ter but it’s another important concept to understand and use
in practicum. Now that it’s on it’s own layer you can grab
the moVe tool in the upper right corner of the toolbar and
move the layer around (weeee).

You’ve basically duplicated a part of the image that you

wanted to by selecting it (in this case with the polygonal
lasso tool) and put it on it’s own space. The polygonal
obviously works well with nice straight lines and corners
which need to be selected (such as architecture).

In the first instance I also added the brick

base to the selection. This is how it would
look by selecting it by itself. Remember
that you can extend outside the bounds of
the document and click a point out there
with this tool.
Here I’m selecting the brick base and then cutting it
(Ctrl/Cmd X) Edit: Cut to get rid of it from the new
layer on top.
If you hide the background original layer then you can see the oriental
lattice floating in midspace.

To create another replica of this red lattice, drag the

layer to the new layer icon as shown in the lay-
ers palette. Now you have two layers of additional
frames.

You must fully comprehend and understand this Ba-

sic level of Photoshop before you can become a true
guru and design the good shtuff (or you could cheat
and do the design tutorials anyways).
 Discover the Pen Tool & Paths
The pen tool can be quite difficult to actually master when using for
advanced drawing including making curved paths but for now I’ll give
you an introduction to the pen tool and how to use it to make a selec-
tion.

You can use the pen tool for drawing and creating your own custom
shapes/vectors as paths or you can use it to make a selection. Here
we’re going to use it to make a selection but you’ll be able to under-
stand it enough to make a shape. Choose the pen tool (P).

Make sure that you are on ‘Paths’ in the middle of

the options bar as shown.

Since you are going to make a

selection, just use it to ‘click’
in new anchor points along the
edges of your subject as shown.
Later you can use the pen/path
editing tools to make adjust-
ments.

Just keep making anchor points around

your subject staying as close to the edge as
possible.

You will have

to meet both
ends together
to ‘close off’
the path you
are creating.
Once you have closed off your newly created work path. You can view it in the Paths palette.

When you click off of the Work Path and onto the grey area the Path you made will be de-selected.
You can always come back to the Paths palette to turn on or off the different paths for display or editing.

Now, you can right click and choose

‘Make Selection’. This will convert
the path into an actual selection that
you can use. Note: You can also
create selections into Work Paths.
Photoshop is flexible.

The work path is just a way of stor-

ing (and taking up nanobits of space)
your shape or selection (in the form
of a custom shape). Now you should
have a good understanding of what
the pen tool can do. Some people
use it to create vector design (yikes)
I’d rather master Adobe Illustrator.
Here you can see that the Path is highlighted in the paths
palette and that I’ve Ctrl Clicked on the layer icon to create a
selection. Smaller marching ants...

Now that you’ve used the pen tool to make your very first pen
tool selection, go to the layer you need to be on in the layers
palette and switch to the moVe tool. Use the move tool to
move the selection around then undo it in the history palette.
Now you know the basics of the pen tool.
 Here is the Move tool moving the path turned selection. Now
you could do something like layer via copy to put it onto its
own layer and work with (for graphic design or adjusting).

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 Discover Path Editing

Now I’m going to cover basic path editing. You can use
the editing tools to modify your path/shape. This allows
you to not only have more control, but to come back at
a later time and fix something up. Remember that Paths
are stored in the Paths palette.

If you start creating a path, close it off and then use the
pen tool elsewhere on the document it will all be on one
path. You can create a new path in the Paths palette
by pressing the new path icon; this will help you keep
things separate as with layers.

The path selection tool allows you to select an entire

path or if you have more than one to immediately switch
between ‘selecting’ them. This will also reflect in the
Paths palette. When it is selected, you can move the
path itself around the screen.
 There is also the Direct Selection Tool.
This tool allows you individually adjust
anchor points within your path.

Here you can see

the path being
moved with the
Path Selection Tool.

Under the Pen tool there are some more options. You can
Add an anchor point anywhere along the path itself. This is
the same as clicking with the pen tool when you were origi-
nally making the path and it’s anchor points.

The delete anchor point tool does just what it says.
Just place it right over an anchor point to get rid of
it. You can also right click for these options when
on the Pen tool (P). When using the tool itself or
right clicking you can add an anchor point along
the path and delete only when above an anchor
point.
You can add or delete anchor points
where you see fit in order to help you
in the making of your path and getting
it more accurate for when you want to
end up with a selection or your custom
shape.
You can also use the Convert Point Tool. This ‘converts’ regular
anchor points into more flexible anchor points allowing you to
move handles around and to create elliptical parts of paths. This
is what really takes a while to...get a ‘handle’ on.

