¡

Adobe Seminars: Web Page Design
by Lisa Lopuck and Sheryl Hampton
Adobe Seminars: Web Page Design is a portable seminar on web page
design taught by experienced professionals that documents Adobe
software such as Adobe Photoshop 4, Adobe Illustrator 7, and Adobe
PageMill 2, as well as the latest HTML language protocols.
This October 1997 Adobe Press book will bring all the essential information
of a two-day seminar into a compact and reusable format, complete with
CD and step-by-step techniques. Two noted Web seminar instructors, Lisa
Lopuck and Sheryl Hampton of ElectraVision, have distilled their training
sessions into over a hundred two-page techniques using popular Adobe
applications to simulate how Web pages are actually created. The result is a
reference book of clear, simple explanations and designs that are reusable
page after Web page.
Adobe Seminars: Web Page Design
Publication Date: Oct. 1, 1997
US $40
ISBN: 1-56830-426-9
4-color, 264 pages, includes ImageClub CD
The techniques within
this Acrobat™ PDF file
are from the upcom-
ing Adobe Press book
Adobe Seminars:
Web Page Design.
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coivaicu+ ¡§§;, »ooat svs+tns inc.
Often times images that you scan or
illustrate need to be touched up—
increasing highlights and shadows—until
you have a perfect, natural image. In
Photoshop, there are two painting tech-
niques that essentially allow you to paint
with natural light and shadow. For instance,
you can add natural shines to hardwood
floors, glows around light bulbs, or natural
shadows to help add depth to an image.
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In Photoshop, open an image that needs to be touched up. Create a new
layer and set its mode to Overlay in the Layers palette. Using the airbrush
tool and a large brush, paint broad strokes of a light, off-white color. Notice
how the image underneath appears to brighten as if natural light has been
cast upon it. Change the layer’s mode back to normal and notice the large
patches of solid color that, when in Overlay mode, create the lighting effect.
Adding Natural Light and Shadows C11
Lesson
ruovosuor ¡.o
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Adding shadow effects to an image is the same process as adding highlights.
Create a new layer, and set the layer’s mode to Multiply as shown. Paint with
a medium-dark color using the airbrush. Notice that, rather than covering
over the underlying image, the medium-dark color enriches underlying
colors while creating a shadowed effect.
For Suspect, Dead Birds Don’t Sing, an online murder
mystery, the Surround Video room environments were
first created and rendered in Strata 3D before being
brought into Photoshop for finishing touches. These two
images show how the rooms looked before and after
Photoshop was used to enhance the highlights and shad-
ows using the Overlay and Multiply modes.
BEGINNER
Layers
on
Luanne
Cohen
Luanne
Seymour
Cohen,
Creative
Director
at Adobe
Systems,
shares some
super tips
for
working
with
layers
in Adobe
®
Photoshop
®
4.0
2
CREATING DROP SHADOWS USING LAYERS
Layers palette
The active layer is
highlighted and has a
paintbrush icon next to
it. The eye icons let you
turn layers visibility on
and off.
Drop shadows are easy to create using layers in Photoshop 4.0.
In this example, the framed picture is on its own layer (picture
frame). The area around the frame is transparent, allowing the
background to show through.
1. Make a copy of the first
layer (picture frame) by
dragging the layer name to
the New Layer icon at the
bottom of the Layers palette.
This copy (picture frame
copy) is placed on top of the
original layer.
2. Select the original “picture
frame” layer in the palette,
and then use the move tool
to offset the layer (which is
underneath the copy).
Release the mouse button
when the layer is slightly
offset. This will become the
drop shadow. At this stage,
the original and the copy are
the same color(s).
Finetuning
The arrow keys on the
keyboard allow you to
move the layer in one-
pixel increments.
3. For a more realistic
shadow, select a foreground
color other than black. In
this example, we used the
eyedropper tool to select a
dark brown from the image.
3
CREATING DROP SHADOWS USING LAYERS
4. Choose Edit > Fill. Select
Preserve Transparency, and
fill using the foreground
color.
Preserve
Transparency
There are typically a
thousand ways to do
everything in Adobe
Photoshop, but
selecting Preserve
Transparency is the
trick that makes this
technique the fastest
way to create a drop
shadow.
Shadows
Shadows add the
illusion of three
dimensions and are
rarely hard-edged.
Blurring the shadow
adds realism and
makes the main image
stand out.
Multiply mode
Using the Multiply
mode on the shadow
layer gives the effect
of adding the shadow
value and color to the
texture and image of
the background. This
makes for a more
realistic shadow since
we usually see some
texture and detail in
real shadows.
5. Use the Gaussian Blur
filter (Filter > Blur >
Gaussian Blur) to soften the
shadow. Here we used a
radius of 7.0 for a 72-ppi
image. For higher resolution
images, you’ll need to use a
greater radius value.
6. Combine the drop shadow
with the background using
the Multiply mode in the
Layers palette.
4
Layer masks
You can create layer
masks two ways.
Choose Add Layer
Mask from the Layers
menu. Or you can
create a selection and
choose Select > Save
Selection. Instead of
creating a new
channel, choose the
mask option from the
Channel pop-up menu.
BLENDING FROM ONE IMAGE TO ANOTHER
Blending one image gradually into another is easy to do using layers
in Photoshop 4.0. In this example, we will blend the red satin fabric
from one layer into the floral fabric on another layer by using a layer
mask on one of the layers.
1. Select the top layer (floral)
and choose Layer > Add
Layer Mask > Reveal All.
2. With the layer mask
selected, choose the gradient
tool and create a gradient.
Make sure your foreground
and background colors are
black and white. Remember
that you are drawing on a
layer mask that is grayscale.
The areas that are white and
gray will reveal the color
image. The areas that are
solid black will block it out.
Gradients
You can use any angle
for your layer mask
gradient. If you want a
small transition area
with larger solid areas
of the two images,
draw the gradient
vector well inside the
image areas instead of
from edge to edge.
3. You may want to experi-
ment with different mid-
points for the blend. Double-
click the gradient tool icon
to bring up the Gradient Tool
Options palette. Select Edit,
and here you can set the
midpoint. Then redraw the
gradient in the layer mask.
5
BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE
Blending parts of one layer into another is easy to do using the layers
sliders in Photoshop 4.0. In this example, we will show just a few of
the hundreds of possible combinations you can use when you play
with the options in the Layer Options palette.
1. Create or open an image
that has two layers you want
to blend together. In this
example we want to reveal
the lower layer image
through the dark back-
ground color from the lace
layer. Select the top layer.
2. Double-click the layer
name in the Layers palette to
bring up the Layer Options
dialog box. Since we want to
drop out the dark back-
ground on the lace layer, we
will move the shadow
triangle on the This Layer
slider to the right.
3. Another effect might be to
have the floral background
show through only the
highlighted areas of the lace.
To do this, split the highlight
slider triangle by holding
down the Option/Alt key
and drag it to the left.
Smooth blending
For smoother transi-
tions, you can split the
triangles in half. Hold
down the Option/Alt
key while dragging the
triangle, and it will
split. For example, in
step 3 the range for
highlight values is now
between 23 and 255.
This means that all the
pixels between those
two values will appear
with only some of their
original colors.
Blending sliders
Use the sliders in the
Layer Options palette to
define which pixels will
appear in your compos-
ite image. For example,
if you want to hide all
the dark areas, move
the shadow slider to the
right. All the pixel
values between 0 and
the new shadow value
number will not show
in the composite image.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
6
BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE
4. In this example we created
the effect of applying the lace
texture to the fabric while
still retaining the folds and
shadows of the underlying
fabric.
5. This example is similar to
the one in step 4 except that
we moved the highlight
slider for the Underlying
layer. The result is a much
lighter image.
6. Experimenting with
different modes will give
you even more options for
interesting visual effects. In
this example, we split the
highlight slider triangle for
the lace layer. This allows
some of the colors of the
floral fabric to come through
the light-colored lace. To give
the colors more punch, we
used the Luminosity mode.
Previewing
Turn the preview
button on while you
experiment. This allows
you to see what the
result will be as you
try different modes
and layer-blending
combinations.
7
MASKING SEVERAL LAYERS WITH ONE IMAGE
Sometimes you want to mask or crop more than one image with the
same shape. To allow for the most flexibility, use a clipping group
with your layers. In this example we used type as the masking layer
and two different fabric layers. We wanted to leave them on separate
layers to allow for more experimentation.
1. Open or create a file that
contains all the layers that
you want to mask through a
common mask. The layer
that will mask the others
should be the bottom-most
layer. In this example we will
mask both the lace and the
floral layers with the big type
layer. Remember to put your
mask shape on a transparent
background.
2. Make a clipping group by
holding the Option/Alt key
and clicking between the
layers that will be in the
group. Notice how the cursor
changes to indicate that you
are making a clipping group,
and the Layer thumbnail
indents.
3. Option/Alt click between
all the layers that will be in
the clipping group. Note: You
can move layers around
within a group, but once you
move a layer outside of the
group, it will no longer be
masked by the base layer.
Group modes
All clipping groups
have a base layer. This
is the bottom layer in
the group, and it
defines the shape of
the mask through
which all the other
layers in the group are
displayed. The base
layer defines the
mode and transpar-
ency of all the layers
in its group.
Clipping groups
As you click the lines
between the layers to
make a clipping group,
they become dotted
lines. The base layer is
the one with the
underlined layer name.
Base layer (mask)
The shape that masks
all the layers in the
clipping group must
be on a transparent
background or the
effect will not work.
The masking shape is
created by every pixel
on the base layer no
matter what color it is.
The edge of the mask
shape is wherever
there is a pixel next to
a transparent area.
8
CREATING LAYER MASKS FROM SELECTIONS
It’s easy to add a layer mask to a layer and draw or paint on that
mask. But sometimes you want to mask specific areas of an image
that are not easy to create on a blank layer mask. This technique
demonstrates how you can create layer masks from any selection
made on any layer.
1. In this example we just
added the layer with the eyes,
but we want the eyes to show
through only the glasses
lenses.
2. Sometimes it’s easier to
hide all layers except the
ones you need to create the
selection. Use the selection
tools to create a selection
that defines the area you
want to mask. In this ex-
ample, we turned off the
eyes layer even though it
will eventually contain the
layer mask.
Viewing layers
To quickly turn off all
layers except the one
you want to work on,
Option/Alt+click the
eye icon for that layer
in the Layers palette.
To turn all the layers
back on again, again
Option+click the
layer’s eye icon.
Selections on layers
You can make a
selection on any layer,
and if you click a
different layer in the
Layers palette, the
selection is still active.
This is a real time-saver,
because you select the
area only once, but you
can make changes to
that same area on
several different layers
without reselecting
each time.
3. Once your selection is
made, turn on all the other
layers (Option/Alt+click on
the eye icon). Make the layer
that will contain the layer
mask the active layer in the
Layers palette. Don’t deselect
the selection you made in
step 2!
9
CREATING LAYER MASKS FROM SELECTIONS
4. Choose Select > Save
Selection. Use the Channels
pop-up menu to select the
Mask option that will be
named after the currently
active layer. Instead of saving
a channel to the Channels
palette, this will save the
selection as a layer mask to
your layer.
Layer masks on/off
You can temporarily
turn the layer mask off
without discarding it.
Simply Shift+click the
layer mask thumbnail
in the Layers palette.
Click it again to turn it
back on.
Layer masks
Layer masks are really
just alpha channels
that are attached to a
layer. You can edit
them just as you do
channels. To view the
mask as full size, hold
the Option/Alt key
and click the thumb-
nail of the layer mask
in the Layers palette.
To return to the layer
view, Option/Alt+click
the thumbnail again.
5. Once your selection is
saved as a layer mask, it will
appear as a thumbnail next
to the layer thumbnail in the
Layers palette. In this ex-
ample we switched the layer
mode to Hard Light for a
more transparent effect.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft in the
U.S. and other countries.
©1996 Adobe Systems
Incorporated. All Rights Reserved.
PS4.0 11/96
Color Enhancement
using “Digital Gels”
INTERMEDIATE
2
COLOR ENHANCEMENT USING “DIGITAL GELS”
1. Here’s the image we’ll start
with in Photoshop. Our goal
is to add dramatic color
effects to this conventional
photography. We’ll add a
blue-violet effect to the sky
and gold to the field.
Professional photographers often use “gels” (gelatin filters) for creative
color enhancements. Here’s how to add dramatic color effects using
“digital gels” in Photoshop. With this technique, you can isolate each
color effect on an independent layer and get more flexibility and control
than you would with traditional gels set in front of the camera lens.
2. Select New Adjustment
Layer from the Layers palette
menu, and in the Type pop-
up menu, choose Hue/
Saturation. Name the new
layer and click OK.
Adjustment Layer
With Photoshop 4.0’s
new Adjustment layers,
you can easily make
changes to underlying
layers without affecting
the actual layers.
3. The Hue/Saturation
dialog box appears. Click the
Colorize option. This trans-
forms the layer you created
in step 2 into a digital gel.
Make sure the preview box is
checked. Don’t click OK yet.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
3
4. Move the Hue slider to
find the color you want. Use
the Saturation and Lightness
sliders to finetune the color.
Click OK when you obtain a
color you like.
COLOR ENHANCEMENT USING “DIGITAL GELS”
5. Set the mode in the Layers
palette to Soft Light.
Tips
Press the D key to
set foreground and
background colors to
the default black and
white. You can also
use the X key to
exchange these colors.
While you drag the
gradient tool, press
the Shift key to
constrain the move-
ment to a perfect
vertical direction.
6. With the Adjustment layer
still selected, choose the
gradient tool. Pressing the
D key, set the foreground
and background colors to
the default (black/white).
Click and drag upward over
the image from the horizon
toward the sky. This will
limit the gel effect to the sky
portion of the image—the
gradient mask you created.
Lightness setting
The Lightness slider
in the Hue/Saturation
dialog box acts like a
“gamma” control. Unlike
traditional gels, high-
lights and shadows
retain their original
lightness values as if
they are auto-exposed.
In Soft Light blending
mode, changing the
lightness of a layer
affects the midtones of
the underlying image.
4
7. To keep the barn uncol-
ored by the gel, select the
barn, and fill the selection
with black in the layer mask.
Deselect (Command/
Ctrl+D).
8. As we did for the blue gel
layer, we next add a gold gel
layer (repeat steps 2-7). By
painting in the adjustment
layer directly, using a soft-
edged brush tool with black
foreground color, you can
fade the gel color. Try this
with different brush opacity
settings. Of course, with a
white foreground color, you
can add back the gel color.
9. You can also adjust the
gel color later at any time.
Double-click the gel layer
and the Hue/Saturation
dialog box appears. You can
then readjust the gel color
easily.
COLOR ENHANCEMENT USING “DIGITAL GELS”
More shortcuts!
Press the bracket keys
([ or ]) to change your
brush size without
going to the Brushes
palette. Press numeric
keys (1,2,3...9 or 0) to
change brush opacity.
1 is 10% opacity, 2 is
20% opacity, and so
on. 0 (zero) is 100%
opacity.
Fill shortcut
To fill a selection with
foreground color, press
Option/Alt+Delete/
Backspace. If you do
not make a selection,
doing a fill will fill the
entire layer with
foreground color.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft in the
U.S. and other countries.
©1996 Adobe Systems
Incorporated. All rights reserved.
Contributing author: Etsuro Endo
Photography: Jules Frazier/
PhotoDisc
PS4.0 11/96
¡
Adobe Seminars: Web Page Design
by Lisa Lopuck and Sheryl Hampton
Adobe Seminars: Web Page Design is a portable seminar on web page
design taught by experienced professionals that documents Adobe
software such as Adobe Photoshop 4, Adobe Illustrator 7, and Adobe
PageMill 2, as well as the latest HTML language protocols.
This October 1997 Adobe Press book will bring all the essential information
of a two-day seminar into a compact and reusable format, complete with
CD and step-by-step techniques. Two noted Web seminar instructors, Lisa
Lopuck and Sheryl Hampton of ElectraVision, have distilled their training
sessions into over a hundred two-page techniques using popular Adobe
applications to simulate how Web pages are actually created. The result is a
reference book of clear, simple explanations and designs that are reusable
page after Web page.
Adobe Seminars: Web Page Design
Publication Date: Oct. 1, 1997
US $40
ISBN: 1-56830-426-9
4-color, 264 pages, includes ImageClub CD
The techniques within
this Acrobat™ PDF file
are from the upcom-
ing Adobe Press book
Adobe Seminars:
Web Page Design.
txctai+ raon +ut »ooat iatss aook, »ooat stnin»as. wta i»ct otsicn
coivaicu+ ¡§§;, »ooat svs+tns inc.
To keep the download time to a minimum,
yet keep a rich feel to a Web page, people
often use a decorative background tile. The
problem with background tiles, however, is
correctly preparing graphics so that they
match when placed on top of the tile.
Because you cannot predict where the tile
will fall on the Web page, people often
assume that they need to use rough-edged
aliased graphics. This exercise, however,
shows how to prepare soft-edged, anti-
aliased graphics that will match your tile.
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Prepare an anti-aliased, soft-edged image merged into a single transparent
layer and set aside for later.
Compositing Graphics to a Background Tile C7
Lesson
ruovosuor ¡.o Object Gear, Amusements: Dog Biscuits, Crocodile
Font: Image Club Overprint
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Create a new layer and fill it with the background tile (To create a back-
ground tile, see Exercise C5.) To fill a layer with a background tile, first
select the tile with the Marquee selection tool and then choose Define
Pattern from the Edit menu. With the pattern defined, choose Fill from the
Edit menu and select “Pattern” from the Contents pop-up options.
txctai+ raon +ut »ooat iatss aook, »ooat stnin»as. wta i»ct otsicn
coivaicu+ ¡§§;, »ooat svs+tns inc.
vir: The Mac system palette includes all of the Web safe colors plus 40 extra.
On 16 and 24 bit displays, you will not notice any change in quality. On
8 bit displays, the 40 extra colors will dither, but the effect is negligible.
novt: When you create a new file, its dimensions will
automatically be the size of the copied image.
novt: As opposed to generating a “shrink-to-fit” selection by
Command-clicking on the layer icon, the Magic Wand
works best in this case because you are creating an aliased
selection that will include the soft anti-aliased edges.
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Leave the background tile layer and select the image layer. Using the Magic
Wand, you need to make an aliased selection around the image. To do this,
set the Wand’s tolerance to zero and uncheck the anti-aliased option. Click
on the transparent area around the image and then choose Similar from the
Select menu to make sure you capture all the transparent areas. Invert the
selection so that the object is selected.
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With the selection still active, merge the image layer with the background
tile layer (or create an “option merge,” see Lesson B7). Make sure the new
merged layer is the active layer, and copy the selected portion. Although
you have an aliased selection, you will be grabbing the soft-edges that have
been blended to the background tile pattern.
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Create a new file and fill it with a solid color from the web palette (see
Lesson E2 regarding the Web-safe color palette). This will become your
transparent color so be sure to select a color that is not in your image (a
bright color often works well). Paste the copied image into this new file.
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Change the image’s mode from RGB to Index Color and select either the
Web colors or the Mac System palette. Next, export the image as a Gif using
Photoshop’s Gif 89A export feature located in the File menu. When the Gif
89A interface comes up, position the cursor over the color to be transpar-
ent and click once; the area should turn gray. Decide whether you want the
image to be interlaced or non-interlaced and click OK.

