You are on page 1of 20

$10 US | $13.

75 CDN MAY 2005

Adam Larson (Chelsea, Mass.) was commissioned to interpret the word “public” for a magazine cover.
Using the smudge tool, blending modes, and Levels, he combined innocence with peril using scanned
vintage elements and digitally created bombs.

쐃 Larson opened a scanned antique with Levels (Command/Ctrl-L) by pull- the Black percentage. To add depth to
postcard and double-clicked the Back- ing in the Input Levels sliders. To create the flat color of the scanned frame, he
ground layer to convert it to a new layer. a reflection of the girl on a bomb, he chose the Reds and increased the Yellow
He selected the girl’s head with the pen duplicated the girl layer and positioned it slider. “Selective Color targets colors very
tool (set to Paths in the Options bar) above a bomb layer. Larson desaturated specifically, so it only affects what you
and accessed the Paths palette to click the duplicate (Shift-Command/Ctrl-U), actually want it to instead of the entire
the Load path as a selection icon at the then used the move tool to position her image, layer, or area you had selected to
bottom. He then selected the girl layer over the bomb. With the girl layer still alter,” he says.
in the Layers palette and clicked the Add selected, Larson Command/Ctrl-clicked
a mask icon at the bottom of the palette the bomb layer thumbnail to create a 쐂 Larson opened a vintage botanical
to isolate the head. To remove the dot selection of the bomb and added a mask drawing he had scanned at a very high
pattern produced from scanning the to hide the area of the girl outside the resolution, converted the image Mode
four-color postcard, he selected the girl bomb’s edge. He Command/Ctrl-clicked to Grayscale, and used Levels to pull the
layer’s thumbnail, and used the smudge the bomb layer again to select it, clicked Input Levels sliders to the middle for a
tool (R) to smear the dots for a painterly the girl layer’s thumbnail (not the mask strictly black-and-white drawing. He
appearance. In facial details like the eyes, thumbnail), and chose Filter > Distort > chose Select > Color Range, set Fuzzi-
he used a small Brush size set to a low Spherize, which centered the filter’s ef- ness to 200, clicked on a black area of
Strength (in the Options bar) to prevent fect in the bomb. He adjusted the filter’s the drawing, then clicked OK. He copied
oversmearing the pixels. To avoid a Amount until the girl fit the form of the the resulting selection, created a new
muddy look from mixing dark and light sphere, and clicked OK. He then set the layer above the background in the main
pixels together, Larson started with the layer’s blending mode to Screen. image, and pasted the selection. The

tool in between light and dark areas. “If areas of the drawing that had not been
you start with the tool in a dark area, for 쐏 “I’m drawn to the authenticity of selected allowed the main image to
example, you’ll force tones too harshly found objects and I like to reinvent them show through.
into a light area and won’t get a clean through a digital medium,” says Larson.
transition of color,” he explains. He scanned an aged paper frame into the To create striking highlights or to
file as the bottom layer to create a back- make flat objects feel dimensional,
쐇 To add dimension to the girl’s face, ground for the image. To focus attention access Selective Color, choose Whites
Larson duplicated the girl layer and set on the girl, he duplicated the layer and from the Colors pull-down menu, and
the blending mode to Multiply. He used set the blending mode to Multiply at move all the sliders to the left.
the eraser tool to blot out the Multiply 50% Opacity. Then he selected the el-
effect from the center of the face so the liptical marquee tool, set Feather to 100
hair, chin, sides, and neck molded around pixels in the Options bar, and made an el-
the facial features. If the eraser washed lipse in the center. He Option/Alt-clicked
out details, he used the dodge and burn the Add layer mask icon to fill a mask
tools to restore definition. Larson linked of the selection with black, then chose
the girl layers, and chose Merge Linked Filter > Blur > Radial Blur so the selection
from the Layers palette menu. would fade to the corners of the image.