After you have converted an anchor point you can adjust it in

many more ways such as working on top of/creating rounded
corners as this chin. You can move and stretch the handle bars
to create ellipses. Go ahead and try it out; get a feel for it. You
can create some advanced paths (for your selections or shapes)
when you have come close to mastering this. With this tool you
can go in and make better and more accurate adjustments so you
don’t have such harsh lines.

Switch back to the direct selection tool to gain more control over
this editing. Now you can move the entire anchor point with the
handles where you want.
After you have converted points that need to have more
editing flexibility you can then move the handles and the
anchor point itself to create the path that you want.

Here I’m just dragging the curve handle way down to

expand the ellipse between two points. If I wanted to I
could keep adding anchor points, converting them, move
them with the direct selection tool all the way around
the entire subject (quite time consuming though). The
advantage of the pen tool and paths is that you can save
them and come back to fix them and they give you the
most precise control over shapes and selections.

Remember you could edit a selection by making it

a work path, editing it and then convert it back to a
selection. This is a lot of editing control and if you’re
charging clients by the hour then it might work out
well for you.
With the navigator you can also grab within the rectangle box and move it around to move the entire
image. It looks really cool on a high res image when you’re zoomed in..try it out.

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ing has helped others and can help you master Photoshop. It’s
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 Record an Action

It’s fairly easy to record your own action. To start off, go to

the actions palette now click on the folder icon. This will
create your own set.

Give it a name in the pop up window.

Now you can press the New Action

icon. Enter a name for your new action
(ie. scanned in image size, color balance
adjustment, etc.) Now all you have to do
is record your action by pressing Record.
When you have completed all of your ac-
tions (going through your process as you
would normally) you can press the Red
circle Stop button. You can take your time
when recording an action; it only remem-
bers specific commands, not how much
time it took you between steps.
Remember that an action is just a set of commands or
steps that you would take within Photoshop (it can ‘record’
about anything you can do). You could record an action to
make a simple 2 step image adjustment. By having it as an
action in your actions palette, you can just open the other
files and instead of having to go through the actual steps it
would take to end up with the same result (same process)
you can just press one button: Play (on your new action).
An action is basically an automation step to simplify your
workflow (for example if there’s a single process you find
yourself doing on many of images); it saves lots of time.

Also by recording actions, you can later automate and

batch files-many files all at once with the same action or
sequence/process. This can save you HOURS of work.

Here just record a simple action as I’m

doing. I’m creating an action called im-
ageweb. Once I press record I’m going
to the Image: Image Size and changing
the resolution to 72 for the web. Once I
perss OK the step will be recorded (and
anything else I do in the dialog box such
as change the image width) in the action
step.

When recording an action you are actu-

ally doing the steps you would take on an
actual open document and using that as
your ‘master’.
 Once you have completed your steps, just press stop.
Actions can be as simple as a one-step process but can
still save you time (press one button).

Now open another image. With your actions palette

open, select your action (just the name of it) which
should already be there; and press PLAY. This will run
the action on the document you’re working on. Instant
automation. As a basic Photoshop user moving on, be
aware of this tremendous power. Actions can get re-
ally advanced with stops, etc. You can even create and
run entire batches to create templates out of a folder of
files. The possibilities are endless!

Click on the original state of the

document to go back to the ‘start’.

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Photoshop Training has helped others and can
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video tutorials in an easy-to-learn style.
 Understanding the Quick Mask

This is an important tutorial because it is introducing

you to the quick mask. The quick mask is a powerful
way to get great selections accurately and it’s very flex-
ible.

First start off with the lasso tool and make a very loose
selection around an object

Now that you have made a

selection, you can view it at any
time (and do further editing) in
the quick mask mode. To enter
the quick mask mode press the
icon as shown right here (you
can also toggle between regular
and quick mask modes with the
‘Q’ keyboard shortcut).

When you enter the quick mask

mode you get a rubylith. This
shows that areas that are de-se-
lected in Red and the areas that
are selected as clear.