Adobe Seminars: Web Page Design
by Lisa Lopuck and Sheryl Hampton
Adobe Seminars: Web Page Design is a portable seminar on web page
design taught by experienced professionals that documents Adobe
software such as Adobe Photoshop 4, Adobe Illustrator 7, and Adobe
PageMill 2, as well as the latest HTML language protocols.
This October 1997 Adobe Press book will bring all the essential information
of a two-day seminar into a compact and reusable format, complete with
CD and step-by-step techniques. Two noted Web seminar instructors, Lisa
Lopuck and Sheryl Hampton of ElectraVision, have distilled their training
sessions into over a hundred two-page techniques using popular Adobe
applications to simulate how Web pages are actually created. The result is a
reference book of clear, simple explanations and designs that are reusable
page after Web page.
Adobe Seminars: Web Page Design
Publication Date: Oct. 1, 1997
US $40
ISBN: 1-56830-426-9
4-color, 264 pages, includes ImageClub CD
The techniques within
this Acrobat™ PDF file
are from the upcom-
ing Adobe Press book
Adobe Seminars:
Web Page Design.
txctai+ raon +ut »ooat iatss aook, »ooat stnin»as. wta i»ct otsicn
coivaicu+ ¡§§;, »ooat svs+tns inc.
vir: Image Club graphics have a perfect selection stored as a path. Simply
go into the Paths palette, and load the path as a selection. To quickly
convert the path to a selection, Hold down the Command key (Mac)
or the Control key (Windows), and click the path’s icon.
One of the more common tasks in Photoshop
is combining images to create a custom
collage. In this exercise, you create a Web site
banner, complete with text, that wraps to the
image by combining multiple images in
Photoshop, (see Session D!0).
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In Photoshop, open a few images that you would like to incorporate into your
collage so that each image is open in a separate window. Create a new file
with a white background that will be large enough to assemble your collage.
Creating a Collage D9
Session
ruovosuor ¡.o Object Gear Gentleman’s Study: Personal Letter
Object Gear Travels: Helm, Water
Object Gear Amusements: Starfish 2
Font: Adobe Kepler
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Using the Move tool, click one of the images and drag it into the new file.
Drag the remaining images into the new file in the same way. If the image is
on a solid background, the background comes with the image when it is
dragged into the new file. To bring in just the image, select the background
with the Magic Wand tool set on a tolerance of at least 32, with the anti-
aliased checkbox selected. Invert the selection, and then drag the image
into the new file using the Move tool.
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coivaicu+ ¡§§;, »ooat svs+tns inc.
vir: You can access other Free Transform
functions by pressing the Control key
while clicking and holding anywhere in
the document. A pop-up menu
appears with more Transform
functions like Skew and Perspective.
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Resize each of the elements of your collage using the Free Transform
function located in the Layer menu. To scale the image proportionately,
hold down the Shift key while dragging one of the corner handles. To rotate
the image, click and drag outside of the envelope.
svtr ¡: cat»+inc sor+ trrtc+s
To create the faded effect on the ocean image, create a layer mask for the
ocean layer. Using the Paintbrush tool and a large brush, paint black into
the layer mask. Painting with black is like painting with transparency. The
advantage to using a layer mask is you can “erase” your image without really
erasing your image. To turn on and off the effects of the layer mask, hold
down the Shift key and click the Layer Mask icon.
svtr ¡: rinisuinc +oucuts
Now that all the images are in place, you can add a few finishing touches to
polish the look. Add an instant drop shadow (see Session D1) for the
starfish, and create cast shadows (see Session D2) for both the helm and
the letter. Enhance the color contrast of the helm using both the Curves
and the Levels functions. Finally, you can add text that wraps to the shape
of the helm by following the instructions in Session D!0.
Creative Masking Techniques
for Compositing
Adobe Digital Video Evangelist George Jardine
demonstrates creative masking techniques
with Adobe
®
Photoshop
®
INTERMEDIATE
2
CREATIVE MASKING TECHNIQUES FOR COMPOSITING
Making complex selections and creating the most effective channel
(or mask) for compositing operations in Adobe Photoshop can be a
fine art. Frequently the best mask for a given image already exists,
ready to be used. In this exercise, I’ll show you a method for creating
a mask directly from an object in an image. This technique works
best for objects on a dark background.
1. Here’s an image we’d
like to composite against
a background of another
color—a photo of a clouded
blue sky, for instance. It’s
obvious that creating a
selection of the bird will be
difficult, especially while
attempting to preserve the
motion blur in the wings.
2. It looks as if the luminosity
of the RGB composite might
be a good place to start
creating our mask. Load the
luminosity of any group of
visible layers as a selection
by pressing Option/Alt+
Command/Ctrl+~. Next,
save the selection into a new
channel by choosing Select >
Save Selection. Deselect and
go to the new channel.
3. Use Levels or Curves to
eliminate most of the mid-
tones in your new mask,
preserving only the darkest
edges. Notice the gray tones
along the blurred portion of
the wings. These areas will
create semi-transparency
during compositing. Be sure
to use a paint brush to clean
up your mask channel.
Super-user tips!
You can load the
luminosity of the RGB
composite as a selection
by Command/Alt+
clicking the RGB
composite channel in
the Channels palette,
and you can easily save
the current selection
into a new channel by
clicking the Save
Selection icon at the
bottom of the Channels
palette.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on Macintosh and Ctrl
on Windows systems.
“Option/Alt” means
Option on Macintosh
and Alt on Windows.
3
4. Set your target back to
the RGB composite and load
your finished channel as a
selection. Drag the selected
area onto the new background.
CREATIVE MASKING TECHNIQUES FOR COMPOSITING
5. Notice that the semi-
transparent areas along the
edges are too dark as they
contain some black from the
background of the original
image. Finish the composite
by using the dodge tool to
lighten these edges. Set it to
Shadow mode, and use a
soft-edged brush set to 80%
or 90% opacity.
Dodge and burn tools
If the hue shifts when
you use the dodge or
burn tools, try convert-
ing your image to LAB
mode first. The dodge
and burn tools only
affect Luminosity when
used in LAB mode.
6. Here’s our finished
composite. Nice.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft in the
U.S. and other countries.
©1996 Adobe Systems
Incorporated. All rights reserved.
Photo ©1995 Don Fogg
PS4.0 11/96
DIGITAL DUPLICATION
The new Free Transform in Adobe® Photoshop® 5.0 can give you a whole new
perspective on life! Have you ever wanted to scale and move objects in a step and
repeat pattern, as you do in Adobe® Illustrator®? Well, now you can. So let’s get
rolling and discover the secrets of transformation in Photoshop 5.0.
1. Let’s say you need an image
of a typical business meeting.
You have this image from the
Adobe Image Library, but it just
doesn’t look like it’s going to be
a very big meeting. Let’s imply
that we’re anticipating a few
more attendees by adding a few
more note pads. How will we
pull this off? We’ll duplicate the
notepads by scaling and moving
them with perfect perspective.
And the one incredible feature
we’ll use to do it is the powerful
Free Transform in Photoshop.
Adobe Senior Creative
Director Russell Brown
reveals secrets of
transfromation in
Photoshop 5.0.
INTERMEDIATE
2. Before we start, it’s impor-
tant to note that this technique
works best on images with a
sequence of objects in per-
spective. This technique will
attempt to match and copy the
sequence so that it creates
more objects with the correct
perspective. Now, let’s begin
by placing guides around the
last object in the sequence we
want to duplicate. (You’ll be
using guides in combination
with the Free Transform.)
Choose View > Snap to Guides
before you start.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the
Macintosh and Alt
on Windows.
Guides
To create guides, click
and drag from the
ruler at the edge of
the image. Show rulers
by choosing View >
Show Rulers.
Digital Duplication 2
3. Turn off the Guides tempo-
rarily by choosing View > Hide
Guides. Now, select the second-
to-the-last object in the
sequence you want to duplicate.
In this case, I selected the
second-to-the-last note pad and
its shadow using the polygon
tool found under the lasso tool.
(Click and hold the lasso tool to
reveal the polygon tool.)
4. Next, while pressing the
Option/Alt key, select Free
Transform from the Edit menu.
The Option/Alt key will
modify the transformation and
make a copy of the selection
instead of cutting it out of the
background image. This
modification is a very impor-
tant step in this process.
5. Turn the Guides back on.
Choose View > Show Guides.
Move the object you are
transforming over the last
image in the sequence and
snap it to one of the corners
formed by the guides.
Transformations
You can move objects
that are being trans-
formed in one-pixel
increments by using
the keyboard arrows.
Using the Shift key in
combination with the
arrow keys will move
the object 10 pixels.
Shortcut
The keyboard shortcut
combination for this
step is: Option/
Alt+Command/Ctrl+T.
Digital Duplication 3
The Magic Key Combination!
7. OK, this is the final and
most important step to this
entire process. Press Option/
Alt+Command/Ctrl+Shift+T.
This crazy combination of keys
will transform the last trans-
formed image again to make a
copy. Repeat this combination
of keys until you have as many
objects as you need to fill
your image.
6. Stretch the four corners of
the image out to the corners
created by the guides. This will
distort the image to match the
angle and perspective of the
sequence. When finished, press
the Enter key. The object will be
transformed to match your
distortion and positioning.
8. As you can see, I repeated the
same process down the other
side of the table and now the
high-powered meeting is ready
to start!
Paths
This same keyboard
combination will
work with paths in
Photoshop. Just
transform a path and
then use these same
keys to duplicate a
sequence of paths.
Adobe, the Adobe logo,
Illustrator and Photoshop are
trademarks of Adobe Systems
Incorporated. Macintosh is a
trademark of Apple Computer,
Inc., registered in the U.S. and
other countries. Windows is
either a registered trademark
or a trademark of Microsoft in
the U.S. and/or other countries.
©1998 Adobe Systems
Incorporated. All rights
reserved.
Photo Credit © Adobe Image
Library.
PS5.0 9/98
Russell Brown, Senior Creative Director
at Adobe, shows you how to remove those
pesky stains from your fine images
using Adobe
®
Photoshop
®
ADVANCED
Digit al St ain
Remover
2
STAGE 1: THE EASY STUFF
The goal of our project is to remove the stain from this image,
without altering the original brush strokes of the painting. The stain
could be removed in a number of ways, but this technique is quite
unique and, amazingly, does not require the use of Levels or Curves.
This method is also great for removing unwanted blemishes and
colored lighting.
1. Let’s start by correcting
the easy portion of this
image. Notice that some of
the stain travels over the
neutral values in the back-
ground of the painting. We
can easily correct the neutral
values with the sponge tool
using the Desaturate mode.
2. Use a combination of
pressure settings to gently
blend the stained area into
the natural background.
Also, use a combination
of soft- and hard-edged
brushes to treat different
areas of the image. In this
case, I also removed the stain
from the pearls around the
woman’s neck.
3. To start the clean-up
process, we need to make
a copy of the current image.
The overall idea behind
this technique is to make
corrections to the original
file and then transfer these
corrections to a finished
file. To do this, we will make
an identical copy of our
stained original, using Image
> Duplicate.
Note: When it’s
complete, set the
image aside to work
on later. Do not close
the file.
Desaturate mode
The Desaturate
command converts
colors to their grayscale
equivalent without
changing modes.
Brush shortcuts
Photoshop gives you
some great shortcuts
for selecting brush
pressure and size. The
numeric keys 1 through
0 change a brush’s
pressure percentage to
10 times the number
(or to 100% for 0). The
[ key selects the next
smaller brush; ] selects
the next larger; { selects
the first brush; } selects
the last brush.
3
STAGE 2: NEUTRALIZING THE STAIN
4. The secret to solving this
problem is hidden in the
channels. In the channels!
Take a close look at the
individual channels and you
will see that they clearly
show the staining in the gray
shades. If we could neutralize
the stain in the channels,
then the problem would be
solved. Right?
5. Here you can see that the
Green channel has the most
obvious problem. This is
because green is the color
complement to red, and the
stain in this image is red.
The problem channel for our
image will vary depending
on the color of the stain.
6. Notice that the Blue
channel is unaffected by the
red wine stain. This channel
is not a problem, and we do
not need to correct it in any
way. The Blue channel also
contains a significant por-
tion of the detail in the
image, and if we do not have
to change it, we can maintain
the integrity of the brush
strokes. This is good!
Note: Earlier we
corrected the back-
ground of this image.
We should not see any
major difference in
values between the
different channels
shown on this page.
OK, that was the easy part. Now we’re ready for the hard part. The
stain on the woman’s neck cannot be removed with the sponge tool or
else all the color would be lost. We could try making a selection of the
neck area and then use Levels or any other of the many color controls.
But I’ve got another technique that’s out of this world!
Shortcuts
Throughout this docu-
ment, “Ctrl/Command”
means Ctrl on Windows
and Command on
Macintosh systems.
Channel shortcuts
Press Ctrl/Command+1
to access the red
channel; Ctrl/Com-
mand+2 for the green
channel; Ctrl/Com-
mand+3 for the blue
channel; and Ctrl/
Command+~ for the
RGB composite.
4
STAGE 3: SELECTING THE STAINED AREA
7. Return to the RGB com-
posite. Double-click the lasso
tool and set the Feather
option to a value that will
give you a soft edge. Remem-
ber, the value you use is
based on the resolution of
the image. The higher the
resolution, the greater the
feather value. Make a selec-
tion of the stained area.
8. Select Quick Mask mode
from the Tool palette and
edit the selection area with
the paintbrush tools. This is
a great way to create a mask
that matches your image
exactly. It’s important to take
time here to create a good
selection; it will pay off in
the end.
9. Finally, paint over any
other areas that do not need
to be corrected. In this case,
we protected the pearls. The
pearls were corrected earlier
and do not need any more
correction.
Super tip
Use the Levels controls
to adjust the area of
the Quick Mask. Levels
are often overlooked
as a convenient way to
adjust a selection while
in Quick Mask mode.
Quick Mask mode
Press the letter Q on
the keyboard to change
to Quick Mask mode.
To change the color
of the mask, simply
double-click the Quick
Mask channel in the
Channels palette or
double-click the Quick
Mask icon. An adjust-
ment dialog box will
appear.
5
STAGE 4: NEUTRALIZING THE STAIN
10. Return to Selection mode
by pressing the Q key. Choose
Layer > New > Layer Via
Copy (Ctrl/Command+J) to
copy the selected area to a
new layer.
11. Invert the new layer
from the Image menu (Ctrl/
Command+I).
12. Set the mode for the layer
to Color. The results should
look something like this.
6
13. Next, we need to view the
Red channel only. To do this,
press Ctrl/Command+1 on
the keyboard. You will be
viewing a grayscale represen-
tation of the composite of
the two layers.
14. Here is where the magic
starts! Adjust the opacity of
the second layer until the
gray values in the Red
channel match the surround-
ing image. It’s magic! It’s
amazing! Your friends and
relatives will be thrilled!
Here you see that, by adjust-
ing the opacity of the in-
verted layer, we can neutral-
ize the color problems on
each channel. WOW!
Hint: For best results,
make sure that the
abrupt edges have
completely vanished
into the surrounding
image.
15. The next step is a little
tricky. Our goal is to get a
copy of this corrected Red
channel into the duplicate
image we made earlier. But
wait! Copy and Paste will not
work! Doing a copy and paste
would only copy the targeted
layer. We must use a special
power-user technique. Press
Ctrl/Command+A to select
the entire image. Then select
Edit>Define Pattern.
In the next few steps, we will correct the individual Red and Green
channels of this image. Then we will copy the corrected results and
place them into the second image. A little complex, but it works!
Define Pattern
Define Pattern is one
of the few ways to
make a copy of a
composite image.
The Copy command
will not copy informa-
tion on other layers.
Warning: You must
make a selection
before you can choose
Define Pattern from
the Edit menu.
STAGE 5: DIGITAL MAGIC
Before
After
7
17. Next, select Edit > Fill
and completely fill the Red
channel with the pattern we
just created. Continue this
process (from step 14) of
making corrections on the
Green channel of the first
image and then transferring
the results to the second
image. Remember, the
opacity value of each
channel may differ.
16. After you define the
pattern, bring the second
copied image to the fore-
ground. Press Ctrl/Com-
mand+1 on the keyboard.
This displays the Red
channel only.
18. Here is a comparison of
the Green channel before the
digital correction (on the left)
and after the adjustments (on
the right). The stain has been
literally neutralized. Amazing
but true!
STAGE 5: DIGITAL MAGIC
Note: Copying
corrections directly
into the original
will not work! The
corrected channels
must be integrated
with a copy of the
image to make this
technique work.
Pattern Fill
Remember, filling
with a pattern is the
only technique that
works. In this case,
only the Red and
Green channels must
be replaced.
8
19. After you’ve made all the
corrections, press Ctrl/
Command+~ to display the
full-color image. OH NO!
There’s a slight hue shift to
the image! You will quickly
notice that even the great
master is not perfect. The
abrupt edge is gone, but a
slight discoloring may still
exist.
20. We can easily fix this
with a soft-edged brush set
to Color mode and opacity
of 50% or less. Press the Alt/
Option key to sample the
color you want to use in that
area (a Sample Size of 3 by 3
Average is best), and then
paint over it with the new
color.
21. When you’re done, the
image should look perfect.
No new brush strokes—and
everything as good as new!
Finetuning
We still need to do
a bit more touching
up to complete this
project. In this case I
took a color sample
from the woman’s face
and transferred it to
the discolored areas
of her neck.
STAGE 5: DIGITAL MAGIC
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft in the
U.S. and other countries.
©1996 Adobe Systems
Incorporated. All rights reserved.
Photography: Classic PIO
Partners, Doug Menuez and
PhotoDisc
Special thanks to Russ Sparkman
PS4.0 11/96
Sample area
DISPLACE SHADOWS WITH PHOTOSHOP
Have you ever want ed a shadow t hat f ol l owed t he exact cur ve of a cer t ai n shape.
Have you ever wonder j ust what a di spl acement map i s used f or anyway? Her e’s
i s your chance t o f i nd out . I n t hi s t echni que we wi l l cr eat e a r eal i st i c dr op
shadow for a hat , l i ke t he one you see t o t he r i ght .
1. In Photoshop, open up t he
image on which you would like
to create t he displaced shadow.
Here we want to put a hat on
t his incredibly good looking
face and give it a realistic
shadow. To star t, we want to
create a new image file using
t his image.
2. Go to t he Channels palette.
Toggle through the three
channels by pressing
Command/ Ctr l + 1 = Red
Command/ Ctr l + 2 =Green
Command/ Ctr l + 3 = Blue
Find t he one channel with t he
most contr ast. In our case it was
t he red channel. With t he
channel selected, choose
Duplicate Channel.
Short cut s
Throughout t hi s
document , “Command/
Ct rl” means Command
on t he Maci nt osh® and
Ct rl on Wi ndows.®“
Opt i on/ Al t ” means
Opt i on on t he
Maci nt osh and Al t
on Wi ndows.
Adobe Seni or Creat i ve
Di rect or Russel l Brown
get s di spl aced w orki ng i n
t he shadows wi t h
Adobe
®
Phot oshop
®
4.0.
INTERMEDIATE
Di spl aci ng Shadow s Wi t h Phot oshop 2
3. In the dialog box you will
want to choose “New” under
Document. Then in the Name
field t ype in “Blur map”. Note: i f
you are on Wi ndows you must
gi ve i t t he .psd ext ensi on.
4. You should now have a new
image with t he file name Bl ur
map open on your desktop.
Notice: if you check its chan-
nels, it has only one channel.
This is impor tant because we
only want to displace our
shadow ver tically. In order to
have tr ue horizontal displace-
ment there must be a second
channel.
Displacement map
A Di spl acment map
i s basi cal l y a second
i mage t hat t he
Di spl acement f i l t er
uses t o det ermi ne how
t o di st or t t he sel ect i on.
Any Phot oshop f i l e
except bi t maps can
be used .
5. Now we want to smooth out
t he gr adations in t his image and
have detail wit hout any speck-
ling. The best way to do this is
to choose Filter > Noise > De-
speckle. Repeat filter three to
four times. (Command/Ctrl + F)
The softer and smoother the
displacement map, the
smoother the shadow effect.
Once you have done this, save
t he image and put it aside.
Di spl aci ng Shadow s Wi t h Phot oshop 3
8. Now, we want to create our
shadow. Select the bottom layer
and click t he new layer icon.
This will create a new layer
between the hat and our face for
t he shadow. With t his layer still
selected, create an approximate
shadow using one of the selec-
t ion t ools. ( Remember, t he t he
exact shapi ng wi l l be done wi t h
t he Di pl acement f i l t er ) . Fill
your select ion wit h 50% gr ay.
Deselect, and choose Filter >
Blur > Gaussian blur to create
a soft shadow.
6. Let’s go back to our or iginal
image. Get back in RGB com-
posite mode. (Command/ Ctrl +
~ ) Next, open the image that
you want t he shadow to fall
under. In t his case, we want to
have a realistic shadow falling
under the br im of this hat.
Ahha, now it’s star t ing t o make
sense! Not i ce t hat our hat
al r eady has a t ranspar ent
backgr ound.
7. Br ing in t he second image
either by copying and pasting
or dragging and dropping. Size
it using t he transfor m tool
(Command/ Ctrl + T). Place it
into final posit ion. You’ll want
to do this in order t o see where
t he shadow needs to fall.
Shadows
Anot her qui ck way t o
creat e a sof t shadow i s
make your sel ect i on
t hen choose Sel ect >
Feat her. Type i n a pi xel
val ue for t he sel ect i on
edges t o b e feat hered.
Transform!
To bri ng up t he di al og
box for t he Transf orm
t ool , t ry t he shor t cut
Shift + Command/ Ct rl + T.
Di spl aci ng Shadow s Wi t h Phot oshop 4
10. Next, a dialog box appears
asking for a file to use for t he
displacment map. Navigate to
wher e you saved t he Bl ur map
file and select it. Click OK and
wait for t he results. Wow! The
shadow magically bends over
t he contour of this perfect face.
Ahaa.
11. Now, to make it a little
more realistic, set t he mode to
Mulitply. Looks OK, but we
can do better t han t his!
9. With the shadow layer still
selected choose Filter > Distor t
> Displace. Enter 0 in the
Horizontal scale and approxi-
mately 30 in the Ver t ical scale.
(Although you may want to
exper iment with the amount.)
The rest of the sett ings can st ay
t he same. Click OK.
Displacement Filt er
Remember, t he i mage
we’re usi ng for our