쐋 To add bombs to the image, Larson 쐄 To match the background color with
created spheres with the gradient mesh the image’s elements, Larson chose
tool in Illustrator. After bringing the Image > Adjustments > Selective Color.
bombs into layers above the merged He selected Yellows from the Colors Adam Larson
girl layer in Photoshop, he enhanced the pull-down menu, increased the Cyan
shadows and highlights of bomb layers and Yellow percentages, and decreased

3 MAY 2005

Nathan Segal (Victoria, British Columbia) decided his violinist image wasn’t emitting the right musical
energy, so he turned up the volume by layering filter effects with blending modes.

쐃 Segal opened the violinist image and white Input slider to the left to nearly 쐄 Segal Command/Ctrl-clicked the
selected the background using the magic wash out the image. With the other color violinist layer thumbnail to select
wand and lasso tools. He pressed Shift- duplicate below, he accessed Levels, and the figure’s shape and added a new layer
Command/Ctrl-I to Inverse the selection moved the black and white sliders to- above the background layer. He set the
to the violinist, pressed Command/Ctrl-J ward the middle for more distinct shad- Foreground Color to blue, chose Select >
to jump the selection to a new layer, and ows and highlights. He then flattened Feather, and entered 40 pixels. With the
trashed the Background layer. the layers. To remove any remaining gray new layer selected, he pressed Option-
areas, he chose Image > Adjustments > Delete (Alt-Backspace) to fill the selec-
쐇 Segal discovered the gradient tool Posterize and set Levels to 2. He Shift- tion with blue. He repeated the keyboard
produced a unique fractured effect for dragged the file into the main image shortcut several times until he created a
a background. He created a new docu- above the color violinist layer. soft glow behind the violinist.
ment with the same dimensions as the
violinist image, then selected the gradi- 쐏 To enhance the contrast of the black-
ent tool. He clicked the Linear Gradient and-white layer, he duplicated the color
icon in the Options bar and clicked the violinist layer and positioned it at the
gradient preview swatch to open the top of the stack, then set the blending
Gradient Editor. Segal added Color Stops mode to Darken. He duplicated the color
of various blues to the gradient bar, and violinist again and positioned it above
clicked OK. Using the gradient tool, he the Darken layer. Segal chose Filter >
dragged at an angle on the layer. He Stylize > Glowing Edges, and set a low
duplicated the layer and dragged the Edge Width, a high Edge Brightness, and
gradient tool at a different angle. After a median Smoothness. For this layer, he
creating five layers of the same gradient set the blending mode to Difference.

at different angles, he set each layer’s He duplicated the color violinist layer
blending mode to Difference. “Differ- once more and positioned it above the
ence has a way of blending some parts Glowing Edges layer. Segal chose Filter >
of a gradient, while seeming to exclude Artistic > Neon Glow. He set a low Glow
others,” Segal explains. He flattened the Size and a high Glow Brightness, and
image and used the move tool to Shift- clicked on the color swatch in the dialog
drag the file into the main image below box to choose a bright orange-yellow for
the violinist layer. the filter’s effect. He then set the layer’s
blending mode to Overlay. Segal used
쐋 To add contrast to the violinist, Segal a low-Opacity eraser to soften harsh
created a temporary version of the file by edges, the burn tool to weaken intense
choosing Image > Duplicate and delet- highlights, and the smudge tool to
ing the unneeded background layer. He smooth rough edges until all of the layers
chose Image > Mode > Grayscale, and set worked together. “This took a lot of ex- Nathan Segal
the layer’s blending mode to Multiply. perimentation to get the look I wanted,” 250.480.0877
He duplicated this layer twice, selected he says. “I was interested in combining
the top duplicate, and accessed Levels filter effects with blending modes, and I
(Command/Ctrl-L). Segal moved the ended up with a nice, unexpected result.”