You can further edit your selection in process (the quick mask be-
comes a temporary channel in the Channels palette and is gone when
you exit the mode) by a number of ways including selection and filling
(combined), gradient and using the brush tool (most common). Select
the brush tool while you are in quick mask mode.
You can change the size of your
brush in the brush dialog box in the
options bar. Basically what you’re
going to do is ‘paint in’ the areas that
you want to deselect.

In order to do this you also have to

understand that black must be the
foreground color in order to paint
in red (don’t let this confuse you...if
the rubylith was black you wouldn’t
see anything) to deselect. To RESE-
LECT you use white as your fore-
ground color with the paintbrush.
This is a very important concept I
refer to often.

Black hides pixels. White buys them

back. It could take you a long time
to get comfortable with this in an op-
erational proficiency. I cover dozens
of tutorials on quick masking and
getting great selections in my Basic
Photoshop DVD Training; this will
help you fully grasp and know how
to use all of these tools like a pro.

Also, when you choose any shade

between white and black you will get
different levels of opacity in the result-
ing selection. The closer to black you
are the more invisible the pixels and the
closer to white the shade of grey, the Switch the foreground color
more visible the pixels will be. White to white to retain the selection
is pure original pixels (buys back) and (clear) of the mountain edge.
black is pure hidden (masked) or invis-
ible.

Because the quick mask is a grayscale channel, no other

colors are involved, just white to black and shades of grey
in between. These are what you will ‘paint’ with in order
to select or deselect.
Now just take your brush with black as the foreground color and fill in the rest of the sky carefully. The rubylith
just shows you the actual job that you are doing. Feel free to lower the size of the brush to get into smaller areas
(use the bracket keys [ ] to make the brush size larger or smaller).

If you accidentally (or purposefully) spillover and deselect an area with red use the shortcuts of D,X to switch
and get white as your new foreground color. With white remember you are buying back pixels, or preserving
them in the ultimate selection, so just eraser the red rubylith to where it spills over into your mountain or selec-
tion object.

It might take a few minutes depending on the type

Press the Edit in standard
mode button or Q to exit
quick mask, delete the tem-
porary channel (which will
return once you enter again)
and see the selection job that
you have created.
of selection job and complexity (even for pro’s)
but learning this method is really a time saver.
Try using the rectangular marquee to get a selec-
tion like this (yikes). Remember that you can also
combine other selection tools and you can use the
gradient tool, making selections in the quick mask
mode and then filling with either white or black or
your shade of grey. You can also enter the quick
mask mode from scratch without first making any
selection (not recommended) and then you can use
a large brush to just start deselecting areas to close
in around your selection with black as your fore-
ground color.

You can always enter quick

mask mode again to keep
working on or editing your
selection. I much prefer the
quick mask mode person-
ally than to edit selections by
making them into work paths
and using pen editing tools.
With the brushes it usually
gets a great selection every
time with nice clean edges.
Here is the view of the quick mask mode in the
Channels palette where the temporary channel
(grayscale) is created. Note that the black area is
deselected and the white area is the ‘selected’ por-
tion. The rubylith simply allows you to view your
selection job in progress.

Remember that you can also right click in standard

mode (with selection tools such as the marquee...)
to choose make work path. This is covered in
another tutorial and is another (harder) way of
editing your selections/paths.

Make sure to go through the Photoshop DVD Tu-

torials and get lots of experience with quick mask-
ing. It’s a great way to get a lot of professional
work done and fast.

Click here to check out how Complete Basic Photoshop Train-

ing has helped others and can help you master Photoshop. It’s
got tons of video tutorials in an easy-to-learn style.
 Discover the Layer Mask

Use the eyedropper tool to get a

sample of any color in your docu-
ment. Click and the sample will
not become the foreground color
that you can work with.

For this educational tutorial, get an eyedropper

sample to get your new foreground color in the
color picker. Now drag the background layer of
this photo to the new layer icon. This will dupli-
cate the layer so you can change some pixels on.

Switch back to the background layer by click-

ing on it so it’s highlighted in the layers palette.
Now press the new layer icon to create a new and
blank layer above the background layer.
Now you can ‘fill’ this new layer with your
foreground color several ways in which I
teach. For now go to Edit: Fill and choose
the default foreground color and press OK.

This will fill the layer with the

new color you have chosen
from the eyedropper tool.

Select the original copy you made

in the layers palette which should
be above the fill layer. Now click
on the new layer mask icon.
 What you are going to do is simply ‘hide’ pixels by using the layer mask; they’re
still there just hidden. By hiding some of the pixels on this layer you can let the
layer beneath blend into this layer.