di spl acement map has
onl y one channel .
Through experi ment a-
t i on, we have f ound
t hat onl y t he vert i cal
scal e i s needed for a
good-l ooki ng shadow.
Mult iply Mode
Ef f ect i vel y l i ke sand-
wi chi ng t w o negat i ves
t oget her, t hi s mode
l ooks at t he col or
i nf ormat i on i n t he
channel s and mul t i pl i es
t he base col or by t he
bl end col or, darkeni ng
t he col or underneat h i t .
Di spl aci ng Shadow s Wi t h Phot oshop 5
12. For the final t ouch we want
to add a bit of warmt h and
color to the shadow as there
would be in real life. For tu-
nately, Photoshop 4.0 Adjust-
ment layer s make this a snap.
Choose New Adjust ment Layer
fr om the layer s pop-up menu.
Choose Hue/ Satur ation and
make sure to select “Group with
Previous Layer.” This way t he
adjustment layer will affect only
t he shadow layer.
13. In t he Hue and Satur ation
dialog box, select Color ize and
t hen adjust your HSL levels
unt il you have your desired
densit y and shadow color.
12. Voila! There you have it! The
per fectly shaped and shaded
shadow. For a finishing touch to
make the hat appear as t hough
it were sitting on t he head, we
added a single 50% br ushstr oke
to the shadow layer under neath
t he hat.
Adobe, t he Adobe logo, and
Photoshop ar e tr ademar ks of
Adobe Systems Incorporated. Mac
and Macintosh ar e tr ademar ks of
Apple Comput er Incor por at ed,
register ed i n t he U.S. and ot her
count r ies. Windows is eit her
register ed in t he U.S. and/ or
other countr ies or a t rademar k
of Micr osoft.
©1997 Adobe Systems
Incor por at ed. All r ights reser ved.
Photo credits: Pet er Fox
and John Gr eenleigh
PS4.0 11/ 97
Colorize
You can use t hi s ef f ect
t o col ori ze bl ack-and-
whi t e i mages or t o
creat e a monot one
ef f ect . Your sel ect ed
i mage wi l l b e con-
vert ed t o shades of red.
You can t hen adj ust
t he col or usi ng t he
Hue sl i der.
Nicer
Looking
Fade
Effect
INTERMEDIATE
2
NICER LOOKING FADE EFFECT
1. Let’s quickly review how to
get a fade effect in Photoshop.
Place an image to fade on a
layer, and choose Layer >
Add Layer Mask > Reveal All.
Make sure that the Layer
Mask Thumbnail icon is
selected in the Layers palette.
Using the gradient tool, set to
default black and white, and
click and drag over the image.
Have you ever had a fade effect look as if it’s starting or ending too
abruptly—or almost being cut off? Here we explain how to use Adobe
Photoshop to solve that problem and achieve better fade effects.
Although the visible quality enhancement with this technique may
vary, it’s a good tip to know…
2. Now let’s check out the
fade effect you’ve created.
You may notice that the fade
looks as if it’s starting or
ending too quickly or almost
as if it’s being cut off. The
higher the lightness contrast
between the fading image
and the background, and the
shorter the distance of the
fade, the more obvious this
becomes.
Layers Palette
The eye icon in the first
column lets you know
if the layer is visible or
not. The second column
has two icons, one
being the paintbrush
which tells you that you
are painting on the
layer, the other telling
you that the layer mask
is selected.
3. Here’s how to solve the
problem. Follow the same
process described in step 1,
but when you draw a gradi-
ent on the layer mask, draw it
about 25% longer than usual
toward both the starting and
ending directions.
3
4. With the layer mask chan-
nel still selected as the current
target channel, choose Image
> Adjust > Curves. By adding
two control points, shape an
S-curve as shown here. You
may want to adjust the curve
to change the look of the fade
transition. If you like the fade
effect in the preview, click OK.
NICER LOOKING FADE EFFECT
5. By applying the S-curve-
based tonal correction to the
layer mask, you add speed
changes to the fade transi-
tion—some speed accelera-
tion at the beginning and
some speed reduction at the
end. This prevents the fade
from starting or ending too
quickly; thus you get a more
natural-looking fade.
Note: Fading edges also can
be created with the Feather
option on the Select menu
and some Selection tools.
Feather always creates
natural-looking fading edges
because it has the S-curve
effect built-in.
Curves dialog box
To add a control point
in the Curves dialog
box, click and drag on
the graph area. To
remove a control
point from a curve,
drag the control point
off the graph area.
Right: Fade created
with the S-curve
technique.
Left: Fade effect with
default gradient.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
©1996 Adobe Systems
Incorporated. All rights reserved.
Contributing author: Etsuro Endo
Photography: PhotoDisc
PS4.0 11/96
Layer
Mania
Russell Brown,
Senior Creative
Director at
Adobe Systems,
performs layers
magic with
Adobe
®
Photoshop
®
ADVANCED
2
BLENDER DEMO PART 1 - LIGHTING EFFECTS
In this demo, we will bring an object that has flat lighting (the
blender) into another image (Russ the magician) and light it so that
it appears to be in the scene. We will do all of this without the aid of
the Lighting Effects filter, or the Levels or Curves dialog boxes. We
will do this with layers!
1. With both your back-
ground and your object
image open in Photoshop,
create or load the selection
of the object. Here we loaded
the selection of the blender,
which we already made and
saved as a channel.
Loading selections
A shortcut to loading
an existing selection
is to press Option/Alt+
Command/Ctrl+4
(4 corresponds to
the number of the
channel). To load the
selection of an object
that is on a transpar-
ent background, the
shortcut is Command/
Ctrl+click the layer in
the Layers palette.
2. Using the move tool, drag
the selected image into the
background image. Move
the object into position.
Double-click the new layer
and name it.
3. The original blender
image is too light, in relation
to the background image.
So we need to increase the
density of the blender. Here’s
how we can do that without
using levels or curves.
Duplicate the Blender layer
by dragging it onto the New
Layer icon at the bottom of
the Layers palette. Set the
mode of this new layer to
Multiply by using the Mode
pop-up menu in the Layers
palette.
Multiply mode
The Multiply mode
is the equivalent of
placing two transpar-
encies over each other
and viewing them on
a light table. Multiply
mode combines the
densities of the two
layers and darkens the
images, just as it is
doing here.
Shortcuts
Throughout this
document, “Command/
Ctrl”, means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Mac
and Alt on Windows.
3
4. To increase density even
more, duplicate the copied
layer two more times. Notice
how the blender darkens
with each layer duplicated.
BLENDER DEMO PART 1 - LIGHTING EFFECTS
5. The top portion of the
blender is still not lit cor-
rectly. We need to erase some
of each of the layers, and
we can do this using layer
masks. With the topmost
layer selected, choose Layer
> Add Layer Mask > Reveal
All. Add a layer mask to the
next two layers also.
6. Target the topmost layer
mask. Then select the gradi-
ent tool, make sure your
default colors are white and
black, and click and drag at
the same diagonal as the
blender to create a smooth
transition. Repeat this step
for each layer that has a layer
mask. Notice how the high-
lights start to form along the
top edge. BINGO!
Default Colors
Pressing the D key on
the keyboard when a
layer mask is selected
gives you the default
white and black as
your foreground and
background colors.If
on a Layer image, the
default colors would
be black and white as
your foreground and
background.
4
BLENDER DEMO PART 1 - LIGHTING EFFECTS
7. Next, a reflection of my
nice shiny head and white
gloves needs to appear on
the blender so that it looks
like it’s really part of the
scene. Duplicate the Back-
ground layer by dragging it
onto the New Layer icon in
the Layers palette.
8. Choose Layer > Transform
> Scale, and drag the lower
middle point up to compress
and distort the image. Don’t
double-click yet.
9. The reflection should be
an exact mirrored image, so
with the transform points
still active, choose Layer >
Transform > Flip Vertical.
Double-click inside the
image. Then, using the move
tool, move the image into
position.
Finetuning
If the image needs
more adjustments, use
the dodge and burn
tools or select the
paintbrush tool and
paint black on the
layer mask to add
more highlight effects.
5
BLENDER DEMO PART 1 - LIGHTING EFFECTS
10. The image should
appear inside the blender.
Move the Background copy
layer up between the Blender
layers. Hold down Option/Alt,
and move the pointer over the
line between the Background
copy layer and the Blender
layer below it. When the
pointer changes to the clip-
ping group icon, click to
define the two layers as a
clipping group.
Clipping groups
A clipping group is
somewhat like using
the Paste Into com-
mand with two layers.
In this case, think of the
blender layer as the
masking shape and the
background copy as
the image that will be
pasted into the mask.
Overlay mode
Colors are overlaid
on the existing pixels
while the highlights
and shadows of the
base color are
preserved. The base
color is not replaced
but is mixed with the
blend color to reflect
the lightness and
darkness of the
original image.
11. With the Background
copy layer still selected in
the Layers palette, choose
Overlay from the Mode
pop-up menu.
12. Using the move tool,
move the image into place
so you can see the reflection
in the surface. If the image
is too light, duplicate the
Background copy layer by
dragging it onto the New
Layer icon at the bottom of
the palette.
Reflections 101
Don’t forget your basic
physics when making
realistic reflections.
The angle of incidence
always equals the
angle of reflection.
A
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n
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g
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e
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e
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t
i
o
n
6
BLENDER DEMO PART 1 - LIGHTING EFFECTS
14. With the Background
copy layer targeted, select the
eraser tool with a medium
size, soft edge. Clean up the
hard edge of the reflection in
the blender by erasing the
image. Also, because the
reflection would not appear
that high on the blender, take
out some of the reflection
appearing higher up on the
surface. And there you have
it, the fantastic blender trick!
13. Merge the layers that
create the reflection for
further finetuning. With
Background copy 2 selected,
choose Merge Down from
the Layers palette pop-up
menu.
Flexibility
By creating the
reflection on a layer of
its own, you can easily
edit and reposition it
at any time.
7
BLENDER DEMO PART 2 - WORKING WITH SMALL ANIMALS
1. Continuing to work with
the blender image from the
previous demo, choose
Preferences > Display &
Cursors. Select Brush Size
and Precise. Click OK. Select
the paintbrush tool with a
medium size, soft-edge
brush.
In this next portion of the demo, we’ll experiment with more
advanced capabilities to enhance the blender. Yes, it’s a little more
tricky, because more layers will be added. First, we’ll tone down the
bright highlights on the blender with some great brush tricks, and
then we’ll add a fish so that it looks as if it’s inside the blender.
Brush size tip
To change your brush
size without going to
the Brushes palette,
press the Open
Bracket and Close
Bracket ([ and ]) keys
to reduce and enlarge
the brush size.
2. Target the original Blender
layer. While holding down
the Option/Alt key (which
toggles you from the paint-
brush to the eyedropper
tool), select a light copper
color from the blender to
tone back the highlight areas.
Then check Preserve Trans-
parency in the Layers palette.
Preserve
Transparency
Preserve Transparency
will protect the
transparent areas in
the image and allow
you to paint only
where there are pixels.
Preserve Transparency
creates something like
an invisible mask.
3. Double-click the paint-
brush tool to bring up the
paintbrush options. Choose
an opacity of 50% and select
Darken mode in the pop-up
menu.
Darken mode
With Darken mode,
the paintbrush will
paint only where the
chosen foreground
color is darker then
the highlight color. It
will not paint in the
dark shadow areas.
8
BLENDER DEMO PART 2 - WORKING WITH SMALL ANIMALS
4. Paint over the highlight
areas. Notice that you don’t
have to worry about going
beyond the boundaries of
the blender—Preserve
Transparency is at work!
Continue painting over all
the highlight areas to tone
them back. Feather the
highlight at the top of the
blender to keep the curva-
ture of the lid.
Opacity tip
When a selection tool
is active, pressing any
of the numeric keys
changes the opacity
to a corresponding
percentage. Press 1 for
10% and 0 (zero) for
100%, and so on.
5. Now, as a challenge for you
super users, we’re going to
put a fish inside the blender.
With the move tool, drag the
fish into the blender image
and position it in the
blender. Move the fish to
the topmost layer.
6. Select the lasso tool, and
then target the original
Blender layer. Holding down
the Option/Alt key, click the
blender area around the fish,
selecting the area that will be
sandwiched over the fish.
Note: No small animals
were harmed in the
creation of this demo.
9
BLENDER DEMO PART 2 - WORKING WITH SMALL ANIMALS
7. From the menu bar,
choose Layer > New > Layer
Via Copy. In the Layers
palette, move the new layer
above the Fish layer.
8. Double-click this new
layer to bring up the Layer
Options dialog box. Option/
Alt+click the This Layer
high-value range slider
(white triangle) and move
half of the triangle to the left.
Blending layers
The sliders here let you
define which pixels are
blended by indicating
a range of brightness
values for the replace-
ment pixels. In our
example, the highlight
range was split to
soften the layer, giving
it a semi-transparent
and fogged look. The
further apart the
triangles, the softer the
appearance of the layer.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft in the
U.S. and other countries.
©1996 Adobe Systems
Incorporated. All rights reserved.
Photography: Doug Menuez
Special thanks to Ridgley Curry,
Classic PIO Partners
PS4.0 11/96
9. You can see the goldfish,
semi-transparent inside the
blender. There you have—
super advanced—the next
steps for working with layers
and lighting a particular
scene.
MAKING SEAMLESS PATTERNS
To make a pat t er n i n Adobe® Phot oshop®, you si mpl y sel ect an area usi ng t he
r ect angl e mar quee t ool and t hen choose Edi t > Def i ne Pat t er n. Al most
al ways, however, f i l l i ng an ar ea wi t h t hi s pat t er n wi l l l eave t el l t al e t i l i ng
l i nes, or gr i ds. For a pat t er n t o t i l e seaml essl y, t he edges of t he pat t er n t i l es
must al i gn exact l y t o cr eat e a cont i nuous i mage. Thi s t echni que shows how
t o cr eat e a pat t er n t i l e wi t h edges t hat won’t be vi si bl e when t he t i l e r epeat s.
1. Open the image that
contains t he area you want
to use for a patter n t ile.
2. Crop t he image to the size
and area you want the patter n
t ile to be.
The tile image
Images with plain or
textured backgrounds
are the best candidates
for a smoothly tiling
pattern because it is
easier to smooth away
the tile lines. Try to
avoid images with
gradations because
these are very difficult
to touch up. Also,
select an image or
object that doesn’t
bleed off the edge of
the tile.
Luanne Seymour Cohen,
Creative Director at
Adobe Systems shows
you how to make a
Photoshop pattern
without seam lines.
INTERMEDIATE
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
Making Seamless Patterns 2
3. Check the size of t he file by
holding down Opt ion/ Alt and
select ing the size box in the
lower left cor ner of the window.
Make a note of t he width and
height pixel values.
4. Choose Filter > Other >
Offset. Select the Wr ap Around
opt ion; for the hor izontal and
ver t ical values, enter approxi-
mately half the value of the width
and height you noted in step 3.
5. Click OK. The Offset filter
splits the image into four sec-
tions. Not ice t hat the left half of
the image completes t he r ight
half and the top half of the image
completes the bottom half.
The Offset Filter
This filter basically
slices up your image
and moves it horizon-
tally and vertically. It is
helpful to do this so
we can see how the
edges of the pattern
tiles will meet.
Making Seamless Patterns 3
6. Now use t he r ubber stamp
tool to blend t he center seams
between the four sect ions of
the image. I use a soft-edged
br ush set at 50% opacit y. The
goal is to tr y to blend the
backgrounds of each rectangle
together and to remove other
elements that you don’t want to
repeat. (In this example, I re-
moved t he stem and the str ay
bit of pet al.)
Cloning a smooth
background
Try to clone using
multiple, short brush
strokes so that the
stroke itself is not
visible. Use a brush
that is similar in size
and texture to the
background. For this
soft, diffused back-
ground I used a soft,
transparent brush.
¡
¡
7. To put t he finishing touches
on t he patter n t ile, we must
reverse the offset process.
Choose Filter > Other > Offset.
This br ings up the filter dialog
box last used. Add a minus
before each of t he pixel values
to reverse the offset effect.
Click OK.
8. Check to see if any problems
were created by painting or
cloning near the edge of the t ile
in step 6. If so, carefully cover
these up using the r ubber stamp
tool again. Use a small br ush
and be careful not to change
any of the pixels r ight on the
edges of the t ile. In this ex-
ample, t he ar rows point to the
areas where I painted too close
to t he edge and need to repair.
Filter shortcuts
To apply the last filter
you used, simply press
Command/Ctrl+F. If
you want the same
filter but need to
adjust some values,
press Command/
Ctrl+Option/Alt+F. The
dialog box of the last
used filter will appear.
Making Seamless Patterns 4
11. Evaluate the over all look of
the patter n and ident ify any
problem areas. If you like t he
effect, save t he patter n t ile file.
If you want to touch up the t ile,
retur n to step 8.
10. Create a new file to use as a
patter n fill test. Make sure that
the file is several t imes larger
than t he pattern t ile. Select a
large area (or the entire file),
and choose Edit > Fill. From
the Use pop-up menu, choose
Patter n. Use a Mode of Nor mal
and an Opacit y of 100% so that
you can easily ident ify any
problems in the pattern. Click OK.
9. Next, test the pattern t ile for
any flaws. Choose Select > All
(Command/ Ctrl A); t hen
choose Edit > Define Patter n.
PS4.0 12/ 97
Adobe, t he Adobe logo, and
Photoshop ar e t r ademar ks of
Adobe Systems Incor por ated.
Macintosh is a t r ademark of
Apple Computer, Inc. registered
in t he U.S. and ot her count r ies.
Windows is eit her a registered
t r ademark or a t r ademar k of
Microsoft in t he U.S. and/ or
ot her count r ies.
©1997 Adobe Systems
Incor por ated. All r ights reser ved.
Photogr aph: Digit al Vision.
PAI NTERLY I MAGES
1. Open a new CMYK or RGB
file. The best t ypes of images
for t his technique are ones that
contain lots of color and
texture. Landscapes and st ill
lifes work ver y well. Peopled
scenes are fine but close-ups of
faces don’t work as well because
the facial features can become
too distor ted or smeared.
2. Opti o nal: If your image
has flat or dull colors, you
might want to intensify them
for t he paint ing. Create an
Adjust ment layer by holding
the Opt ion/ Alt+Command/
Ct rl keys while clicking on
the new layer icon. Choose
Hue/ Saturat ion. Move t he
satur at ion slider to t he r ight
to intensify the colors in
your image.
Adjustment layers
Adjustment layers
allow you to alter the
look of your image
without actually
making a permanent
change to the original.
They give you the
flexibility of being able
to change the adjust-
ment as many times as
you want. To readjust,
simply double-click on
the adjustment layer
name and make
changes in the dialog
box that appears.
Luanne Seymour Cohen,
Creative Director at
Adobe Systems, makes
a good impression with
Adobe
®
Photoshop
®
4.0.
BEGINNER
Lear n how t o cr eat e a pai nt i ng f r om a phot ogr aph. I n j ust
a few si mpl e st eps you can t ur n a r un of t he mi l l snapshot
or st ock phot o i nt o a di gi t al pai nt i ng.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
Painterly Images 2
3. Now we will make a copy
of the background layer by
dragging it to the new layer
icon. The or iginal background
layer will be left as is and we
will paint on t he copy.
Important: Save the file at
this point.
Custom brushes
You can use any image
or part of an image to
create a custom brush.
The most effective
brushes are created with
black and gray pixels on
a white background.
Once you’ve created the
brush image, select it
and choose Define Brush
from the Brushes palette.
5. Before you begin paint ing,
you’ll need to choose a br ush
that approximates the texture of
the subject matter. You can use
the default brushes in your
br ush palette. But for the flower
field in this image, I’m going to
use a custom br ush. Select Load
Br ushes from the Br ushes
palette. Go to the Photoshop
folder and open Br ushes >
Assorted. (Mac users: Goodies >
Brushes & Patterns > Assor ted
Br ushes.) The ext ra br ushes will
appear in the brushes palette.
4. Double-click t he r ubber
stamp tool and change the
Opt ion in the Rubber Stamp
Options palette to Impressionist.
Painterly Images 3
6. Select your br ush and begin
paint ing the image. The impres-
sionist tool samples the colors
that are in the saved image and
allows you to smear them. It’s as
if t he photo was made of wet
paint and you are moving it
around with a br ush. No te: Do
not save the file while you
paint! If you want to keep
interim copies, choose File >
Save a Copy. If you save the file
dur ing the paint ing process you
will no longer be painting with
the or iginal source pixels.
7. You may want to zoom in to
paint cer tain sect ions or objects
in your image. Or change the
br ushes or br ush stroke direc-
t ion based on the subject
matter. In t his example, I t ried
to match the br ush stroke
direct ion to the text ure of t he
r ust y shed.
8. Cont inue br ushing the ent ire
image unt il you are sat isfied
with the result. You may want to
go back over cer tain areas with
a smaller br ush, if you want to
recover detail that might have
been lost.
Impressionist
option
When you use the
Impressionist option of
the rubber stamp tool,
Photoshop reads the
pixels from the last-
saved version of the
file. As you drag over
an area with the brush,
it smears the pixels from
the image to create an
impressionistic effect.
PS4.0 12/ 97
Adobe, t he Adobe logo, and
Photoshop ar e t r ademar ks of
Adobe Systems Incor por ated.
Mac and Macintosh are
t r ademarks of Apple Computer,
Inc. registered in t he U.S. and
ot her count r ies. Windows is
either a registered t r ademar k
or a t r ademar k of Micr osoft in
t he U.S. and/ or ot her count r ies.
©1997 Adobe Systems
Incor por ated. All r ights reser ved.
Photogr aph: Digit alVision.
Luanne Seymour Cohen,
Creative Director at
Adobe Systems, Inc.,
shares a technique on
how to create cool
posterized images with
Adobe Streamline,
Adobe Photoshop and
Adobe Illustrator.
INTERMEDIATE
1. Open the original image in
Photoshop. For best results, use
a higher resolution image. 300-
600 pixels per inch will give the
best results in Streamline.
2. To get the best results in
Streamline you must first
simplify the shapes in your
image using Photoshop. To do
this choose Image > Adjust >
Posterize. Play around with the
number of levels, and turn on
the Preview button to see the
results. Don’t worry about the
number you end up with, just
pick a number that gives you
the best shapes while still
maintaining detail.
Posterizing in
Photoshop
6 levels of posterization
means that Photoshop
will use 4 tonal values
in each channel. This
means that for a
3-channel RGB image,
you’ll end up with
4x4x4 colors or 64
colors.
POSTERIZED IMAGES WITH STREAMLINE
Sometimes you want to make a photographic image
look very graphic with crisp, sharp edges
and high contrast colors. You can do
this by first posterizing it in
Adobe
®
Photoshop
®
, tracing
it in Adobe
®
Streamline
®
and then
editing and finessing the colors and
shapes in Adobe