5 MAY 2005

If you scale down a raster image and then scale it back up later, you run the risk of getting a less than
ideal, pixelated image. Photoshop CS2 allows you to create Smart Objects so your image will turn out
crisp and sharp no matter how many times you transform it.


When making a composite, anything 쐋 I pressed Command/Ctrl-T to access 쐂 For the logo I created in Illustrator,
you can do to edit nondestructively Free Transform and scaled down the ”ZEPHYRTUNES.AI,” I used the Place
keeps you out of trouble when mak- Relaxed guy Smart Object as I would command in Photoshop to put it into
ing changes later. What layer masks any layer. I clicked the Add layer mask the composite, which automatically
do for editing, Smart Objects do for icon at the bottom of the Layers palette, made it a Smart Object. I duplicated the
transformations. In Photoshop CS2, a and painted with a 200-pixel, soft, black layer, moved the duplicate logo to the
Smart Object is essentially an embed- brush to gently blend the edges with sur- bottom, and applied Free Transform
ded image within a file and remembers rounding images. By waiting to blend the to each layer to scale them differently.
an element’s original pixel data even image until after converting it to a Smart Had the logo not been a Smart Object,
if it’s scaled, rotated, or warped. It Object, I was able to apply different layer scaling it would have created pixelation.
looks like a normal layer, but if you masks to the same layer—a hard-edged If I wanted to alter the appearance of the
shrink a Smart Object to a fraction of mask to isolate the figure and a soft- logo, I could access Edit Contents from
its original size, then enlarge it, you edged mask to blend the image. either logo layer and the appearance of
won’t get the typical pixelated result. both Smart Objects would change since
A Smart Object always appears as crisp 쐏 Although the Smart Object command each layer is linked to the Smart Object.
as possible. has “Group” in its name, it’s best to create
Smart Objects from each layer you want If you’ve created a Smart Object
쐃 I created an ad, “ZEPHYRTUNES.PSD.” protected against overzealous transfor- that would be useful in another im-
by placing images on separate layers, mations. I made each of my figure layers age, Ctrl/Right-click the layer, and
then adding layer masks to isolate the a Smart Object, then scaled them and choose Export Contents. Photoshop
images’ figures from their backgrounds. blended them with layer masks, Layer saves the file in Smart Object format
In preparation for making Smart Objects, Styles, and blending modes. I changed (PSB). You can open the file directly,
I didn’t blend any of the layers’ elements my mind and scaled the Relaxed guy or use the Place command to add it to
together or reduce them below the larg- Smart Object back up, and didn’t need to other images.
est size I could imagine using them. worry about getting a pixelated result.

쐇 For the Relaxed guy image, I created 쐄 I wanted to readjust the color of the
a Color Balance adjustment layer and Relaxed guy, but my adjustment layer
clipped its effect to the layer by pressing wasn’t visible. To edit the source contents
Option-Command-G (Alt-Ctrl-G). To cre- of the Smart Object, I selected the layer
ate a Smart Object from the Relaxed guy and chose Edit Contents from the Layers

image and its adjustment layer, I Shift- palette menu (or double-click the layer
clicked each layer to select both of them thumbnail). The Smart Object appeared
at the same time. (This is a new feature to in a new window with the image and
Photoshop CS2.) From the Layers palette adjustment layer intact. I double-clicked
menu, I chose Group into New Smart the adjustment layer thumbnail to access
Object, and the two layers appeared as Color Balance, added more yellow, and Gary Young has written Photoshop
one layer with a small page icon on the clicked OK. To integrate the change into courses taught worldwide in training
layer’s thumbnail to denote that it is a the main image, I saved and closed the centers and online. Contact him at
Smart Object. Smart Object window.

7 MAY 2005

When your image has a major flaw that can’t be masked or cropped, the new spot healing
brush tool in Photoshop CS2 will paint away entire foreground elements and replace them
with interpolated background data—all with just a few swipes of the brush.