Grab your gradient tool with black as the foerground

color and choose foreground to transparent as
shown.

Now simply drag up with the gradient tool from the bottom at a slight angle
towards the top (about 3 screen inches worth). Because you are on the layer
mask, these pixels will now be hidden.

Click here to check out how Complete Basic Photoshop Training has helped others and
can help you master Photoshop. It’s got tons of video tutorials in an easy-to-learn style.
In case you didn’t know it you are now learning my secret weapon
(gradient layer masking). This is the #1 technique that professionals
use in graphic design. It’s used in 90% of all movie posters (so that
should say something). Any beginner can create professional results
by mastering this process.

Go to the channels palette and view the grayscale layer mask. Once
again you can see the black area is the area that you have masked or
hidden and the white is the area that is left. The red you see is the
rubylith. You can click on and off with the \ key. Or you can turn the
eye off in the channels palette to turn the rubylith on and off.

When you are done looking in the channels palette make

sure that you reselect the RGB image composite to keep
working on the document and layer.

When you right click on the layer

mask you have many options to
choose from. Try disable layer
mask. This will turn it off with an
X in the icon and will bring all your
hidden/blended pixels back. This is
so much better than erasing (using
the layer mask).
 Right click again and you can re-enable it.

Remember that when using layer masks,

if you want to keep hiding pixels you
must make sure that the layer mask icon
itself is highlighted in the layer. Other-
wise you’ll think you’re hiding pixels
and instead you’re on the layer itself
instead of the layer MASK. It will take
plenty of experience to get used to this.
In the Basic Photoshop DVD training
tutorials. I go through dozens of tutori-
als in which I am practically using the
layer mask because I feel it is one of
the most important things to master as
Photoshop designer.

Choose a darker
spot with your
eyedropper tool.
Now select the fill layer in the layers palette to make it the ‘active’ layer. Press alt backspace to fill this
layer with your new chosen color.

Now we’re getting into design which I’m trying to keep strictly for photoshopdesigner.com and photo-
shopdesign.net but by combining different techniques here you can get a feel for how easy it is to create
some nice work (where you’re headed).

Grab your type tool and just enter

some complimentary text that you
think would fit with the image
you’ve chosen. I have 100’s of
images from Photos.com that are
personal picks (being a visual per-
son) and are of the highest quality.
I highly recommend a subscrip-
tion to Photos.com

Combining a few more things here,

go to the Shapes tool (U) and choose
a shape.

You can also use the flyout menu to

add All and then choose append. This
will ‘load’ all of the default shapes
for you to choose from.

In the video tutorials I also show

you how to create your own custom
shapes or ‘vectors’.
After appending, you can see all of
the options.

You can have all kinds of fun play-

ing around with these shapes but it’s
really cool when you deliberately
start to put together a ‘design’. It’s
then that the individual components
start ‘adding up’. To make things simple, just keep
the option on shape layers. Now
drag across with your chosen
shape to the size you think it
should be.
Remember that it will fill with your foreground color. If you want to change the color of the shape
layer just click the color picker on the upper right in the options bar.

Remember that you have lots of tools at your disposal. Go to Edit: Free Transform. Now hold the
Ctrl key and angle your object in to the center as shown.
To add some more pizazz
to your shape layer you
can go to the blending op-
tions/layer effects and do
smoe fun stuff. Try a gra-
dient overlay and choose
one that is close to your
color theme. You can also
change the angle or scale
of the gradient which will
apply to the layer.

You can also create your

own custom gradients. I
teach this in some of the
other tutorials and in the
videos. Here I’ve chosen a
custom made gradient.
 Here is the shortcut to getting the gradient
overlay effect.

Here is the result of just a few of these basic Pho-

toshop skills put together. The fun has only just
begin. It gets exciting when YOU start harnessing
all of the Power that lies in Photoshop with your
creativity and new knowledge of Photoshop. Just
wait until you see what you can do!