Illustrator
®
.
This technique shows you how.
Posterizing Images With Streamline 2
3. Save the file with a new name.
You can save the file in TIFF,
TIFF compressed, PICT,
Photoshop, or Photoshop 2.0
format.
4. Switch to Streamline and
open the Photoshop file you
just saved. Choose Options >
Settings. Select one of the preset
Color settings. Don’t worry if
the number of colors is different
from what you want because we
will adjust that later.
5. Choose Options > Color/
B&W Setup. This is where you
will experiment with the
Maximum # of colors for your
posterization. Select the Add new
colors to custom color list. Select
Reduce detail. Deselect (for
photographic image) or select
Color averaging (for images
with large areas of color).
Streamline’s
posterization
Streamline creates a
graph of the image
color values (histo-
gram). Then it divides
the colors evenly into a
color palette that
contains the number
of colors selected in
the Color/B&W Setup
dialog.
Posterizing Images With Streamline 3
6. Click the Preview button to
see how the image’s color
shapes will be divided up. Keep
trying different numbers of
colors and complexity levels,
(don’t forget to click Preview),
until you are satisfied with the
shapes and level of detail in the
preview. The actual colors can
be changed later in Illustrator.
7. Choose Options >
Conversion Setup. Choose
Outline for a photographic
image. If your image has a lot of
noise correct it by increasing
the Noise Suppression slider. If
your image has straight and
curved lines, make that
selection also.
8. Because you’ve changed some
of the specifications, Streamline
has given your settings a new
name. You can change it in the
Settings dialog if you want, then
click Create.
Experimentation
pays off
In the image at the left,
I tried several different
color settings starting
with 6 colors. I found
that 16 was the
minimum number I
needed to retain the
detail in the flower
centers. Anything less
and the detail I wanted
was lost.
Noise Suppression
Pixel areas with a
diameter measuring
the number of pixels
selected in the Noise
Suppression setting are
ignored during
conversion.
Naming Settings
If you make a change
to either the Conversion
Setup or Color/B&W
Setup after you have
saved your settings you
will need to resave the
new settings with a
different name.
Posterizing Images With Streamline 4
9. Once your settings are
adjusted, you are ready to
autotrace the image. Choose
File > Convert and Streamline
will begin the autotrace process.
When the tracing is complete,
choose File > Save Art As and
save in Adobe Illustrator
format. Streamline will add or
replace a suffix of .ai to the file
name.
10. Open the .ai file in Illustrator.
Choose Window > Show
Swatches and view by Name.
Notice that there are now
several new spot colors at the
bottom of the Swatches palette.
They are named “Auto Color”
followed by a number.
11. To adjust or change a color,
double click on an Auto Color
in the Swatches palette. Move
the Swatch Options dialog so
you can see the image. Adjust
the sliders to the desired color.
The artwork will update in the
window so you can preview the
new color change. Click OK.
Smoothing paths
If the shapes that
Streamline created are
too complex or have
too many anchor
points, use the Smooth
Path feature. Select the
path or paths that
need simplifying.
Choose Edit > Smooth
Path. Choose Minimum,
Medium or Maximum.
Auto Colors
The colors created by
Streamline are named
“Auto Color” and are
spot colors in
Illustrator.
Posterizing Images With Streamline 5
12. To adjust the tone of a spot
color, select its name in the
Swatches palette and move the
slider in the Color palette. The
new tonal value of the auto
color can then be dragged to
the Swatches palette. The added
swatch will retain the original
color name and have a percent-
age after it. You can then make a
selection in your artwork and
target the tonal color.
13. To clean up your file you
may want to remove unwanted
shapes, breakup complex paths
or remove points from a path.
To clean up shapes, zoom in on
that area. Depending on the
complexity of the image you
traced, you might have some
unwanted lumps and bumps in
some of the paths. Use the
delete anchor point tool, the
scissors tool and/or the knife
tool to simplify and split up
paths.
14. Once you’ve removed or
simplified the really complex
paths, you’re done. In the image
at the right, I added a gradient
and a stroke to the background
shape. This adds visual depth to
the image.
Adobe, the Adobe logo,
Photoshop, Illustrator, and
Streamline are trademarks of
Adobe Systems, Incorporated.
©1997 Adobe Systems,
Incorporated. All rights
reserved.
Photography: PhotoDisc
PS4.0, SL4.0, AI7.0
QUICK PICTURE FRAMES
Adobe® Phot oshop® 5.0 comes wi t h mor e t han 100 di f fer ent Act i ons. Sever al of
t hese Act i ons cr eat e f r ames. I f you l i ke t he f r ame but want t o cust omi ze i t f or
your i mage, you can do so easi l y. I n t hi s t echni que, you wi l l make a pi ct ur e
f r ame for your i mage and t hen change i t s col or usi ng an adj ust ment l ayer.
Adj ust ment l ayer s al l ow you t o al t er t he
col or of t he f r ame
wi t hout l osi ng i t s
shadi ng, bevel i ng
and t ext ur e.
1. Open the image you want to
frame. The image size must be
more t han 100 pixels in both
width and height. This act ion
works best on a flattened or a
one-layer file. Here we are using
the Wi l der ness file found in the
Adobe Photoshop 5.0 Goodies
Sampler folder.
2. Choose Window > Show
Act ions to display the Actions
palette. Open the Default
Act ions set.
100 free Act ions
Phot oshop 5.0 shi ps
wi t h ei ght Act i on set s
cont ai ni ng more t han
100 di f ferent Act i ons.
You can f i nd t hem i n
t he Goodi es fol der
i nsi de t he Phot oshop
5.0 appl i cat i on fol der
for bot h Mac and
Wi ndows versi ons.
Luanne Seymour Cohen,
Adobe Imagi ng
Evangelist ,
cust omi zes Act i ons i n
Adobe Phot oshop 5.0.
BEGINNER
Qui ck Pi ct ure Frames 2
3. Select the Wood Fr ame - 50
pixel Act ion and click the Play
button. Once you click t he Play
button a dialog box will appear.
Click Cont inue if you have at
least a 100 pixel wide and tall
image. Click Stop if your image
is smaller than this. Applying
the Act ion to your image will
make your image 100 pixels
wider and 100 pixels t aller t han
the or iginal image.
4. The Act ion creates a “wood”
frame around your image. If
you are sat isfied with the image,
save the file now and you are
finished. If you want to change
the color of the fr ame, go to
step 5.
5. Select the f r ame layer. From
the Layers palette, choose New
Adjust ment Layer.
Layer Effect s
To change a l ayer
ef f ect set t i ng, doubl e-
cl i ck on t he l ayer ef fect
i con, l ocat ed i n t he
Layer pal et t e.
Qui ck Pi ct ure Frames 3
Adobe, t he Adobe logo, and
Photoshop ar e t r ademar ks of
Adobe Systems Incor por ated.
Macintosh is a t r ademar k of
Apple Computer, Inc. registered
in t he U.S. and ot her count r ies.
Windows is eit her a registered
t r ademark or a t r ademar k of
Microsoft in t he U.S. and/ or
ot her count r ies.
©1998 Adobe Systems
Incor por ated. All r ight s reser ved.
Photo credit © Adobe Image
Libr ar y.
PS 5.0 5/ 98
6. Choose t he t ype of adjust-
ment you want to make. In this
case we want to change the
color of t he frame so choose
Hue/ Saturat ion. Click Group
With Previous Layer so that the
color adjust ment affects only
the f r ame layer.
7. Select the Color ize opt ion.
Then move the Hue slider unt il
you find the color you want. To
make the color more or less
intense, adjust the Saturation
slider. To make the color lighter
or darker, adjust the Lightness
slider.
8. Click OK to view the results.
Remember, you used an adjust-
ment layer for maximum
flexibilit y, so you can double
click on it at any t ime and
change t he values.
Adjust ment Layers
If you want t o experi -
ment wi t h col or or
cont rast adj ust ment s
but you don’t want t o
permanent l y change
t he ori gi nal , use
adj ust ment l ayers. They
f l oat above t he l ayers
you want t o al t er. If
you don’t l i ke t he
ef f ect , j ust doubl e cl i ck
on t he adj ust ment
l ayer and change t he
val ues. You can appl y
an adj ust ment l ayer t o
an ent i re f i l e or t o j ust
one l ayer at a t i me.
Adobe Seni or Ar t Di rect or
Russel l Prest on Brown i n
a vi rt ual paradi se wi t h
Adobe
®
Phot oshop
®
4.0