Picture this … I’m the art director for 쐇 I started the removal process in the I worked more carefully using short, de-
Rock Heap magazine. It’s not the most area of the image that contained the liberate strokes that followed the contour
widely read magazine in the world, most available background data—the of the pavement line.
but for people who love rock heaps, top of the foreground subject’s head,
it’s indispensable. For the May cover which is surrounded by a good mix of 쐂 The rest was just a matter of touching
story, the photographer has provided rock texture. Remember Photoshop is up any areas that I thought were flawed.
a rock heap photo so amazing it will sampling surrounding data, so if I started This process is best accomplished by
change the industry forever. But the with the tool in the middle of the subject, applying quick dabs with the tool at a
photo has a problem: There are two I’d end up with unwanted samples from small Brush size to maximize detail, or
distracting people in the foreground. the pants and shirt. On the first stroke, at a large size to maximize smoothness.
How can I eliminate entire humans I painted a small zig-zag from the top It really depends on the background
without it looking obvious? After all, of the subject’s head to the shoulders. texture and requires some trial and error
it’s not a simple task like removing to get it right.
skin blemishes. But with the spot heal- 쐋 I continued painting down the subject
ing brush tool in Photoshop CS2, it in a horizontal zig-zag, making sure to That’s all there is to it! A few quick
actually is. Using this tool, I can paint completely cover the subject and even swipes and the distracting people
away elements and Photoshop will paint a bit outside the subjects’ edges. have disappeared, leaving a pristine
fill in the gaps with interpolated data I stopped when I reached what appeared rock formation and preserving the
from surrounding areas of the image. to be a drastic change in the background editorial mission of Rock Heap maga-
texture—a deep shadow in one of the zine. No two interpolated strokes look
쐃 I opened the image and selected the neighboring boulders. Otherwise, if I the same, so for your images, try out
spot healing brush tool from the toolbox. continued to make a stroke through the variations of brush sizes and stroke
(Press Shift-J until it appears.) In the Op- shadow, it would have been sampled patterns to see what works best.
tions bar at the top, I set Mode to Normal along with lighter areas and inappropri-
and Type to Proximity Match, which tells ately distributed throughout the region
Photoshop to sample the surrounding I was working on.
pixels and fill the desired region with
them. I clicked the Brush preview in the 쐏 Since there is some directionality to
Options bar to access the brush settings the choice Photoshop makes in terms of
box and set Diameter to 63 pixels, which what data to sample, I switched to a ver-
is a bit smaller than the size of the adult’s tical zig-zag pattern and made a down
head in the photo. It’s a good idea to stroke. I continued to use this stroke until

make the tool’s Diameter fairly small in I was clear of the large boulder’s shadow. David Nagel is the executive editor
relation to the size of the subject to be of Creative Mac, an online publica-
eliminated. If Size is set to Pen Pressure 쐄 I now switched back to using the tool tion for professionals in creative
or Stylus Wheel at the bottom of the with a horizontal zig-zag stroke to finish production, including multimedia
Brush preview box, set the option to Off removing those pesky humans. After I authoring, design, animation, and
because it tends to cause problems with had reached any kind of definite pattern video. For more information, visit
this sort of work. in the image, such as the pavement line,

9 MAY 2005

What do you do when you need to clone or patch in an image and the source is too large or small due to
the perspective? Until now, the recourse has been to scale and distort to fit, but Photoshop CS2 includes
the new Vanishing Point filter to make that tedious task almost as fun as playing a video game.