Adobe, Photoshop, and the Adobe Certified Expert logos are either registered trademarks or trademarks of Adobe Systems,
Inc. in the U.S. & other countries. Adobe Product Screen Shots reprinted with permission from Adobe Systems, Incorporated.
BasicPhotoshop.com, AdvancedPhotoshop.com, PhotoshopDownloads.com, PhotoshopDesigner.com, PSDer, iPSD Photoshop-
Design.Net, ClubCast.tv, Discover Photoshop, & DiscoverPhotoshop.com are trademarks of DreamCore Productions, Ltd. U.S.A.
NAPP is a trademark of PhotoshopUser.com. Use of other trademarks or logos does IN NO WAY imply endorsement from the
respective sources (ie. Adobe) of any products or services.
All pages in this eBook are Copyright BasicPhotoshop.com & DreamCore Productions, Ltd 2004 and may not be reproduced
without permission.
 Fellow Photoshop aficionado,

*Are you overwhelmed by the scope and complexity of Photoshop?

*Are you feeling limited because you just don’t understand how to put all of Photoshop’s tools together or
know how they work?

*Do you NOT want to spend the expected $100’s or $1,000’s of dollars just to ‘learn’ Photoshop?

*Are you new to Photoshop and just want to “dive-in” A.S.A.P.?

*Are you tired of tutorials here and there on the internet not giving you the “Big Picture” of
Photoshop and it’s expansive power?

*Do you just want to finally LEARN everything you can about Photoshop and image-editing as painlessly
as possible?

If so, then keep reading to discover how to handle all that Photoshop has in store for you! You
don’t need to look any further...

Keep reading to find out more! Throughout this presentation you will see examples of students who have purchased the Basic Photo-
shop training and those who have submitted entries or left comments on the Basicphotoshop.com site

Here is my first entry to the contest. I have been learning

to restore old family photos to go with my genealogy
research. Your lessons have been amazing! By learning to
use the Lasso, and other selection tools properly, as well as
the Healing brush, Layer Effects and Masking, I am able to
bring my ancestors back to “life” through their photographs
to preserve them for generations to come.

I would have never believed that I could have done

anything like this in Photoshop- never thought I was smart
enough! You have taught me well, and I will always draw
upon that knowledge as I get better and better!!!
This is my second entry, as you see, I am continuing to
restore and improve damaged and faded photographs.
Some that are over 100 years old now look like they were
made yesterday! I cannot tell you how much it means to
me to see the faces come alive, and only through your
wonderful lessons and teaching was I able to do it.

Thanks so much from the bottom of my heart!

Wendy Madison

wsmadison@bellsouth.net
Welcome to the exciting world of Adobe Photoshop; the world’s #1 image editing standard! You have
embarked on (what should be) a fun and enjoyable learning experience and journey. Basic Photoshop
Training is a perfect Introduction for beginners. I hope you’ve enjoyed these free tutorials on PDF.

Hi, I’m Orion Williams, webmaster of PhotoshopDesign.NET, and Adobe Certified Expert, Photoshop CS. I
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“I am almost sixty years old,Brasilian(S.Luis-

Ma) .I am very novice at Photoshop, I like
to thank you for all the tutorials that you are
sharing with us. They are easy to understand
even my english is not to good.God bless you.
You are the best. “ Sincerely yours, Maria
dos Santos plimplina@yahoo.com.br
 Finally you can learn How To:
*Master all the “Basics” by learning Photoshop from a professional and
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When you order you will also receive the Discover Photoshop CS: Bonus CD and all 60 add’l tutorials.
 Product Details

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“Thanks for the 60 tutorials...that I already received day by

day... As a total beginner I would like to submit 3 or 4 pics
that I made in composition. I don’t care if I win or not, I am
happy that what I obtained is thanks to your lessons and
photoshop of course.

The results are maybe not so brilliant, but I’m sure that
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part of it to obtain what ever I want to do with one or some
pictures...That to convince you that I am yearning to learn...
“

Friendly regards,

Roger roger.mortier@pandora.be
I will get you where you need to be and fast-just apply my easy-to-
learn training. Soon you will be distributing your Photoshop images
and work via email, uploading to the web or publishing in print to
share with your friends and colleagues!

You (or your employer) will definitely get your money’s worth out of
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Because of the internet, audio/video screen capturing, and low

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Make sure you’ve signed up above for the 60 free (yes, FREE)
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Here are just a few examples of what you will learn

with the Basic Photoshop Training DVD’s:

-All Adobe Photoshop tools and palettes

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-Creating shapes, filling selections with colors/gradients and more.

for much improved results in a matter of

-How to touch up and restore photos

minutes (sometimes seconds)!