INTERMEDIATE
RAINBOW IN PARADISE WITH PHOTOSHOP 4 .0
For al l you Phot oshopper s want i ng your own sl i ce of par adi se, her e i s t he t i p for
you! You wi l l l ear n how t o creat e your own r ai nbow usi ng t he new Phot oshop
gr adi ent t ool , al ong wi t h channel s and l ayer masks. I t ’s a vi r t ual pot of gol d.
1. Open t he image you want to
begin working on. As you can
see, I have chosen an image
that lends itself to a natural-
looking rainbow, with a dark
stormy background and front
highlights.
2. Open Gradient Tool options
by double-clicking on t he Gradi-
ent tool. Click the Edit button
to bring up your Gradient Editor
dialog box.
Shortcut s
Throughout t hi s
document , “ Command/
Ct rl ”, means Command
on t he Maci nt osh and
Ct rl on Wi ndows.
“ Opt i on/ Al t ” means
Opt i on on t he
Maci nt osh and Al t on
Wi ndows.
Rai nbow i n Paradi se wi t h Phot oshop 4.0 2
3. Next, select New to begin
creat ing your r ainbow gradient.
Once you name the new gradi-
ent, star t adding colors by
simply clicking below the
gradient bar. Edit your new
color by clicking in the color
swatch area.
4. The key step here is to make
sure t hat your color bands are
at one end of t he bar, as in the
example shown. I’ve chosen
the following simple set of
four colors: 28-137-18 / 210-255-
0 / 255-60-0 / 0-0-0 for black
You can also exper iment to find
your own color solutions, if so
you might be tempted to create
that soft blend r ight here–but
don’t do it! We will do that later.
Click OK once you have t he
gradient you want.
Download gradient for PC
Download gradient for Mac
Duplicat ing Colors
By hol di ng down t he
Opt i on/ Al t key whi l e
cl i cki ng on any col or
square, you can
dupl i cat e t hat col or.
Tab Tab Tab!
When your col ors
are cl ose t oget her,
use t he Tab key t o
move t hrough your
sel ect i ons t o ensure
you don’t acci dent l y
sel ect t he wrong one.
5. Finally, set the Type of
gradient to Radial.
Rai nbow i n Paradi se wi t h Phot oshop 4.0 3
6. Create a new layer for the
rainbow by pressing the new
layer icon. Then zoom out so
that you can star t t he gradient
well below the actual image.
8. So first, set the Layer mode to
Screen and move the opacit y
back to 60%.
Screen Mode
Thi s Bl end mode i s l i ke
t aki ng t wo separat e
t ransparenci es and
proj ect i ng t hem on t op
of each ot her. Resul t i ng
col ors wi l l al ways be
l i ght er. Bl ack wi l l
change not hi ng and
whi t e remai ns whi t e.
7. Click and dr ag your gradient
tool about two-thirds the way
up the image. Yikes! Right away
you will not ice two obvious
problems: The gradient will be
black with harsh bands of color.
Rai nbow i n Paradi se wi t h Phot oshop 4.0 4
9. Next we want to soften t he
bands of color. Choose Filter >
Blur > Gaussian Blur. Your
image resolut ion will determine
how much you will want to set
your blur to. I chose about 9
pixels for t his 72-dpi image.
There is st ill one thing that we
need to do. We need to make
the rainbow appear as though
it’s coming from behind t he
trees. We can do this using a
simple layer mask.
How much blur?
The degree of Gaussi an
bl ur wi l l depend on
your i mage si ze and
resol ut i on. For l ower
resol ut i on, l ess bl ur wi l l
be suf f i ci ent , f or hi gher
resol ut i on you wi l l
need t o go hi gher.
11. Duplicate this channel by
dragging it over t he new chan-
nel icon. To heighten t he
cont rast as I’ve done, you can
adjust t he levels by choosing
Image > Adjust > Levels.
10. You could paint a mask to
hide par ts of the rainbow or
st ar t with one of the channels
in your image. I am going to
use the channels, but some
photos may not work as well
as this one. First t ur n off the
Rainbow layer (click on the eye
next to the layer) and go to the
Channels palette. Now, view
each channel separately to
find which one has the best
cont rast to make a layer mask.
Display Shortcut
To go t hrough your
channel s qui ckl y you
can use t hese short cut s:
Command/ Ctrl+1 = Red
Command/ Ctrl+2 = Green
Command/ Ctrl+3 = Blue
Command/ Ctrl+~ = Composite
Rai nbow i n Paradi se wi t h Phot oshop 4.0 5
13. Switch back to the compos-
ite channel and then back to
your Layers palette. Target your
rainbow layer. With t he channel
as your selection click the layer
mask icon.
Layers Shortcut
To l oad t he channel
sel ect i on f rom your
Layers pal et t e, press:
Command/ Ct rl +
Opt i on/ Al t + 4
14. There you have it! The
perfect rainbow in par adise.
12. Turn t his new channel into a
selection either by dragging it
over the dotted circle at t he
bottom or using t he shor tcut:
Command/ Ct rl + click on the
target channel.
Adobe, t he Adobe logo, and
Phot oshop are t rademarks of
Adobe Systems Incor por ated.
Macint osh is a registered
t r ademar k of Apple Computer,
Inc. Windows is a regist ered
t r ademar k of Microsoft in t he
U.S. and ot her count r ies.
©1997 Adobe Systems
Incor por ated. All r ight s
reser ved.
PS4.0 8/ 97
Repairing
Digital
Photographs
Adobe Senior Creative Director
Russell Brown shows you how to repair your
digital images with Adobe
®
Photoshop
®
ADVANCED
2
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
In this demo, we will repair a photograph taken with a low-resolution
digital camera—in this case, the Kodak DC50. Often these cameras
produce excellent results, but they have a few deficiencies that can be
repaired digitally using layers. This technique is also quite useful for
repairing badly scanned images.
1. Open your digital image
file in Photoshop. Zoom in
on the image and take a close
look at the problem areas,
especially noting the skin
tone in this image.
2. Go through the RGB
channels. Press Command/
Ctrl+1 for the Red channel,
Command/Ctrl+2 for the
Green, and Command/
Ctrl+3 for the Blue channel.
Notice the artifacting and
extra noise in the Blue
channel. The Blue channel
is the telltale channel of a
scanned image and often will
show the errors of the scan.
Blue channel
The CCD (Charged
Couple Device) in
the camera is least
sensitive to the blues,
and it is more difficult
to interpret those colors.
Also, when you capture
an image with a digital
camera, it’s compressed
with JPEG compression.
The combination of
these two factors
creates noise in the
blue channel.
3. Zoom out of the image
and return to the RGB
composite. Here’s how to
easily fix this image using
Photoshop layers. Duplicate
the Base Layer by dragging it
onto the New Layer icon at
the bottom of the Layers
palette. Double-click this
new layer and rename it
Color Blur.
Preferences
For this demo, we
chose Preferences >
Display & Cursors, and
selected. Brush Size
and Precise.
Shortcuts
Throughtout this docu-
ment, “Command/Ctrl”
means Command on the
Macintosh
®
and Ctrl on
Windows
®
. “Option/Alt”
means Option on the
Macintosh and Alt
on Windows.
3
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
4. Choose Filter > Blur >
Gaussian Blur. Choose values
based on the resolution of
the image. You want to soften
the image—not lose the
image completely, but soften
it—especially in the troubled
area of the blue channel.
5. With the Color Blur layer
still targeted, create an
overlay of the two layers
using Color mode from the
pop-up menu in the Layers
palette.
6. Zoom in to the image
and look at the same area.
Press Command/Ctrl+3 to
go to the blue channel again.
See how the noise has been
smoothed out. Amazing but
true! But wait, there’s more...
Color mode
Colors are overlaid on
the existing pixels while
the highlights and
shadows of the base
color are preserved.
The base color is not
replaced, but is mixed
with the blend color to
reflect the lightness and
darkness of the original.
4
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
7. Let’s continue working
with this image and give it
more of a portrait look by
softening the focus of the
image, as if it were shot
through a special filter.
Duplicate the Color Blur
layer by dragging it to the
New Layer icon, and then
double-click the new layer
and rename it Soft Focus.
8. With the Soft Focus layer
targeted, change the mode
back to Normal and set
opacity to 30%. This creates
a nice soft look around the
edges of the image, especially
the face, hair, and hat areas.
9. The eyes are also being
softened, which is not
something we want, so we
will create another layer to
sharpen parts of the image.
Duplicate the original Base
Layer, and then move it to
the top (above the Soft Focus
layer). Name this layer
Sharpen Details.
Opacity Tip
When a selection tool
is active, pressing any
of the numeric keys
changes the opacity
to the corresponding
percentage. Press 1 for
10%, 0 for 100%, and
so on.
5
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
10. Create a new layer by
clicking the New Layer icon,
and then move it to the
bottom of the stack. Option-
click the eye icon for this
layer, and then choose Select
All and fill the layer with
white. Deselect. This new
layer is needed only to
preview the effects of blend-
ing layers—which you are
about to see.
Fill shortcut
Pressing Option/Alt+
Delete fills the area
with the foreground
color. Pressing
Command/Ctrl+Delete
fills the area with the
background color.
11. Click the eye icon for
the Sharpen Details layer so
that only the bottom and top
layers are visible. Target the
Sharpen Details layer.
12. Now we will isolate the
areas of this layer that need
to overlay the image. Double-
click the layer to bring up the
Layer Options dialog box.
Make sure Preview is checked.
Move the This Layer high-
value range slider (white
triangle) to the left. Notice
that areas of the face and hat
are being eliminated.
Blending Layers
The sliders here let you
define which pixels are
blended by indicating
a range of brightness
values for the replace-
ment pixels. In our
example, the highlight
range was split to
soften the layer, giving
it a semi-transparent
and fogged look. The
further apart the
triangles, the softer the
appearance of the layer.
6
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
13. The transition is very
harsh and needs to be
softened. Option/Alt+click
the white triangle slider, and
move half of the triangle to
the left. Splitting the triangle
softens the transition. Move
the two half-triangles around
to achieve a soft look, being
sure not to add back detail
where you don’t want it.
14. The face has been ad-
justed fine, but too much
of the red shirt is showing.
Select the Red channel in the
Blend If pop-up menu. Now
adjust the slider to isolate the
reds. Remember to split the
slider to soften the image. Go
back to the Gray channel to
do any final adjustments, and
then click OK.
15. Click the eye icon to view
the other layers and turn off
the bottom layer eye icon.
Looks pretty good! On to
the next phase.
Before and after
To see the effects of
sharpening, click the
eye icon on and off
next to the Sharpen
Details layer. This trick
can be used on any of
the layers.
7
16. Another thing we can do
to this image is to bring back
some of the white in the eyes,
which was dimmed when the
soft blur was applied. Zoom
in on the eye and target the
Soft Focus layer. To bring
back the detail, we will make
a layer mask. Press Comand/
Ctrl-click the New Layer
mask icon at the bottom of
the Layers palette to add a
layer mask.
REPAIRING DIGITAL PHOTOGRAPHS, PART 1
17. Choose a small brush,
set the opacity to 50%, make
sure the foreground color is
black, and begin painting in
the area of the eye where you
would like to bring back that
nice white highlight. Notice
that you are painting on the
layer mask, and not directly
on the image.
18. Zoom out to view the
larger image. Very nice!
Add Layer Mask
A layer mask can be
added to any layer to
isolate particular areas
you don’t want
affected.
8
REPAIRING DIGITAL PHOTOGRAPHS, PART 2
Continuing to work with the same digital image, I’d like to alter the
focus range. Low-resolution digital cameras offer no control of depth
of field, but we can add a professional quality to the image—as if
there were a depth of field control. To do this, we will first separate the
little boy from the background, and then we’ll blur the background.
1. With your digital image
file still open in Photoshop,
save a version with all the
layers. For this exercise, we
need to flatten the image so
that it becomes one composite
layer. After saving, choose
Flatten Image from the Layers
Palette pop-up menu.
2. Now we need to create a
selection mask so that the little
boy in front can be separated
from the background image.
Zoom in on the edge of the
hat. Double-click the paint-
brush tool to bring up the
Paintbrush Options palette.
Select 100% opacity, and on
the Mode pop-up menu,
choose Dissolve. Select a large
hard-edge brush from the
Brushes palette.
3. Make sure the default
foreground and background
colors are black and white
respectively (press D on the
keyboard). Then choose the
Quick Mask mode on the
Tool palette, just below the
background color.
Dissolve mode
Dissolve gives the
brush a ragged, rough,
dissolving quality
which takes on some
of the quality of the
edge of the hat in the
image. This allows us
to simulate the same
grain of the photo so
the mask will not look
fake.
Quick Mask mode
With Quick Mask
mode on, you can
paint directly on the
surface of the image,
without affecting it, to
make a mask. Press Q
to toggle between
Quick Mask mode and
Standard mode.
9
4. Begin painting on the
inside edge of the hat. Notice
that you are painting with
the Quick Mask paintbrush.
Paint all the way around the
edge of the hat in Dissolve
mode to get the rough
texture of the hat. You could
never achieve the same
quality of selection with the
lasso tool. This gives you a
much more natural selection.
REPAIRING DIGITAL PHOTOGRAPHS, PART 2
5. Choose Normal mode, and
continue painting along the
edge of the shirt and overalls.
The Normal brush works
here because the edge is
softer and smoother.
Mask
You can add and
subtract from the
mask while painting
by switching your
foreground color from
black, which adds to
the mask, to white,
which subtracts from
the mask. Pressing X
on the keyboard
toggles between the
foreground and
background color.
6. Make sure that there is a
continuous outline of the
quick mask around the little
boy, and then select the
bucket tool from the tool
bar. Click in the middle of
the Quick Mask outline to
fill the area with the quick
mask.
10
REPAIRING DIGITAL PHOTOGRAPHS, PART 2
7. Return to Selection mode
by clicking the icon to the
left of the Quick Mask icon
or by pressing Q.
8. Go to the Channels
palette, and click the Selec-
tion icon at the bottom to
save the selection as a
channel.
9. Deselect. Click the new
channel to view it and make
it active.
11
REPAIRING DIGITAL PHOTOGRAPHS, PART 2
10. Because we used a hard-
edge brush, the edge of this
channel needs a little soften-
ing. We will give it just a little
bit of blur. Choose Filter >
Blur > Blur More.
11. Click the RGB composite
channel, and then Command/
Ctrl+click the Mask channel
to load the selection.
12. Return to the Layers
palette. Now choose Layer >
New > Layer Via Copy to
place a copy of the back-
ground selection over the
image. Double-click the new
layer and name it Back-
ground blur.
Blur More filter
The Blur More filter
smooths transitions
by averaging the
pixels next to the
hard edges of the
defined lines and
shaded areas. It does
this three to four
times more than the
Blur filter.
12
REPAIRING DIGITAL PHOTOGRAPHS, PART 2
13. With this new layer
targeted, turn off the view
of the Background layer by
clicking the eye icon. You can
see that the background has
been isolated from the
foreground (the little boy).
14. Now we will blur the
background, yet make it
look realistic against the
boy. Choose Filter > Blur >
Gaussian Blur. Your blur
value will vary, depending on
your resolution. Click OK.
15. Click the eye icon on the
Background layer to view it
again. There is a problem;
the blur is blurring into the
hat. To fix this, choose Layer
> Matting > Defringe. The
amount of defringe you use
will depend on the resolu-
tion of your image and the
quality of the edge. View
your results. Excellent!
Defringe
Defringe will push the
blur back to meet the
edge of the hat. This
gives a more solidand
resolved edge against
the hat and bleeds
underneath the hat.
Adobe, the Adobe logo, and
Photoshop are trademarks of Adobe
Systems Incorporated. Macintosh is
a registered trademark of Apple
Computer, Inc. Windows is a
registered trademark of Microsoft
in the U.S. and other countries.
©1996 Adobe Systems
Incorporated. All rights reserved.
Special thanks to Russ Sparkman
and Etsuro Endo.
PS4.0 11/96
Russ
Goes
Surfing
with
GIF
Russell Brown,
Senior Creative
Director at
Adobe Systems,
shares some
super tips and
techniques for
preparing
images for the
World Wide
Web in Adobe
®
Photoshop
®
4.0
INTERMEDIATE
2
CREATING TRANSPARENT AREAS WITH A CHANNEL MASK
OK, Web surfers. I have a great tip and technique just for you.
I’m going to show you how to magically make a color in an indexed
color image appear transparent in one area and opaque in another.
“How can I use this?” you ask. Well, it’s a great way to see through a
background color but not disturb that same color inside the image.
1. Open an indexed color
image that has a solid
background that you want to
remove. This image has a
black background and black
outlines inside the letter-
forms. (If the background
color doesn’t also appear
within your image, you don’t
need this technique. The
tools in the GIF Export filter
let you mask out any single
color throughout the image.)
2. Double-click the magic
wand tool in the toolbox.
This image has an anti-
aliased edge, so increasing
the tolerance ensures that
the selection eats into the
colored foreground edges
and eliminates any black
halo around the selection.
Here I chose a Tolerance of
60 and, checked the Anti-
aliased option.
3. Now click all the areas in
the image that you want to be
transparent on your Web
page. Remember, the Shift key
lets you add to the selection;
the Command/Ctrl key lets
you subtract from the selec-
tion. When everything that
you want to be transparent is
selected, choose Select >
Inverse. In my image, this
selects everything but the
background.
Shortcuts
Throughout this
document, “Command/
Ctrl”, means Command
on the Macintosh and
Ctrl on Windows.
3
4. Choose Select > Save
Selection, and save this
selection as a New channel.
Click OK.
5. Deselect (Command/
Ctrl+D). Then choose File >
Export > GIF89a Export.
CREATING TRANSPARENT AREAS WITH A CHANNEL MASK
6. Just to make sure you
understand why we made the
mask, let’s first use the
eyedropper to select the
background color in this
image and make it transpar-
ent. Aha! Our dilemma is
clear: All the blacks in the
image become transparent,
including the outlines
around the letterforms.
4
8. To create the GIF file, click
OK to export the results.
Notice that the name of the
file has been appended with
the extension .gif. Be sure to
save your file with a nice
short name with no spaces so
that it’s compatible across
multiple computer environ-
ments.
9. Here is the final image
placed in the Web page.
CREATING TRANSPARENT AREAS WITH A CHANNEL MASK
7. Now for the simple solu-
tion: Choose the channel you
just created from the Trans-
parency pop-up menu to
load your background mask.
In this example, my mask is
in Channel #2. Notice how
nicely the mask takes out the
background without affect-
ing the inner areas of the
image.
5
Surf ’s up, Web-heads. I’ve got a great Web design tip for you. I’m
going to show you how to create an irregularly shaped, soft-edged
graphic that looks good on your Web pages.
CREATING IMAGES WITH A SOFT EDGE
1. Open the image you want
to use. Make sure that the
image is a 72-ppi RGB image
displayed at a 1:1 magnifica-
tion. (This is how the image
will appear on the Web.) If
it’s already an indexed color
file, convert it to RGB mode
for this technique. Double-
click the lasso tool and
increase the Feather value.
(I used 10.) Make sure that
Anti-aliasing is checked.
2. Make a selection around
the image or area that you
want to appear on your Web
page. Hold down the Alt/
Option key to constrain the
lasso tool to straight lines.
Note that the pen tool is a
great means for making a
more complex selection, since
you can edit your pen tool
path before you convert it to
a selection. Choose Select >
Inverse to invert the selection.
3. If this is a single-layered
document, double-click the
Background layer in the
Layers palette and give the
layer a new name.
Layer Redefinition
Redefining the
Background layer as a
non-background layer
lets you delete to
transparent instead of
to the background
color.
Shortcuts
Throughout this
document, “Alt/Option”
means Alt on Win-
dows and Option on
the Mac.
6
CREATING IMAGES WITH A SOFT EDGE
4. You’re now ready to export
the image to GIF. Choose File
> Export > GIF89a Export. If
the filter doesn’t appear in the
Export submenu, reinstall the
filter or check your Plug-in
Preferences to make sure that
the correct plug-ins folder is
selected. Click the Transpar-
ency color box and select
your transparency color if it
is something other than the
standard Netscape gray.
5. Preview the image and
experiment with reducing
the number of colors in the
Adaptive palette. The fewer
the colors in the image, the
smaller and faster the image
will be for display and when
downloaded over the Web.
With larger images, choosing
fewer colors can make a big
difference in file size; with
smaller images, the differ-
ence is less significant.
6. To finish, click OK in the
GIF89a Export dialog box to
export the file. Notice that
the name of the file has been
appended with the extension
.gif. Be sure to save the file
with a nice short name with
no spaces so that it is com-
patible across multiple
computer environments.
Adobe, the Adobe logo, Adobe
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a registered
trademark of Apple Computer,
Inc. Windows is a registered
trademark of Microsoft
Corporation. Netscape and
Netscape Navigator are
trademarks of Netscape
Communications Corporation.
All other products or name
brands are trademarks or
registered trademarks of their
respective holders.
©1996 Adobe Systems
Incorporated. All rights reserved.
Cover photo: PhotoDisc, Inc.
PS4.0 11/96
TIMESAVING SELECTIONS
Ever found yourself trying to make an elliptical selection with a round tool?
Well here are a couple of great new ways to get a handle on time and learn some
Adobe® Photoshop® 5.0 timely techniques.
1. The goal of this project is
to make elliptical selections
easily and quickly. We’ll start
by making a standard selection
with the ellipse tool as shown
in this image. We can access
the ellipse tool by clicking and
holding the marquee tool on
the tool palette. No need to
make the ellipse selection
exact. That’s the beauty of
this technique.
Adobe Senior Creative
Director Russell Brown
makes selections the
easy way with
Photoshop 5.0.
INTERMEDIATE
2. Now, to introduce a new
feature found only in Adobe
Photoshop 5.0 or later… From
the Select menu, choose Trans-
form Selection, as shown to the
right. This new feature will
transform the shape of the
selection without altering its
contents. It’s new! It’s wild!
You’ll use it all the time!
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
Timesaving Selections 2
3. WOW! You can now rotate,
scale, and distort the selection
until the ellipse fits the shape of
the face of the watch. Press the
Enter key and the newly trans-
formed selection will be pre-
cisely in position. Amazing!
But wait – there’s more!
Technique number two!
1. Here’s another, less obvious
approach to transforming a
selection. We’ll use it to trans-
form the watch as we did with
technique number one. How-
ever, this time we’ll get a special
kind of preview!
Once again, make a selection
with the ellipse tool as shown to
the right. Remember, there’s no
need to be exact.
2. In the tool box, click on the
edit in quick mask mode icon.
The flashing selection will now
be displayed as a Quick Mask.
The default color for the Quick
Mask is red with a 50% opacity.
As you can see here the Quick
Mask appears like a transparent
layer of plastic over the image.
Painting on this layer with
white will add to the selection
and painting with black will
subtract from the selection.
Selections
To reshape the selec-
tions, simply select
and move any of the
control points available.
To rotate the selection,
move the mouse just
outside the selection
until you see the
rotation icon, and then
rotate the selection.
Special note: You can
now change the point
of rotation by moving
the central control
point to any other
location on the image.
Quick masks
Make a selection. A
shortcut for the edit in
Quick Mask mode is to
press the Q key on the
keyboard.
Timesaving Selections 3
3. This time, choose Free
Transform from the Edit menu.
4. The transformation control
vectors appear as before, but
this time we are transforming
a visible mask. The selection
area becomes much more clear
and distinct.
5. As before, we can rotate,
scale, and distort the Quick
Mask with the transformation
tool until it fits the watch face
exactly. Then we can press the
Enter key to apply the
transformation.
Super user tip
Double-clicking inside
the transformation
region is a quick and
easy way to apply the
transformation.
Timesaving Selections 4
6. Fifty percent red is the
default color for the Quick
Mask. However, it’s possible to
change the color of the Quick
Mask to help make the preview
of the selection more distinct.