I wanted to retouch my image by far left. The tool is just like the regular In fact, it would remain even after closing
removing the lion statue and closing marquee tool with the big exception that and reopening the file until I deleted or
the windows in the lower-right corner. it intuitively follows an editing plane’s changed it. But now, my edits would be
Due to the receding distance, none of perspective. I Shift-Option/Alt-dragged on the new layer. I used the zoom tool to
the windows were exactly the same to replace the window behind the lion look closely at the row of windows, then
size. If I copied and pasted windows, with my selected window. The Option/Alt drew another editing plane. (Vanishing
I’d have some tricky resizing to do. and Shift keys serve the same purpose Point allows for multiple planes.) As in
And forget about cloning! But with as they do in most commands: Option/ Step 3, I selected the far-left closed
the Vanishing Point filter, I made Alt copies the selected area, and Shift window of the row with the marquee
quick work of it all. constrains the selection to the horizontal tool and Shift-Option/Alt-dragged it
axis—but with perspective! To tweak the over an open window. After that, I used
쐃 To remove the lion statue, I would selection a little to fit, I used the filter’s the stamp tool to clean up the edits.
first need to cover the lion with a win- transform tool, which also maintains
dow from the row behind it. I opened perspective. Then I pressed Command/ Editing planes are color-coded
“LION.JPG,” and saved it as a PSD file. Ctrl-D to Deselect. as you create them, and you can
I made a new blank layer to give me a only fully edit on a blue plane. If
separate layer for Vanishing Point edits 쐏 With the window in place, I used the the plane is red, the perspective
and allow me to keep the original image Vanishing Point stamp tool to remove cannot be calculated. If it’s yellow,
intact. To access the Vanishing Point the rest of the lion. This tool has three it can be calculated, but not enough
filter, I chose from the top portion of significant differences from the regular to tear off perpendicular planes.
the Filters menu in the same area as the clone stamp tool. First, like the filter’s
Extract and Liquify filters. other editing tools, it’s perspective- Unlike the rest of Photoshop, the
aware and changes shape to match the Vanishing Point filter supports mul-
쐇 With the dialog box open, I selected editing plane. Second, after Option/Alt- tiple Undos (Command/Ctrl-Z).
the create plane tool (second tool in the clicking to designate the source, the
toolbox), which is designed to create a cursor converts to the pixel data of the Not only does the filter’s stamp
perspective plane that encompasses the area sourced. Third, you can set the tool tool have a Heal mode, but so does
area you want to edit. I clicked with the to work like a perspective-aware healing its brush tool. For the marquee tool,
tool to place four points in a large rect- brush. Here, I set the Heal option at the the Heal mode converts it into a
angular area around the window and the top of the dialog box to Off, then Option/ perspective-aware patch tool. This
lion. (Editing planes can extend outside Alt-clicked a source area and cloned over has no Photoshop equivalent, so

the image area.) The filter will not work the lion like I would have done with the have fun experimenting!
properly if the perspective plane isn’t set regular clone stamp tool. I still needed
accurately, so I fine-tuned my plane by to eliminate the bottom of the lion, but You can drag any stretch node of
selecting the edit plane tool from the top it was outside of the editing plane, so I an existing plane handle with the
of the toolbox and dragging the plane’s pulled down the middle stretch node create plane tool and it will tear off
stretch nodes on the edges and corners with the edit plane tool to extend it over a perpendicular plane.
until the perspective was correct. (See the lion, finished cloning, and clicked OK.
first tip.) Doug Nelson is a freelance writer,
쐄 To close the windows in the lower- technical editor, and founder of
쐋 With the editing plane set, I selected right corner, I selected the Background, an online commu-
the Vanishing Point marquee tool and layer in the Layers palette and created nity for photo retouchers. For more in-
made a selection of the source—the a new layer, then reopened Vanishing formation, visit
unobstructed window in the row on the Point. My editing plane was still there. or e-mail

11 MAY 2005

The most important factor in getting a great RAW photo is how the camera captures the exposure. The
second most important factor is how you process it. If you’re a digital photographer who shoots RAW,
you’re going to like the flexibility of the new processing features of Camera Raw 3.0 in Photoshop CS2.