-Understand & master the power of layers (the fundamental of all digital design)

-Combining multiple tools in getting a quick and fast selection

- Use Photoshop Adjustment layers (very in-depth and practical coverage on what you can do

to change any layer/image)

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your workflow)

-Typography & much more! We’re talking Mega Photoshop Training here! Everything in the 60

free tutorials on this site & much much more for learning Photoshop!

You can view more specific info on each of the discs at the above order pt.
I don’t have any other designs to
compare this with because this is
my first original, and the simple-
to-understand, comprehensive
instruction in these Free Basic
Photoshop tips helped me to
accomplish it. I had a passing
knowledge of most of the tools, but
these free instructions helped me to
discover new shortcuts and features
to the tools I already knew, as well
as introducing me to some I had
never thought of using or knew the
uses for. Orion’s Basic Photoshop
emails opened up a whole new world
of possibilities for me and increased
my overall enjoyment of Photoshop.
Many thanks, Orion, and to all who
want to broaden their horizons
beyond the Basic knowledge of
Photoshop...buy the DVDs!

Sandy

scardwell@bellsouth.net

Each person is unique and has many things to express. What do you have to express? Maybe you just
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Taking on something new or daunting should be as PAINLESS as possible. I don’t want you to waste years
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Photoshop!

Nicu Ban
nicuban54@hotmail.com
Nothing happens in anything unless you get involved. Many things are going to go on
without you until you get involved. Ever notice that? There’s no reason to be scared of (or bewildered
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“in the past I would spend hours trying to fix pics, I

just fixed this one in 10 minutes by watching your
CS cd.” --john kline
With the Basic Photoshop DVD Training you’ll also learn how to apply different methods of using tools
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Click here to view (even more) testimonials for my Basic training.

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Whatever your decision, Best Wishes on a productive and healthy career or hobby and make sure you’ve
signed up for the 60 Free Basic Photoshop
or via PayPal...
Tutorial lessons!

You have my personal guarantee on the quality of content for the entire program. I look forward to
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p.p.s. Remember, you get over 8 total hours of on-screen video trainingIN Photoshop and 250 tutorials with Basic Photoshop training.
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Remember you get immediate access to the 60 Basic Photoshop Tutorials on PDF as a FREE Bonus. Still
haven’t ordered yet? Go here For even more info . http://www.photoshopdesigner.com/moreinfo.htm

orion@photoshopdesigner.com

DreamCore Productions Ltd.

5140 Stoney Brook Rd. Rudolph, WI 54475 U.S.A.

Business Line #: 715-423-2161

 This is my first attempt at
colorizing a B&W picture.
The original is a picture of
a co-workers grandfather
that was taken sometime
in the 1950’s. Without the
tutorials, I wouldn’t have
known where to start. I am
new to using Photoshop and
your tutorials have been a
great help in understanding
what I am doing. Thank you
for the immense help.

This is my second attempt

at colorizing a B&W picture.
The original is a picture of a
co-workers husband that was
taken in 1969. Thank you
for having this contest. Your
tutorials have been a great help.
Orion, your tutorials are the
best. They have been a great
help and inspiration in learning
to use Photoshop.

Wade Kehner
 Still haven’t made up your mind? When
you order now you’ll also receive access
to the complete BasicPhotoshop.com
60 web tutorials on PDF ($19.95 Retail
value) without having to wait for them all
via email AND...

BONUS: Discover Photoshop: CS Features CD (Retail Value $15)

Photoshop CS is a Photographer & Designer’s DREAM with all of the hot new upgrades and features!

I take you into an understanding how to use and apply them. There are Hot NEW Photoshop Tutorials on:

Photoshop CS Bonus CD: Additional video tutorials on:

-Red eye reduction & replacing color (with the new color replacement
tool)
(Watch me turn an evil cat into a friendly cat, repaint a Bahamian Bar and more)

-Customizing keyboard shortcuts (new powerful control for advanced users) These 60 tutorials go over
many different Photoshop
-The Spanking New File Browser (which also acts as a lightbox)
Basic’s such as using the pen
-Automating contact sheets/picture packages (easily create final productions) tool, making selections, work-
ing with layers, understanding
-Creating MetaData Templates, entering & programming searchable MetaData
and using tools & menu’s, etc.
(easily search & organize your entire file library: perfect for photographers or designers!)

-Using thePhotomerge feature to create picturesque panoramas

-The Miracle working New Shadow/Highlight Adjustment (you WON’T believe your eyes as I turn

pitch black shadow into visible light...imagine what you can do on some of your photos!)