On the the Channels palette,
double-click the words Quick
Mask. The Quick Mask Options
dialog box will appear.
8. As you can see in this ex-
ample, the new Quick Mask
color makes the selected area
more distinct. The selection can
be transformed with more
accuracy when the color has
greater contrast.
7. Experiment with changing
the color and opacity of the
Quick Mask until it is more
apparent with your image.
Cropping an image
This same technique
can be used to
preview the cropping
of an image. Try
setting the Color to
white and the Opacity
to 100% to block out
the image outside the
cropping area.
Timesaving Selections 5
9. After completing the trans-
formation of the Quick Mask,
select the edit in standard mode
icon, or press the Q key on your
keyboard, to revert the Quick
Mask back to a selection.
10. Here’s a simple way to use
this selection. Open up a new
image. In this case, I’m using
an image of a desert road
stretching to the horizon. Select
the entire image by choosing
Select > All or Command/
Ctrl+A. Then copy the selection
by choosing Edit > Copy or
Command/Ctrl+C. Close the
image you copied.
11. With your selection made,
choose Edit > Paste Into. Then
as the final step in this project,
set the Mode for this newly
created layer to Multiply, with
an Opacity of 85%.
And there it is: You’ve learned
how to control time and space.
Channels
To make a Quick Mask
into a channel, target
the Channel palette,
select Duplicate from
the pop-up menu, and
click OK. This makes a
copy of the Quick Mask
and a permenant alpha
channel you can load
as a selection anytime.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a trademark of
Apple Computer, Inc.,
registered in the U.S. and
other countries. Windows is
either a registered trademark
or a trademark of Microsoft in
the U.S. and/or other
countries.
©1998 Adobe Systems
Incorporated. All rights
reserved.
Photo credit © Adobe Image
Library.
PS5.0 9/98
Luanne Seymour Cohen,
Creative Director at
Adobe Systems, gets
textural with Adobe
®
Photoshop
®
4.0.
ADVANCED
TEXTURED GRADATI ONS
Want your graphics to have a great textured look? Want your shadows with
different colors? Add dimension and character to your type or graphics using
textured gradations. You’ll build a different layer for each color you want to
spatter onto your image. Then you’ll add a layer mask and texturize it. You’ll
end up with a multi-layered file that is very versatile. You can experiment
with different colors, layer modes, and textures as you lay one colored
texture on top of another.
1. We will begin to build the
textured, gradated graphic by
first creating its basic shape
and filling it with a color. Make
a new layer named base and
use the selection tools or type
tools to create the graphic. You
can also paste shapes from
other files or import the
graphic from Adobe
®
Illustra-
tor
®
. Select the shape (if it is
not already selected) by
Command/Ctrl-clicking on
the layer name.
2. Switch to the Channels
palette and click on the save
selection icon. Do not deselect
yet! Click on the new channel
name in the palette to view it.
Why use alpha
channels?
Alpha channels are a
quick and convenient
way to select objects
or images. If you know
you’ll need to select
something more than
once during a
Photoshop session, it
may be worthwhile to
save that selection as an
alpha channel. When
you need to activate the
selection, simply hold
down the Command/
Ctrl key and click on the
channel name.
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows.
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
Textured Gradations 2
3. Add a gradient to the selected
area. Remember that when you
are working in channels, you are
working with a negative version
of your image. Also, channels
contain only grayscale informa-
tion. The gradient you choose
should be grayscale. The areas
that are dark will block out
more color in the final image,
and the areas that are lightest
will let the most color through.
Save the file at this point.
Selecting
gradations
When you load a
selection that contains
a gradient, you might
wonder why it looks as
if some parts aren’t
selected. Photoshop
only displays a
selection border
around pixels that are
up to 50% transparent.
Feathered, soft edges
that are more than
50% transparent will
not have a selection
border, but they will
still be selected.
5. Now we will apply the grada-
tion to the graphic. Switch to
the Layers palette and click on
the base layer to activate it. With
the gradation selection still
active, click on the layer mask
icon to save the selection as a
layer mask for the graphic layer.
4. Load the new channel as a
selection by Command/Ctrl-
clicking on the channel name.
Textured Gradations 3
6. To get a richer looking
texture, you will want to create
more than one colored texture
layer. A quick way to create a
new layer is simply to duplicate
the existing one. Option/Alt-
drag the base layer onto the new
layer icon in the Layers palette.
Give the layer a new name.
Because the layer masks have
some transparency, the dupli-
cate layer saturates the image
with more color.
7. Lets fill this second layer with
the color of the shadow we want
in the final artwork. Pick a new
foreground color. To fill only
the area of your graphic, select
the Preserve Transparency
option, and then fill the layer
with the new color (Option/
Alt+Delete/Backspace). Don’t
worry if the colors don’t look
right yet, because they will
change once we add the texture.
8. Now we will add texture to
the shaded layer. Click on the
layer mask for the shaded
layer. Choose Filter > Noise >
Add Noise. Select Uniform
Distribution, and experiment
with the slider to see what
values work best for your
image. When you’re satisfied
with the result, click OK.
There are many other textures
besides noise that you can use
in this step. See page 4 for a
few examples of other textures.
Layer masks
The great advantage
of using layer masks
in a technique like
this is that you aren’t
committed to a certain
color for your graphic.
You can change the
colors at any time
during the design
process simply by
using the Preserve
Transparency option
and filling the layer
with a new color.
Textured Gradations 4
9. To add more colored texture
to your image, repeat steps 6-8
for as many different layers as
you want. In this example I
added one more layer of orange.
Its important to reapply the
texture filter to each new layer.
Most of the filters randomly
apply texture and if you just
copy the same texture from
another color layer, it will cover
up the other color’s texture.
Variation 1: This is the same file
used above. The only difference
is that in step 8, I chose Filter >
Artistic > Sponge instead of the
Noise filter.
Variation 2: For this texture, use
Filter > Sketch > Reticulation
instead of Noise in step 8.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Macintosh is a trademark of
Apple Computer, Inc.
registered in the U.S. and
other countries. Windows is
either a registered trademark
or a trademark of Microsoft in
the U.S. and/or other countries.
©1997 Adobe Systems
Incorporated. All rights reserved.
PS4.0 12/97
Phot oshop 5.0 makes sel ect i ons mor e easy wi t h t he magnet i c l asso t ool ;
gi ves you mor e power when wor ki ng wi t h t he t ype t ool ; and makes
si mpl e l ayer ef fect s a one- st ep pr ocess.
Adobe Seni or Desi gner
Li sa Jeans Trai l
shows t he basi cs of
t hree new feat ures i n
Adobe
®
Phot oshop
®
5.0.
BEGINNER
2. To make a select ion within a
select ion, hold down the option
key while dragging. With t he
object selected, hold down t he
command key or select the
move tool and click inside the
select ion and drag and drop t he
image onto another file.
Shortcut s
Throughout t hi s
document , “Command/
Ct rl ” means Command
on t he Maci nt osh and
Ct rl on Wi ndows.
Th r ee New Feat u r es Ov er v iew
1. Open an image in Adobe
Photoshop t hat has an object to
select. From the Tool palette
select t he magnet ic lasso tool,
found under the lasso tool.
Click once and begin dragging
near the object; the magnet ic
lasso tool will distinguish the
edges for you. To finish off the
select ion, place the tool over t he
st ar t ing point and click. Your
select ion is made.
Magnet ic lasso
Doubl e-cl i ck on t he
magnet i c l asso i n t he
t ool box t o access i t s
opt i ons.
• Lasso wi dt h i s t he
di st ance f rom t he
poi nt er at whi ch t he
l asso wi l l det ect edges.
• Frequency i s t he rat e
at whi ch t he l asso set s
f ast eni ng poi nt s (a
hi gher val ue anchors
more qui ckl y).
• Edge Cont rast i s t he
l asso’s sensi t i vi t y t o
edges (a hi gher val ue
det ect s hi gh cont rast
edges).
Three New Feat ures 2
3. The image is placed on a new
layer and can now be scaled and
rotated using Free Transfor m
(Command/ Ctrl+T). Once the
image is placed as you would
like, press the Return/ Enter key
to set t he tr ansfor mat ion.
4. Next , let’s add text to t he
image. Select the t ype tool and
click approximately where the
text should be placed. Move the
dialog box so you can make use
of the new Preview opt ion.
Not ice that you can now high-
light par t of your text and apply
mult iple st yles and sizes as well
as cont rol the leading. You also
have the abilit y to change the
color of the text while in the
dialog box. Click OK once your
text is as you would like it.
5. You can add some new layer
effects with the text layer st ill
selected. Here we are going to
add the Bevel and Emboss
effect. I’ve used an Inner Bevel
and then t r ied different mode
and opacit y sett ings to achieve
the effect I like. I even specified
the shadow color by clicking on
the color box.
Transformat ion
Yet anot her new
feat ure i n versi on
5.0 i s t he abi l i t y t o
t ransf orm sel ect i ons
found on t he Sel ect >
Transform Sel ect i on
menu. Thi s al l ows you
t o t ransform a sel ec-
t i on onl y and not t he
i mage underneat h.
Moving t ype
Whi l e i n t he Type Tool
di al og, you can now
cl i ck out si de t he di al og
and move our t ype
i nt o posi t i on–j ust one
more feat ure t hat
makes worki ng wi t h
t ype i n Phot oshop 5.0
t hat much easi er.
Three New Feat ures 3
6. Click OK once you have the
effect you want.
7. Even with an effect added to
the text layer, t he text is st ill
fully editable. Double-click on
the “T” in the text layer to bring
up the Type Tool dialog box
and make any changes. See how
the layer effect is added to your
changes.
Adobe, t he Adobe logo, and
Photoshop are t r ademar ks of
Adobe Systems Incor por ated.
Macintosh is a t r ademar k of
Apple Computer, Inc. registered
in t he U.S. and other count r ies.
Windows is a either a registered
t r ademark or t r ademar k of
Microsoft in t he U.S. and/ or
ot her count r ies.`
©1998 Adobe Systems
Incor por ated. All r ight s reser ved.
Photo Credit © PhotoGear,
Object Gear
PS 5.0 4 / 98
8. You can also make changes
to t he layer effect by double-
clicking on circle f (the layer
effect icon) to the r ight of the
layer name. This brings up the
effect dialog box last used on
that layer. You can t hen either
make changes to the exist ing
effect or select a new effect
from the pop-up menu.
Copy/ paste effects
Wit h t he new layer
effect s you can copy
and past e effect s
bet ween layers. Select
a layer wit h an effect
and choose Layer >
Effect s > Copy Effect s.
Then select t he layer t o
which you would t o add
t he effect t o and choose
Layer > Past e Effect s.
¡
Adobe Seminars: Web Page Design
by Lisa Lopuck and Sheryl Hampton
Adobe Seminars: Web Page Design is a portable seminar on web page
design taught by experienced professionals that documents Adobe
software such as Adobe Photoshop 4, Adobe Illustrator 7, and Adobe
PageMill 2, as well as the latest HTML language protocols.
This October 1997 Adobe Press book will bring all the essential information
of a two-day seminar into a compact and reusable format, complete with
CD and step-by-step techniques. Two noted Web seminar instructors, Lisa
Lopuck and Sheryl Hampton of ElectraVision, have distilled their training
sessions into over a hundred two-page techniques using popular Adobe
applications to simulate how Web pages are actually created. The result is a
reference book of clear, simple explanations and designs that are reusable
page after Web page.
Adobe Seminars: Web Page Design
Publication Date: Oct. 1, 1997
US $40
ISBN: 1-56830-426-9
4-color, 264 pages, includes ImageClub CD
The techniques within
this Acrobat™ PDF file
are from the upcom-
ing Adobe Press book
Adobe Seminars:
Web Page Design.
txctai+ raon +ut »ooat iatss aook, »ooat stnin»as. wta i»ct otsicn
coivaicu+ ¡§§;, »ooat svs+tns inc.
Web graphics always need to be made as small as
possible in terms of file size. A few factors that
contribute to making smaller files include: reducing
the color palette, using flat color whenever possible,
avoiding horizontal gradients, and finally, trimming
your graphics to their smallest possible size. In this
case, the image to be cut out has highly feathered
edges. These types of graphics are difficult to cut out
by eye-balling it alone. Often times, you will end up
cropping too closely and you will see a hard edge
once the image is on the Web (as shown).
svtr ¡: ntacinc t»vtas
If the image is in multiple layers, merge them together. Use the Option
Merge technique discussed in Lesson B7 to keep the source layers intact.
Trimming Graphics to the Smallest Possible Size C4
Lesson
ruovosuor ¡.o Object Gear, Vol. 1 Design Elements: Skull Steer
Object Gear, Travels: Road Sign
Photo Gear, Skyscapes: Clouds#7
font: Garage Gothic Black
vir: Instead of using option + merge, you can simply turn
on all the eyeball icons of the layers to be merged,
and select Duplicate from the Image menu. Check
the Merged Layers Only check box to create a new
merged file apart from your source file.
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coivaicu+ ¡§§;, »ooat svs+tns inc.
svtr z: usinc +ut n»cic w»no +o rino +ut tocts
Using the Magic Wand tool, set on a tolerance of zero and with no anti-
aliasing, select the transparent background surrounding the image. To
ensure that you capture all the transparency, choose Similar from the Select
menu. Invert the selection. This selection shows you the absolute outer
edges of your image.
svtr ¡: cat»+inc » atc+»ncut»a stttc+ion
In order to crop the image according to the selection created in Step 2, you
need to convert the selection into a rectangular one. Hold down the shift
key to add to the current selection using the Marquee tool until you have a
perfect rectangle.
Because you are adding to the selection, you do not have to do it all in
one step; you can build it in stages. For example, start at the top-most point
and draw to one of the side-most points.
If the Crop function is grayed out in the Image menu, your selection is
not a perfect, there may be a tiny bulge somewhere. Crop the image with
the Crop function once the selection is perfect.
novt: The crop tool does not work in this
case because it erases your Magic
Wand selection.
WET PAI NT TYPE
Need a l i qui d l ogot ype? Then t r y t hi s Phot oshop t echni que t o cr eat e wet
wor ds. Fi r st you pi ck a scr i pt t ypeface desi gn. Then you add some dr i ps
and dr ops ar ound i t . Use t he Pl ast er f i l t er t o cr eat e a sof t r ounded ef fect
on t he t ype.Tr y some of t he var i at i ons for di f fer ent wet ef fect s. Fi nal l y,
you add t he col or and ...
1. Create a new file. Select the
Channels palette and create a
new channel named mask. We
are going to create black and
white ar twork in the channels,
instead of layers, to give
ourselves more flexibilit y with
color ing and highlight ing t he
final ar t.
2. Be sure that your foreground
color is set to white and the
mask channel is selected. Use
the t ype tool to create your
t ype. Posit ion t he t ype before
you deselect it. Type created in
channels is only a selection, not
a separate layer that can be
edited and moved later.
Liquid typefaces
The best typefaces to
use for this technique
are script or calli-
graphic. If you want a
slightly eroded look,
choose a face with
more pronounced
thicks and thins. The
typeface used in this
illustration is Ex Ponto.
Luanne Seymour Cohen,
Creative Director at
Adobe Systems, gets
wet and wild with
the Plaster filter in
Adobe
®
Photoshop
®
4.0.
ADVANCED
Shortcuts
Throughout this
document, “Command/
Ctrl” means Command
on the Macintosh and
Ctrl on Windows,
“Option/Alt” means
Option on the Macintosh
and Alt on Windows.
Wet Paint Type 2
3. Use a paintbr ush to add a few
white dr ips and drops around
the t ype. They won’t look much
like dr ips at this point, but they
will tur n into small “blobs of
paint” later. We’ve now created
the mask that we will use to bring
cr isp, shar p edges back to our
type after we use the plaster filter.
The Plaster filter
The Plaster filter uses
the foreground color
for the shadows and
the background color
for the highlights. It
doesn’t matter what
color the image is to
start with, the results
will be created with
the foreground and
background colors. We
won’t get good results
on layers with transpar-
ency, so we are doing
this first part in a
channel in order to
create the type on a
layer later.
5. Select Filter > Sketch >
Plaster. Choose the light ing
posit ion you want. Remember
that since this is a channel, t he
image is in negative for m. In
this example, I want the final
ar twork to have highlights on
the top. The Plaster filter puts
the foreground color in the
shadow areas and the background
color in t he highlight areas. Play
around with the values on t he
sliders. Click OK when you are
sat isfied with the result.
4. Create a duplicate of t he
mask channel. You can do t his
quickly by holding the Opt ion/
Alt key while dragging the mask
channel icon down to the New
Channel icon. Doing so br ings
up the dialog box to duplicate
the channel. Name t he dupli-
cate pl ast er t ype.
Wet Paint Type 3
8. Choose a foreground color
for t he t ype and fill the selec-
t ion (Option/ Alt+Delete/
Backspace). I recommend
darker colors for this step.
6. Retur n to the Layers palette
and click on t he background
layer to view it. Option/ Alt-click
on t he new layer icon to create a
new layer. Name it wet t ype.
7. With t he wet t ype layer
selected, load t he pl ast er t ype
channel as a select ion. You can
do this from t he Channels
palette or from the Select menu.
Choose Select > Load Select ion.
Select pl ast er t ype as the Chan-
nel. Click OK.
Selection shortcuts
If you want a quick
way to load channels
without using menus,
try this. Separate the
Layers palette from the
Channels palette. When
you are on a certain
layer and you need to
load a selection, hold
the Command/Alt key
and click on the
channel name in the
channel palette. The
cursor will change to
the selection cursor to
remind you that it will
now load the selection.
Fill shortcuts
To fill with 100% of the
foreground color, press
Option/Alt+Delete/
Backspace. To fill with
100% of the background
color, press Ctrl+Option/
Alt+Delete/Backspace.
Wet Paint Type 4
9. The Plaster filter softens and
spreads t he letter for ms. This is
fine for a plaster effect but for
liquid, we need a cr isper,
cleaner edge. Use the magic
wand (set to anti-aliased, 32
tolerance) to select t he t rans-
parent background of t he wet
t ype layer. Choose Select >
Similar to add any protected
areas that you might have missed.
10. To encompass a litt le more
of the t ype’s new bulgy shape,
expand the selection. Choose
Select > Modify > Expand.
Expand the select ion by 1 pixel.
If your image is ver y high
resolut ion, you might want to
tr y 2. You’ll have to exper iment
with this value on your own.
11. Inver t t he selection by
choosing Select > Inverse
(Command/ Ct rl+Shift+I).
Select similar
Once you’ve created a
selection, you can add
to it automatically using
the Select Similar com-
mand. Photoshop ana-
lyzes the colors of the
pixels currently select-
ed and proceeds to
select all the other
pixels in the image of
those same values. In
this example, we want
all the white areas
selected. Because the
selection is anti-aliased,
it also picked up the
off-white areas along
the edges of the letters.
Wet Paint Type 5
13. Deselect and evaluate the
result. You may like it as is or
you might want to increase the
contrast and shar pen up t he
smooth gradat ions. If so, use
the Unshar p Mask filter. See
Var iat ion 1 for this effect.
12. Next we will make a layer
mask with only the selected
areas showing through the
mask. Click on the layer mask
icon in the Layers palette, or
choose Select > Save Select ion
and select wet t ype M ask as the
channel. This automat ically
creates a layer mask with the
select ion. Basically, we are
hiding the fuzzy edges with this
layer mask.
Var i at i on 1: You can increase
the contrast and make it look
“glossier” by using the Unshar p
Mask filter. In this example I
used the following values:
Amount: 440%
Radius: 0.6 pixels
Threshold: 8 levels
Unsharp mask
Unsharp mask is
a traditional film
compositing technique
used to sharpen edges
in an image.The Radius
value determines the
number of pixels
surrounding the edges’
pixels that will be
sharpened. Increasing
the Threshold value
allows you to protect
some areas of your
image from the noise
introduced by sharpen-
ing. Usually the
threshold is increased
for skin tones.
Wet Paint Type 6
Var i at i on 2: For a puddling
paint effect, t r y the following
sett ings in step 5. The top image
was created with Image Balance
set at 8 and Smoothness at 12. If
you want your letters to look
sparsely painted as shown in
the lower image, t r y using 40
for Image Balance and 4 for
Smoothness.
Var i at i on 3: To add a shadow of
a different color, you’ll need to
make a copy of t he pl ast er t ype
channel. Name t he new channel
shadow. Open t he Levels dialog
(Command/ Ctrl+L) and move
the black input slider to the
r ight. The light pixels remaining
in the preview are the areas
where t he shadow will appear in
your image. Exper iment with
the values depending on how
heavy or light you want t he
shadow. In this example, we used
Input Levels of 187, 1.00, 255.
Var i at i on 3 cont ’d.: Repeat steps
6 t hrough 13, but name the new
layer shadow. If you want to
exper iment with colors, t urn on
the Preser ve Tr ansparency
opt ion so you can simply fill
the layer with a new color.
PS4.0 12/ 97
Adobe, t he Adobe logo, and
Photoshop ar e t r ademar ks of
Adobe Systems Incor por ated.
Macintosh is a t r ademark of
Apple Computer, Inc.
register ed in t he U.S. and other
count r ies. Windows is either
a registered t r ademar k or a
t r ademark of Microsoft in t he
U.S. and/ or ot her count r ies.
©1997 Adobe Systems
Incorporated. All rights reser ved.
White to
Transparent
Magic
INTERMEDIATE
2
WHITE TO TRANSPARENT MAGIC
1. Before you launch
Photoshop
®
, you must have
installed a special plug-in
filter called Eliminate White
(only available for the
Machintosh at this time).
This is freeware by Etsuro
Endo, created with the Filter
Factory, a scriptable plug-in
that comes with the
Photoshop 4.0 Deluxe CD-
ROM. Copy the plug-in file
into your Plug-Ins folder.
Have you ever wanted to eliminate white areas from an image?
Here we’ll demonstrate magic, turning white areas into transparency.
Even gradients and anti-aliased edges will return for your further
creative work!
2. Here’s our image. It’s
flattened, so the only avail-
able layer is the Background
layer. It has anti-aliased type
and a gradient as a design
element against a white
background. It’s totally
impossible to get a selection
using the Magic Wand, and
the Select > Color Range
command does not do as
good a job as we would like.
The Eliminate
White filter
Available for free at
the author’s Web site
at http://
www.edesign.com/filters/
3. Now the magic starts!
First, you must convert the
background layer into a non-
background layer, which can
have transparency. Double-
click the Background layer in
the Layers palette, and in the
New Layer dialog box, simply
press OK.
3
4. Choose Filter > Transpar-
ency > Eliminate White.
Wow! The white areas turn
transparent. But now the
white halo needs to be
eliminated and the overall
image saturation needs to
be adjusted. Proceed to the
next step.
WHITE TO TRANSPARENT MAGIC
5. Choose Layer > Matting >
Remove White Matte. Now
you get the real thing.
Saturation is restored and
gradients that used to be
fading into white now fade
into transparency. Depend-
ing on your colors, you may
have slight color shifts.
6. Now you have the creative
freedom of transparency
back in your hands. As an
example, here we exported
a transparent GIF file for a
Web page using the GIF89a
Export plug-in.
Eliminate White
The Eliminate White
filter creates transpar-
ency based on the
“whiteness.” If your
image has less
saturated colors, like
pastel tones, try
increaseing saturation
using the Hue/
Saturation command
and desaturate after
you use the filter.
Remove White Matte
This mode is used to
eliminate the ghosting
of white around the
edges of images created
on white backgrounds.
Through a miracle
of science this actually
works. Few people know
why, but you never
question a miracle.
Adobe, the Adobe logo, and
Photoshop are trademarks of
Adobe Systems Incorporated.
Netscape and Netscape Navigator
are trademarks of Netscape
Communications Corporation.
Macintosh is a registered trade-
mark of Apple Computer, Inc.
©1996 Adobe Systems
Incorporated. All rights reserved.
Contributing author: Etsuro Endo
PS4.0 11/96