쐃 AUTO ADJUSTMENTS (no curve applied), and Custom. Curves box, it is placed as a Smart Object with
One of the first changes you’ll notice is in ACR works just like Curves in Photo- the original RAW data embedded in the
that Adobe Camera Raw (ACR) now ap- shop, and you can click on the curve to new Photoshop file. (It is not tied to the
plies Auto Adjustments to an image. The set new control points and adjust them location of the original RAW capture.)
previous version of ACR used a specific as desired. By pressing Command/Ctrl By double-clicking on the Smart Object
default conversion algorithm for various and moving your cursor over the preview in the Layers palette, you can return to
cameras and with no user adjustments, image, a round indicator will appear on ACR and make new adjustments to the
the image was likely to look a bit flat and the curve to show you where that image original RAW data. It is just like creating
lifeless. The Auto Adjustments do a very tone can be found on the curve. If you a RAW adjustment layer! I’ve used this
good job on most files. Still, if you prefer click while doing this, a point is placed technique now to composite different
to make your own adjustments, you can on the curve for you. interpretations of a single RAW file with
turn off each adjustment individually by specific adjustments applied to different
clicking its checkbox or moving a slider. 쐏 COLOR SAMPLER POINTS areas of the image.
You can also disable or enable all four As in Photoshop, you can now set color
simultaneously by clicking the arrow sampler points in ACR to track specific
in the Settings pane and choosing Use tonal values as you make your adjust-
Auto Adjustments from the menu, or ments to a RAW image. You can place
simply pressing the keyboard shortcut, up to nine color sampler points in ACR.
쐇 CLIPPING DISPLAYS Using the crop tool and the straighten
In the previous version of ACR, you had tool located at the top of the dialog box,
to Option/Alt-click on the Exposure or you can fix crooked images right in ACR.
Shadow slider to display the tones that These changes can always be turned off,
were being clipped (forced to black or even after you have applied the changes
white). In the new ACR, simply clicking and opened the image. Crops can be ap-
a checkbox at the top will now display a plied using the common aspect ratios, or
colored overlay of the image areas that you can drag your own custom crop.
are being clipped. This can be saved as a
new default if you prefer to always have 쐂 RAW FILES AS SMART OBJECTS
it on. For those who like the old way of One of the most amazing new features
displaying clipping, that function still (and one that has already changed the

works, too. way I work) is the ability to place a RAW
file as a Smart Object in a predefined Seán Duggan is a co-author of
쐋 CURVES target image. This is done from the new Photoshop CS Artistry and Real World
A significant new feature is the addition Bridge component of CS2. (Note: Bridge Digital Photography, and teaches
of a Curves tab in the Settings pane. In will be featured in this column in the workshops on digital photography
the default configuration, ACR will apply June issue.) Choose File > Place from the and Photoshop. For more informa-
a Medium Contrast curve to the image. Bridge, and the file opens in ACR. After tion, visit,
Other choices from the Tone Curve pull- you make your adjustments and click, and
down menu are Strong Contrast, Linear Open at the bottom of the ACR dialog

13 MAY 2005

You spend so much time getting everything clean, sharp, and perfectly aligned that when you need to
dirty things up, it can be difficult to think of fast, effective techniques. Here are some tricks that will
leave you distressed—in a good way.