-Typing on a path (designers have been asking for it for years)

-The new Filter Gallery (preview several filters together)

-16 Bit Pixelsupport, Non-square pixel support (for DVD/TV producers)

-Layer comps (show your client several versions of a file) & much more!
As I really haven’t got into the real nitty gritty of design, I am
submitting 2 entries in the most improved designer area. The
originals are in grayscale as they were ads and the entries are in
colour but can be easily converted to grayscale for advertising.

My first introduction to Photoshop was in version 6 and the

Classroom in a Book for learning. I learned the basics on how to
use the program and took a couple of courses on Photoshop but
all the courses concentrated on how to use the program but really
didn’t go into what it could do. I bought different books but couldn’t
seem to achieve anything more than how to use the program. When
Photoshop CS came out, I knew I needed more than what I was
getting and I began to check the internet for more creative help. I
came upon the Photoshopdesign.net website and tried some of the
free tutorials. I wanted to be able to do some of the design effects
that were in some of the sample psd’s. I purchased the Total course
and I am still working on them. I am 59 years old and to learn new
things takes me more time so I have to do some of the tutorials
over and over. Without trying to score brownie points or lie, the
Photoshop Designer course has been the most valuable investment
I have made in my quest to learn and understand Photoshop. Orion
Williams not only teaches what Photoshop can do, he also shows
you how to achieve these effects and add variables. He continues
your education with free downloads and access to his portfolio
which I find amazing as most designers are so protective of their
work. I have learned that you can really organize your work with
layer sets (I’m still working on understanding layer comps) and
the effectiveness of gradients. I have downloaded and installed
the freebies for styles, brushes etc. and have used them. I am still
experimenting with layer masks but do find it a lot of fun to combine
photos, do some blending and apply layer masks. As I continue to
progress with the tutorials, I hope to become more valuable to my
company and find the confidence to produce more exciting flyers
and promotional materials. Tolerances, opacities, flow, fill, the
various layer styles and what they mean (overlay, hard light, multiply
etc) are all covered. The one complaint that I have (there goes
my brownie points) is that you sometimes go too fast but there is
always rewind. I also appreciate the subtle humour throughout the
tutorials.

Who says you can’t teach an old dog new tricks.

Jackie Graham

Minitube Canada
 The following testimonial from a customer/student of mine also talks about the Photoshop Designer
Package (which you can add to your Basic Training as the Discover Photoshop: Total Package for $139)..
“Im not sure if Im ready for this as Im still a newbie, but I’ll try this
weekend. Anyway, Ive printed and read your Basic Photoshop tutorials and I may say, that I have been doing a part
time studies course for 1 1/2 years now on desktop publishing which incorporates Photoshop and this is the only time
that I fully understand and got the full grasp of the Basics of Photoshop when I read your manual, much, much better
than the school manuals and some Photoshop books that Ive read. Your tutorials are well written and well visually laid
out that even a newbie like me will no doubt be able to follow the steps. Now Im excited and wish I’ll get your DVDs
sooner. So far Ive just studied one of the PSD
files and I found them really useful in the sense that it gave me ideas how I could enhance my artwork better, and
how to file things in layers etc. I do layering before but I notice that the way you organised your layering in sets is a
great help to me in organising my layers.

Now it seems that I may find my part time studies soooo boring. What’s happening is in school the teacher gives us a
project brief that we will do (this is on our second stage of photoshop - Certificate 4); gives us a hard copy example
and that’s about it. We then produce a project and all they do is comment without giving us more information how to
enhance our work nor the way it should be done. I once asked regarding those techno art and the only response I got
is that I have to start clicking all those other filter tools and be inventive. Its too frustrating to us newbies coz we see
posters that are beautifully made and yet the teachers wont give us ideas how its done.
So I was just so amazed when I saw all your freebies psd files it really shows everything, actuallly NO NEED for a
teacher or the classroom. The only thing I regret is its only now that I happen to stumble to your site.
Well sorry for taking up much of your time, Im just so excited on these tutorials and cant help myself giving you a
feedback.”
Order Basic Photoshop Training
Cheers and Thanks
Nina Liddicoat or the Total Package here now.

$49.95
Orion Williams is a Member of

“Great Tutorials! Very informative, easy

to understand & professionally done.

Thank you!” -Jim Ouellette

and has also attended 3 PhotoshopWorld Conferences.

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Email me: orion@photoshopdesigner.com with any questions.