Lesson

C11

Adding Natural Light and Shadows

Often times images that you scan or illustrate need to be touched up— increasing highlights and shadows—until you have a perfect, natural image. In Photoshop, there are two painting techniques that essentially allow you to paint with natural light and shadow. For instance, you can add natural shines to hardwood floors, glows around light bulbs, or natural shadows to help add depth to an image.

 .

 :    In Photoshop, open an image that needs to be touched up. Create a new layer and set its mode to Overlay in the Layers palette. Using the airbrush tool and a large brush, paint broad strokes of a light, off-white color. Notice how the image underneath appears to brighten as if natural light has been cast upon it. Change the layer’s mode back to normal and notice the large patches of solid color that, when in Overlay mode, create the lighting effect.

     ,  :     ,   .

 :    Adding shadow effects to an image is the same process as adding highlights. Create a new layer, and set the layer’s mode to Multiply as shown. Paint with a medium-dark color using the airbrush. Notice that, rather than covering over the underlying image, the medium-dark color enriches underlying colors while creating a shadowed effect.

For Suspect, Dead Birds Don’t Sing, an online murder mystery, the Surround Video room environments were first created and rendered in Strata 3D before being brought into Photoshop for finishing touches. These two images show how the rooms looked before and after Photoshop was used to enhance the highlights and shadows using the Overlay and Multiply modes.

     ,  :     ,   .

Creative Director at Adobe Systems. shares some super tips for working with layers in Adobe® Photoshop® 4.0 BEGINNER on Layers .Luanne Cohen Luanne Seymour Cohen.

Drop shadows are easy to create using layers in Photoshop 4. The eye icons let you turn layers visibility on and off. 2. and then use the move tool to offset the layer (which is underneath the copy). the original and the copy are the same color(s). Finetuning The arrow keys on the keyboard allow you to move the layer in onepixel increments. Select the original “picture frame” layer in the palette. This will become the drop shadow. For a more realistic shadow. we used the eyedropper tool to select a dark brown from the image. select a foreground color other than black. In this example. 3.0. In this example. This copy (picture frame copy) is placed on top of the original layer. CREATING DROP SHADOWS USING LAYERS 1. Make a copy of the first layer (picture frame) by dragging the layer name to the New Layer icon at the bottom of the Layers palette. 2 . the framed picture is on its own layer (picture frame). The area around the frame is transparent. Layers palette The active layer is highlighted and has a paintbrush icon next to it. Release the mouse button when the layer is slightly offset. allowing the background to show through. At this stage.

This makes for a more realistic shadow since we usually see some texture and detail in real shadows.CREATING DROP SHADOWS USING LAYERS 4. 5.0 for a 72-ppi image. 3 . Use the Gaussian Blur filter (Filter > Blur > Gaussian Blur) to soften the shadow. For higher resolution images. Combine the drop shadow with the background using the Multiply mode in the Layers palette. Here we used a radius of 7. and fill using the foreground color. Preserve Transparency There are typically a thousand ways to do everything in Adobe Photoshop. but selecting Preserve Transparency is the trick that makes this technique the fastest way to create a drop shadow. Multiply mode Using the Multiply mode on the shadow layer gives the effect of adding the shadow value and color to the texture and image of the background. Blurring the shadow adds realism and makes the main image stand out. 6. Select Preserve Transparency. you’ll need to use a greater radius value. Choose Edit > Fill. Shadows Shadows add the illusion of three dimensions and are rarely hard-edged.

choose the gradient tool and create a gradient. With the layer mask selected. Then redraw the gradient in the layer mask. Remember that you are drawing on a layer mask that is grayscale. draw the gradient vector well inside the image areas instead of from edge to edge. Instead of creating a new channel. 2. Make sure your foreground and background colors are black and white. Doubleclick the gradient tool icon to bring up the Gradient Tool Options palette. we will blend the red satin fabric from one layer into the floral fabric on another layer by using a layer mask on one of the layers. You may want to experiment with different midpoints for the blend. The areas that are solid black will block it out.0. choose the mask option from the Channel pop-up menu. Gradients You can use any angle for your layer mask gradient.Blending one image gradually into another is easy to do using layers in Photoshop 4. and here you can set the midpoint. BLENDING FROM ONE IMAGE TO ANOTHER 1. In this example. Choose Add Layer Mask from the Layers menu. Layer masks You can create layer masks two ways. The areas that are white and gray will reveal the color image. Select Edit. 4 . If you want a small transition area with larger solid areas of the two images. 3. Or you can create a selection and choose Select > Save Selection. Select the top layer (floral) and choose Layer > Add Layer Mask > Reveal All.

Blending sliders Use the sliders in the Layer Options palette to define which pixels will appear in your composite image. Select the top layer.Blending parts of one layer into another is easy to do using the layers sliders in Photoshop 4. 3. we will move the shadow triangle on the This Layer slider to the right. 5 . Hold down the Option/Alt key while dragging the triangle. Since we want to drop out the dark background on the lace layer. we will show just a few of the hundreds of possible combinations you can use when you play with the options in the Layer Options palette. you can split the triangles in half. Shortcuts Throughout this document. All the pixel values between 0 and the new shadow value number will not show in the composite image. To do this. For example. Another effect might be to have the floral background show through only the highlighted areas of the lace.0. if you want to hide all the dark areas. Smooth blending For smoother transitions. This means that all the pixels between those two values will appear with only some of their original colors. In this example we want to reveal the lower layer image through the dark background color from the lace layer. Create or open an image that has two layers you want to blend together. In this example. For example. move the shadow slider to the right. Double-click the layer name in the Layers palette to bring up the Layer Options dialog box. BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE 1. in step 3 the range for highlight values is now between 23 and 255. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. 2. “Option/Alt” means Option on the Macintosh and Alt on Windows. and it will split. split the highlight slider triangle by holding down the Option/Alt key and drag it to the left.

The result is a much lighter image. 6 . To give the colors more punch. Previewing Turn the preview button on while you experiment. Experimenting with different modes will give you even more options for interesting visual effects.BLENDING LAYERS WITH THE LAYER OPTIONS PALETTE 4. In this example we created the effect of applying the lace texture to the fabric while still retaining the folds and shadows of the underlying fabric. 6. we split the highlight slider triangle for the lace layer. This example is similar to the one in step 4 except that we moved the highlight slider for the Underlying layer. This allows you to see what the result will be as you try different modes and layer-blending combinations. This allows some of the colors of the floral fabric to come through the light-colored lace. we used the Luminosity mode. In this example. 5.

The edge of the mask shape is wherever there is a pixel next to a transparent area.Sometimes you want to mask or crop more than one image with the same shape. Open or create a file that contains all the layers that you want to mask through a common mask. Make a clipping group by holding the Option/Alt key and clicking between the layers that will be in the group. Notice how the cursor changes to indicate that you are making a clipping group. This is the bottom layer in the group. it will no longer be masked by the base layer. but once you move a layer outside of the group. use a clipping group with your layers. Note: You can move layers around within a group. Remember to put your mask shape on a transparent background. We wanted to leave them on separate layers to allow for more experimentation. and the Layer thumbnail indents. The base layer is the one with the underlined layer name. and it defines the shape of the mask through which all the other layers in the group are displayed. 7 . In this example we used type as the masking layer and two different fabric layers. In this example we will mask both the lace and the floral layers with the big type layer. Base layer (mask) The shape that masks all the layers in the clipping group must be on a transparent background or the effect will not work. To allow for the most flexibility. 3. Option/Alt click between all the layers that will be in the clipping group. The masking shape is created by every pixel on the base layer no matter what color it is. The base layer defines the mode and transparency of all the layers in its group. MASKING SEVERAL LAYERS WITH ONE IMAGE 1. Clipping groups As you click the lines between the layers to make a clipping group. The layer that will mask the others should be the bottom-most layer. 2. they become dotted lines. Group modes All clipping groups have a base layer.

because you select the area only once. again Option+click the layer’s eye icon. turn on all the other layers (Option/Alt+click on the eye icon). 2. Viewing layers To quickly turn off all layers except the one you want to work on. but you can make changes to that same area on several different layers without reselecting each time. the selection is still active.It’s easy to add a layer mask to a layer and draw or paint on that mask. Sometimes it’s easier to hide all layers except the ones you need to create the selection. In this example. Option/Alt+click the eye icon for that layer in the Layers palette. This technique demonstrates how you can create layer masks from any selection made on any layer. In this example we just added the layer with the eyes. Once your selection is made. we turned off the eyes layer even though it will eventually contain the layer mask. Use the selection tools to create a selection that defines the area you want to mask. CREATING LAYER MASKS FROM SELECTIONS 1. but we want the eyes to show through only the glasses lenses. To turn all the layers back on again. But sometimes you want to mask specific areas of an image that are not easy to create on a blank layer mask. Make the layer that will contain the layer mask the active layer in the Layers palette. 3. This is a real time-saver. Don’t deselect the selection you made in step 2! Selections on layers You can make a selection on any layer. and if you click a different layer in the Layers palette. 8 .

CREATING LAYER MASKS FROM SELECTIONS 4. it will appear as a thumbnail next to the layer thumbnail in the Layers palette. 9 PS4. and Photoshop are trademarks of Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer. To view the mask as full size. Layer masks Layer masks are really just alpha channels that are attached to a layer. Option/Alt+click the thumbnail again. Once your selection is saved as a layer mask. Use the Channels pop-up menu to select the Mask option that will be named after the currently active layer. Inc. To return to the layer view. You can edit them just as you do channels. and other countries.S. All Rights Reserved. the Adobe logo. Simply Shift+click the layer mask thumbnail in the Layers palette. Click it again to turn it back on. this will save the selection as a layer mask to your layer. Instead of saving a channel to the Channels palette. In this example we switched the layer mode to Hard Light for a more transparent effect. Choose Select > Save Selection. Windows is a registered trademark of Microsoft in the U. ©1996 Adobe Systems Incorporated. Adobe.0 11/96 . Layer masks on/off You can temporarily turn the layer mask off without discarding it. hold the Option/Alt key and click the thumbnail of the layer mask in the Layers palette. 5.

Color Enhancement using “Digital Gels” INTERMEDIATE .

2 . you can easily make changes to underlying layers without affecting the actual layers. The Hue/Saturation dialog box appears. This transforms the layer you created in step 2 into a digital gel. “Option/Alt” means Option on the Macintosh and Alt on Windows. Here’s how to add dramatic color effects using “digital gels” in Photoshop. 3. Our goal is to add dramatic color effects to this conventional photography. Click the Colorize option. Name the new layer and click OK. 2. you can isolate each color effect on an independent layer and get more flexibility and control than you would with traditional gels set in front of the camera lens.0’s new Adjustment layers. We’ll add a blue-violet effect to the sky and gold to the field.Professional photographers often use “gels” (gelatin filters) for creative color enhancements. COLOR ENHANCEMENT USING “DIGITAL GELS” 1. Adjustment Layer With Photoshop 4. Shortcuts Throughout this document. Here’s the image we’ll start with in Photoshop. Make sure the preview box is checked. Select New Adjustment Layer from the Layers palette menu. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. and in the Type popup menu. With this technique. Don’t click OK yet. choose Hue/ Saturation.

changing the lightness of a layer affects the midtones of the underlying image. While you drag the gradient tool. Pressing the D key. set the foreground and background colors to the default (black/white). In Soft Light blending mode. This will limit the gel effect to the sky portion of the image—the gradient mask you created. Unlike traditional gels. Click OK when you obtain a color you like. choose the gradient tool. You can also use the X key to exchange these colors. press the Shift key to constrain the movement to a perfect vertical direction. 5. Tips Press the D key to set foreground and background colors to the default black and white. Click and drag upward over the image from the horizon toward the sky.COLOR ENHANCEMENT USING “DIGITAL GELS” 4. With the Adjustment layer still selected. highlights and shadows retain their original lightness values as if they are auto-exposed. 3 . Lightness setting The Lightness slider in the Hue/Saturation dialog box acts like a “gamma” control. 6. Set the mode in the Layers palette to Soft Light. Move the Hue slider to find the color you want. Use the Saturation and Lightness sliders to finetune the color.

the Adobe logo. you can add back the gel color. Inc. More shortcuts! Press the bracket keys ([ or ]) to change your brush size without going to the Brushes palette.2.9 or 0) to change brush opacity. Double-click the gel layer and the Hue/Saturation dialog box appears. Of course. using a softedged brush tool with black foreground color. and fill the selection with black in the layer mask. If you do not make a selection. you can fade the gel color. 2 is 20% opacity. doing a fill will fill the entire layer with foreground color. ©1996 Adobe Systems Incorporated. select the barn. 8. Try this with different brush opacity settings. By painting in the adjustment layer directly. Contributing author: Etsuro Endo Photography: Jules Frazier/ PhotoDisc 4 PS4. 9. You can then readjust the gel color easily. Windows is a registered trademark of Microsoft in the U. Press numeric keys (1. and Photoshop are trademarks of Adobe Systems Incorporated.3. All rights reserved.. press Option/Alt+Delete/ Backspace. and so on. Macintosh is a registered trademark of Apple Computer. 0 (zero) is 100% opacity.0 11/96 . with a white foreground color.. 1 is 10% opacity. we next add a gold gel layer (repeat steps 2-7).S. You can also adjust the gel color later at any time. and other countries. Fill shortcut To fill a selection with foreground color. To keep the barn uncolored by the gel. Adobe.COLOR ENHANCEMENT USING “DIGITAL GELS” 7. As we did for the blue gel layer. Deselect (Command/ Ctrl+D).

and Adobe PageMill 2. have distilled their training sessions into over a hundred two-page techniques using popular Adobe applications to simulate how Web pages are actually created. Two noted Web seminar instructors. 1997 US $40 ISBN: 1-56830-426-9 4-color. simple explanations and designs that are reusable page after Web page. Lisa Lopuck and Sheryl Hampton of ElectraVision. The techniques within this Acrobat™ PDF file are from the upcoming Adobe Press book Adobe Seminars: Web Page Design.Adobe Seminars: Web Page Design by Lisa Lopuck and Sheryl Hampton Adobe Seminars: Web Page Design is a portable seminar on web page design taught by experienced professionals that documents Adobe software such as Adobe Photoshop 4. 1. 264 pages. complete with CD and step-by-step techniques. Adobe Illustrator 7. includes ImageClub CD . as well as the latest HTML language protocols. This October 1997 Adobe Press book will bring all the essential information of a two-day seminar into a compact and reusable format. The result is a reference book of clear. Adobe Seminars: Web Page Design Publication Date: Oct.