a. Create a 1000 x 400-pixel, 72-ppi, RGB The Distressed Type tip roughens type, Get really distressed by combining the
document. Press D to set the Default but here’s a tip that not only works with Distressed Type and Surface tips.
Foreground and Background Colors type but also with any filled surface. a. Distress some type by applying the
to black and white. a. Create a 1000 x 400-pixel, 72-ppi, steps of the Distressed Surfaces tip,
b. Select the type tool, and choose Hel- RGB document. Press D to set the then choose Layer > Flatten Image.
vetica Bold in the Options bar for the Default Foreground and Background b. Press Command/Ctrl-A to Select All,
font and style and 200 points for the Colors, then press Option/Delete (Alt- and copy the selection. In the Chan-
font size. Click in the document, and Backspace)to fill the layer with black. nels palette, click the Create a new
type the word “Distress.” b. Press X to switch the Foreground channel icon at the bottom, and paste
c. Select the rectangular marquee tool Color to white, click in the document the selection onto the Alpha channel.
(M), and Command/Ctrl-click the type with the type tool, and type “Distress.” c. Deselect, and apply the steps of the
layer to load it as a selection. In the c. Now create a new 8000 x 3200-pixel, Distressed Type tip.
Channels palette, click the Save selec- 72-ppi, Grayscale document. Choose d. If you want texture inside the type,
tion as channel icon at the bottom. Filter > Render > Clouds. select the Alpha channel, choose Filter
Press Command/Ctrl-D to Deselect. d. The Clouds filter has just one scale, > Texture > Grain, and set Intensity
d. Click on the Alpha channel and so to get more detail, choose Image to 100%, Contrast to 57%, and Grain
drag a selection with the marquee > Image Size, and check Resample Type to Clumped.
tool. Choose Filter > Noise > Add Image. Set Pixel Dimensions to 1000 e. There will be miscellaneous noise in
Noise, and set Amount to 75% with a x 400, and click OK. the black area outside the type, so
Gaussian Distribution and Monochro- e. Press Command/Ctrl-A to Select All, select the magic wand tool, set Toler-

matic checked. Click OK. (Glass or Torn copy the Clouds texture, and close ance to 60, and check Anti-aliased in
Edges from the Filters menu works the document. In the type document, the Options bar with Contiguous and
well, too.) click the Create new channel icon at Use All Layers unchecked. Click in the
e. With the selection still active, choose the bottom of the Channels palette, black area outside the type, choose
Filter > Blur > Gaussian Blur, and set a then paste the copied Clouds texture. Select > Modify > Contract, and set
2-pixel Radius. This softens the pixels Drag the resulting Alpha channel to 5 pixels to move the selection away
so only a few are black or white. the Create new channel icon for a from the type. Then choose Select
f. To return the dark outer area and the backup, then Deselect. > Feather, set 3 pixels to soften the
white inner area of the type to their f. Click the original Alpha channel, press edge, and fill the layer with black.
original tones, press Command/Ctrl-L Command/Ctrl-L for Levels, and set
for Levels and set the Input Levels to the Input Levels to 185, 1.00, and 214, Here’s two real-world examples of
109, 1.00, and 152, then click OK. then click OK. Command/Ctrl-click the the distress tips in use. I used the Dis-
g. Look for errant spots outside the type Alpha channel to load it as a selection. tressed Type technique to affect the
area that you may need to remove g. Make a new layer in the Layers palette. shape of the type in the “JO” example.
with a white brush. If you can’t see Press X to switch the Foreground In the dial example, I employed the
anything in the dark outer area, De- Color to black, and fill the selection Distressed Surface technique to make
select (Command/Ctrl-D), and Invert with black. To build up the effect, the type I added look like it was part
the image (Command/Ctrl-I). Once Deselect, and press Command/Ctrl-J of the photo.
you’ve cleaned it up, Invert it back. to duplicate the layer. Choose Edit
h. Command/Ctrl-click the channel to > Transform > Flip Horizontal, and
load the type as a selection. In the reposition the layer to the lower left.
Layers palette, add a new layer, then h. Press Command/Ctrl-E to Merge
fill the layer with black by pressing Down, duplicate the layer again, and Simon Tuckett is an illustrator and
Option/Delete (Alt-Backspace). Dese- flip the layer vertically. Repeat this un- retoucher in Toronto. For more infor-
lect, and hide the original text layer. til you get the distress level you want. mation, visit

Photoshop Fix (ISSN 1548-0399)
is published monthly by Dy-
namic Graphics Group, 6000
North Forest Park Drive, Peoria, IL,
61614-3592, 309.688.8800, Fax:
309.688.8515, for $110 per year
in the U.S., $127.33 USD per year
in Canada. May 2005, Volume 2,
Number 5. Canadian GST Account
No. 125145193. Canada Post
Permit No. 2493675. Postmaster:
Send change of address forms
to Photoshop Fix, P.O. Box 9035,
Maple Shade, NJ, 08052-9639.

Sheila Julien
Art Director
Kathie Alexander
Assistant Editors
Jennifer Reding
Marcy Slane
Samuel Berkes
Technology Editors
Mary Brophy
Celli Hott
Editorial Director
Emily Potts
Creative Director
Michael Ulrich
Director of Publications
Ted Lane
Group Publisher
Chris Ewell
Circulation Manager
Mary Schmidt
Senior Manager,
Publications &
Marketing Operations
P. J. Bayler

© 2005 Dynamic Graphics,
Inc. This work is an indepen-
dently produced publication
of Dynamic Graphics, Inc. The
content within this publication
is the property of Dynamic
Graphics, Inc., and may not
be reproduced or excerpted
without the express permission
of the publisher. This product is
not endorsed or sponsored by
Adobe Systems Incorporated,
publisher of Photoshop. Photo-
shop is a registered trademark
of Adobe Systems, Inc. Printed
in the U.S.A.

Click Artist Submissions at

15 MAY 2005

Mac Design Conference & Digital Photography Expo
June 21–23, 2005
Tampa Bay Convention Center
Tampa, Fla.

The 2005 conference offers an expanded digital photography track, as well as tracks in Photo-
shop, Mac OS X, digital video, design, and web creativity. There are more than 50 sessions on
Photoshop, InDesign, QuarkXPress, Flash, Illustrator, and other industry topics.

Session topics include:
• Photoshop for the Web
To change your address, subscribe, or
e-mail a customer service inquiry, use • Color Management for Digital Photographers
the customer service contacts below. • Photoshop: The Creative Workflow
Notify us of a new address six to eight
weeks before moving; the Post Office • Photoshop Power Shortcuts
only forwards mail for 60 days. • How to Color Correct any Image
Please disregard any bill or renewal • Mac OS X Troubleshooting
notice you receive soon after mailing
a payment or order. If you continue to • Acrobat Tips and Tricks
receive notices, please contact us. • Professional Layout Techniques
Call us if your issue is damaged or
missing. We can replace the issue or
extend your subscription. Photoshop You can also attend the Pre Conference Workshops with sessions such as Digital Photography,
Fix is published 12 times a year. Creative Suite Workflow, Final Cut Pro, and Adobe ACE Bootcamp.
Check the printed address label on
the issue to verify your subscription
expiration date. It appears at the right The Expo Hall includes products and demonstrations from exhibitors such as Adobe, Wacom,
of the mailing label. Allow six to eight CDW MacWarehouse, Peachpit, and Extensis. Get additional tips and techniques from the
weeks after renewal for the label to
reflect the new expiration date. conference instructors by attending the Expo Hall bonus sessions.

Other events and entertainment are the Crabby Awards, an after-hours iParty, Birds of a Feather
sessions, and the Mac Design Film Festival.

Toll-Free Customer Service: Before May 20: $399; Pre Conference Workshops $89
Mon.–Fri., 9 a.m. to 5 p.m. (EST)
After May 20: $499; Pre Conference Workshop $100
856.380.4133 (Outside the U.S.)
Customer Service E-mail: NAPP Members receive a $50 discount. Educators receive a $20 discount.
Pay an additional $100 for a Platinum Pass, which includes an attaché, iParty ticket, special
Customer Service Website: badge, and more.
Click Subscriber Services.
Customer Service Mailing Address: NEXT ISSUE:
Photoshop Fix
P.O. Box 9035 • More CS2: Learn how the new Bridge can streamline your workflow.
Maple Shade, N.J. 08052-9639 • Get the secrets to working around the unanticipated quirks of the healing brush.