. choose Fill from the Edit menu and select “Pattern” from the Contents pop-up options. Amusements: Dog Biscuits. Because you cannot predict where the tile will fall on the Web page.   .) To fill a layer with a background tile. shows how to prepare soft-edged.Lesson C7 Compositing Graphics to a Background Tile To keep the download time to a minimum. This exercise. Object Gear.  . With the pattern defined. is correctly preparing graphics so that they match when placed on top of the tile. however. see Exercise C5. first select the tile with the Marquee selection tool and then choose Define Pattern from the Edit menu. people often assume that they need to use rough-edged aliased graphics.  :        Create a new layer and fill it with the background tile (To create a background tile. soft-edged image merged into a single transparent layer and set aside for later. Crocodile Font: Image Club Overprint  :      Prepare an anti-aliased. The problem with background tiles.      . yet keep a rich feel to a Web page. however.  :     . antialiased graphics that will match your tile. people often use a decorative background tile.

you will be grabbing the soft-edges that have been blended to the background tile pattern.  :     Create a new file and fill it with a solid color from the web palette (see Lesson E2 regarding the Web-safe color palette). export the image as a Gif using Photoshop’s Gif 89A export feature located in the File menu. On 16 and 24 bit displays. On 8 bit displays. : As opposed to generating a “shrink-to-fit” selection by Command-clicking on the layer icon. you will not notice any change in quality. but the effect is negligible. the Magic Wand works best in this case because you are creating an aliased selection that will include the soft anti-aliased edges. Although you have an aliased selection. Paste the copied image into this new file. This will become your transparent color so be sure to select a color that is not in your image (a bright color often works well). When the Gif 89A interface comes up. Make sure the new merged layer is the active layer.      .” see Lesson B7).  :     .   . Decide whether you want the image to be interlaced or non-interlaced and click OK. Next. : When you create a new file. : The Mac system palette includes all of the Web safe colors plus 40 extra. . you need to make an aliased selection around the image. its dimensions will automatically be the size of the copied image. :     Leave the background tile layer and select the image layer.  :    Change the image’s mode from RGB to Index Color and select either the Web colors or the Mac System palette. Click on the transparent area around the image and then choose Similar from the Select menu to make sure you capture all the transparent areas.  :   With the selection still active. Using the Magic Wand. To do this. merge the image layer with the background tile layer (or create an “option merge. the area should turn gray. and copy the selected portion. set the Wand’s tolerance to zero and uncheck the anti-aliased option. Invert the selection so that the object is selected. position the cursor over the color to be transparent and click once. the 40 extra colors will dither.

as well as the latest HTML language protocols. and Adobe PageMill 2. The techniques within this Acrobat™ PDF file are from the upcoming Adobe Press book Adobe Seminars: Web Page Design. Adobe Illustrator 7. Adobe Seminars: Web Page Design Publication Date: Oct.Adobe Seminars: Web Page Design by Lisa Lopuck and Sheryl Hampton Adobe Seminars: Web Page Design is a portable seminar on web page design taught by experienced professionals that documents Adobe software such as Adobe Photoshop 4. This October 1997 Adobe Press book will bring all the essential information of a two-day seminar into a compact and reusable format. 1. 264 pages. Two noted Web seminar instructors. 1997 US $40 ISBN: 1-56830-426-9 4-color. The result is a reference book of clear. includes ImageClub CD . complete with CD and step-by-step techniques. have distilled their training sessions into over a hundred two-page techniques using popular Adobe applications to simulate how Web pages are actually created. Lisa Lopuck and Sheryl Hampton of ElectraVision. simple explanations and designs that are reusable page after Web page.

Water Object Gear Amusements: Starfish 2 Font: Adobe Kepler  :       In Photoshop.  . you create a Web site banner. complete with text. Simply go into the Paths palette.  :      Using the Move tool. the background comes with the image when it is dragged into the new file. Object Gear Gentleman’s Study: Personal Letter Object Gear Travels: Helm.      . (see Session D!0). Drag the remaining images into the new file in the same way. In this exercise. . open a few images that you would like to incorporate into your collage so that each image is open in a separate window. : Image Club graphics have a perfect selection stored as a path. Create a new file with a white background that will be large enough to assemble your collage. Invert the selection. that wraps to the image by combining multiple images in Photoshop. If the image is on a solid background.   . and click the path’s icon. Hold down the Command key (Mac) or the Control key (Windows). To quickly convert the path to a selection. click one of the images and drag it into the new file. select the background with the Magic Wand tool set on a tolerance of at least 32.Session D9 Creating a Collage One of the more common tasks in Photoshop is combining images to create a custom collage. and then drag the image into the new file using the Move tool. and load the path as a selection. with the antialiased checkbox selected. To bring in just the image.  :     .

 :   Resize each of the elements of your collage using the Free Transform function located in the Layer menu. To scale the image proportionately, hold down the Shift key while dragging one of the corner handles. To rotate the image, click and drag outside of the envelope. : You can access other Free Transform
functions by pressing the Control key while clicking and holding anywhere in the document. A pop-up menu appears with more Transform functions like Skew and Perspective.

 :    To create the faded effect on the ocean image, create a layer mask for the ocean layer. Using the Paintbrush tool and a large brush, paint black into the layer mask. Painting with black is like painting with transparency. The advantage to using a layer mask is you can “erase” your image without really erasing your image. To turn on and off the effects of the layer mask, hold down the Shift key and click the Layer Mask icon.

 :   Now that all the images are in place, you can add a few finishing touches to polish the look. Add an instant drop shadow (see Session D1) for the starfish, and create cast shadows (see Session D2) for both the helm and the letter. Enhance the color contrast of the helm using both the Curves and the Levels functions. Finally, you can add text that wraps to the shape of the helm by following the instructions in Session D!0.

     ,  :     ,   .

Creative Masking Techniques for Compositing

Adobe Digital Video Evangelist George Jardine demonstrates creative masking techniques with Adobe® Photoshop®
INTERMEDIATE

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

CREATIVE MASKING TECHNIQUES FOR COMPOSITING
1. Here’s an image we’d like to composite against a background of another color—a photo of a clouded blue sky, for instance. It’s obvious that creating a selection of the bird will be difficult, especially while attempting to preserve the motion blur in the wings.
Shortcuts
Throughout this document, “Command/ Ctrl” means Command on Macintosh and Ctrl on Windows systems. “Option/Alt” means Option on Macintosh and Alt on Windows.

2. It looks as if the luminosity of the RGB composite might be a good place to start creating our mask. Load the luminosity of any group of visible layers as a selection by pressing Option/Alt+ Command/Ctrl+~. Next, save the selection into a new channel by choosing Select > Save Selection. Deselect and go to the new channel.

Super-user tips!
You can load the luminosity of the RGB composite as a selection by Command/Alt+ clicking the RGB composite channel in the Channels palette, and you can easily save the current selection into a new channel by clicking the Save Selection icon at the bottom of the Channels palette.

3. Use Levels or Curves to eliminate most of the midtones in your new mask, preserving only the darkest edges. Notice the gray tones along the blurred portion of the wings. These areas will create semi-transparency during compositing. Be sure to use a paint brush to clean up your mask channel.

2

Nice. All rights reserved. Windows is a registered trademark of Microsoft in the U. 5. Inc. Macintosh is a registered trademark of Apple Computer.S. the Adobe logo. Set it to Shadow mode. The dodge and burn tools only affect Luminosity when used in LAB mode. and Photoshop are trademarks of Adobe Systems Incorporated. try converting your image to LAB mode first. Drag the selected area onto the new background. Adobe. and use a soft-edged brush set to 80% or 90% opacity.CREATIVE MASKING TECHNIQUES FOR COMPOSITING 4. and other countries. Finish the composite by using the dodge tool to lighten these edges. Dodge and burn tools If the hue shifts when you use the dodge or burn tools. ©1996 Adobe Systems Incorporated. Set your target back to the RGB composite and load your finished channel as a selection. Notice that the semitransparent areas along the edges are too dark as they contain some black from the background of the original image. 6.0 11/96 . Here’s our finished composite. Photo ©1995 Don Fogg 3 PS4.

And the one incredible feature we’ll use to do it is the powerful Free Transform in Photoshop. .0. Show rulers by choosing View > Show Rulers. How will we pull this off? We’ll duplicate the notepads by scaling and moving them with perfect perspective. click and drag from the ruler at the edge of the image. “Option/Alt” means Option on the Macintosh and Alt on Windows. as you do in Adobe® Illustrator®? Well.0. Before we start. it’s important to note that this technique works best on images with a sequence of objects in perspective.) Choose View > Snap to Guides before you start. Now. This technique will attempt to match and copy the sequence so that it creates more objects with the correct perspective. but it just doesn’t look like it’s going to be a very big meeting. let’s begin by placing guides around the last object in the sequence we want to duplicate. 2. Let’s imply that we’re anticipating a few more attendees by adding a few more note pads. Let’s say you need an image of a typical business meeting. So let’s get rolling and discover the secrets of transformation in Photoshop 5. You have this image from the Adobe Image Library. Shortcuts Throughout this document. Guides To create guides. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows.The new Free Transform in Adobe® Photoshop® 5.0 can give you a whole new perspective on life! Have you ever wanted to scale and move objects in a step and repeat pattern. INTERMEDIATE DIGITAL DUPLICATION 1. Adobe Senior Creative Director Russell Brown reveals secrets of transfromation in Photoshop 5. now you can. (You’ll be using guides in combination with the Free Transform.

I selected the second-to-the-last note pad and its shadow using the polygon tool found under the lasso tool. This modification is a very important step in this process. Turn off the Guides temporarily by choosing View > Hide Guides. In this case. while pressing the Option/Alt key. Choose View > Show Guides. Shortcut The keyboard shortcut combination for this step is: Option/ Alt+Command/Ctrl+T. Digital Duplication 2 . select Free Transform from the Edit menu. select the secondto-the-last object in the sequence you want to duplicate. (Click and hold the lasso tool to reveal the polygon tool. Now. Using the Shift key in combination with the arrow keys will move the object 10 pixels. Next. 5.3. Transformations You can move objects that are being transformed in one-pixel increments by using the keyboard arrows. Turn the Guides back on. Move the object you are transforming over the last image in the sequence and snap it to one of the corners formed by the guides.) 4. The Option/Alt key will modify the transformation and make a copy of the selection instead of cutting it out of the background image.

this is the final and most important step to this entire process. As you can see. Illustrator and Photoshop are trademarks of Adobe Systems Incorporated. Press Option/ Alt+Command/Ctrl+Shift+T.S. Windows is either a registered trademark or a trademark of Microsoft in the U. OK.6. Photo Credit © Adobe Image Library. Repeat this combination of keys until you have as many objects as you need to fill your image.. press the Enter key. Paths This same keyboard combination will work with paths in Photoshop. Digital Duplication 3 PS5. All rights reserved. I repeated the same process down the other side of the table and now the high-powered meeting is ready to start! Adobe. The object will be transformed to match your distortion and positioning. Inc.0 9/98 . This will distort the image to match the angle and perspective of the sequence. When finished. Just transform a path and then use these same keys to duplicate a sequence of paths. 8. and/or other countries. Macintosh is a trademark of Apple Computer. and other countries. registered in the U. the Adobe logo.S. The Magic Key Combination! 7. This crazy combination of keys will transform the last transformed image again to make a copy. Stretch the four corners of the image out to the corners created by the guides. ©1998 Adobe Systems Incorporated.

Senior Creative Director at Adobe.Digital Stain Remover Russell Brown. shows you how to remove those pesky stains from your fine images using Adobe® Photoshop® ADVANCED .

To start the clean-up process. Let’s start by correcting the easy portion of this image. amazingly. Brush shortcuts Photoshop gives you some great shortcuts for selecting brush pressure and size. The stain could be removed in a number of ways. This method is also great for removing unwanted blemishes and colored lighting. The [ key selects the next smaller brush. 2. 2 . The numeric keys 1 through 0 change a brush’s pressure percentage to 10 times the number (or to 100% for 0).The goal of our project is to remove the stain from this image. I also removed the stain from the pearls around the woman’s neck.and hard-edged brushes to treat different areas of the image. 3. } selects the last brush. Use a combination of pressure settings to gently blend the stained area into the natural background. Also. ] selects the next larger. Note: When it’s complete. use a combination of soft. Notice that some of the stain travels over the neutral values in the background of the painting. Desaturate mode The Desaturate command converts colors to their grayscale equivalent without changing modes. Do not close the file. without altering the original brush strokes of the painting. We can easily correct the neutral values with the sponge tool using the Desaturate mode. set the image aside to work on later. To do this. we need to make a copy of the current image. STAGE 1: THE EASY STUFF 1. { selects the first brush. but this technique is quite unique and. does not require the use of Levels or Curves. using Image > Duplicate. The overall idea behind this technique is to make corrections to the original file and then transfer these corrections to a finished file. In this case. we will make an identical copy of our stained original.

Channel shortcuts Press Ctrl/Command+1 to access the red channel. and the stain in this image is red. This is because green is the color complement to red. This is good! Note: Earlier we corrected the background of this image. The Blue channel also contains a significant portion of the detail in the image. we can maintain the integrity of the brush strokes. 5. Ctrl/Command+3 for the blue channel. If we could neutralize the stain in the channels. Notice that the Blue channel is unaffected by the red wine stain. 3 . The problem channel for our image will vary depending on the color of the stain. “Ctrl/Command” means Ctrl on Windows and Command on Macintosh systems. We could try making a selection of the neck area and then use Levels or any other of the many color controls. But I’ve got another technique that’s out of this world! STAGE 2: NEUTRALIZING THE STAIN 4. then the problem would be solved. and Ctrl/ Command+~ for the RGB composite. Now we’re ready for the hard part. The stain on the woman’s neck cannot be removed with the sponge tool or else all the color would be lost. Right? Shortcuts Throughout this document. 6. and if we do not have to change it. Ctrl/Command+2 for the green channel. This channel is not a problem. that was the easy part. In the channels! Take a close look at the individual channels and you will see that they clearly show the staining in the gray shades. The secret to solving this problem is hidden in the channels. and we do not need to correct it in any way.OK. We should not see any major difference in values between the different channels shown on this page. Here you can see that the Green channel has the most obvious problem.

Select Quick Mask mode from the Tool palette and edit the selection area with the paintbrush tools. This is a great way to create a mask that matches your image exactly.STAGE 3: SELECTING THE STAINED AREA 7. Return to the RGB composite. we protected the pearls. An adjustment dialog box will appear. the value you use is based on the resolution of the image. Quick Mask mode Press the letter Q on the keyboard to change to Quick Mask mode. 8. 4 . Remember. simply double-click the Quick Mask channel in the Channels palette or double-click the Quick Mask icon. Double-click the lasso tool and set the Feather option to a value that will give you a soft edge. Make a selection of the stained area. 9. the greater the feather value. It’s important to take time here to create a good selection. The higher the resolution. paint over any other areas that do not need to be corrected. To change the color of the mask. Levels are often overlooked as a convenient way to adjust a selection while in Quick Mask mode. The pearls were corrected earlier and do not need any more correction. it will pay off in the end. Finally. In this case. Super tip Use the Levels controls to adjust the area of the Quick Mask.

5 . Choose Layer > New > Layer Via Copy (Ctrl/Command+J) to copy the selected area to a new layer.STAGE 4: NEUTRALIZING THE STAIN 10. 11. 12. The results should look something like this. Invert the new layer from the Image menu (Ctrl/ Command+I). Set the mode for the layer to Color. Return to Selection mode by pressing the Q key.

A little complex. by adjusting the opacity of the inverted layer. To do this.In the next few steps. It’s magic! It’s amazing! Your friends and relatives will be thrilled! Here you see that. WOW! 15. Press Ctrl/Command+A to select the entire image. Here is where the magic starts! Adjust the opacity of the second layer until the gray values in the Red channel match the surrounding image. After make sure that the abrupt edges have completely vanished into the surrounding image. Define Pattern Define Pattern is one of the few ways to make a copy of a composite image. But wait! Copy and Paste will not work! Doing a copy and paste would only copy the targeted layer. We must use a special power-user technique. 6 . You will be viewing a grayscale representation of the composite of the two layers. press Ctrl/Command+1 on the keyboard. Then select Edit>Define Pattern. Warning: You must make a selection before you can choose Define Pattern from the Edit menu. we need to view the Red channel only. Next. but it works! STAGE 5: DIGITAL MAGIC 13. Then we will copy the corrected results and place them into the second image. Our goal is to get a copy of this corrected Red channel into the duplicate image we made earlier. Hint: For best results. we can neutralize the color problems on each channel. we will correct the individual Red and Green channels of this image. Before 14. The Copy command will not copy information on other layers. The next step is a little tricky.

Pattern Fill Remember. 18. Next. Note: Copying corrections directly into the original will not work! The corrected channels must be integrated with a copy of the image to make this technique work. This displays the Red channel only.STAGE 5: DIGITAL MAGIC 16. 17. Here is a comparison of the Green channel before the digital correction (on the left) and after the adjustments (on the right). Remember. Press Ctrl/Command+1 on the keyboard. After you define the pattern. the opacity value of each channel may differ. The stain has been literally neutralized. bring the second copied image to the foreground. select Edit > Fill and completely fill the Red channel with the pattern we just created. In this case. only the Red and Green channels must be replaced. Amazing but true! 7 . Continue this process (from step 14) of making corrections on the Green channel of the first image and then transferring the results to the second image. filling with a pattern is the only technique that works.

STAGE 5: DIGITAL MAGIC
19. After you’ve made all the corrections, press Ctrl/ Command+~ to display the full-color image. OH NO! There’s a slight hue shift to the image! You will quickly notice that even the great master is not perfect. The abrupt edge is gone, but a slight discoloring may still exist.

20. We can easily fix this with a soft-edged brush set to Color mode and opacity of 50% or less. Press the Alt/ Option key to sample the color you want to use in that area (a Sample Size of 3 by 3 Average is best), and then paint over it with the new color.

Finetuning
Sample area We still need to do a bit more touching up to complete this project. In this case I took a color sample from the woman’s face and transferred it to the discolored areas of her neck.

21. When you’re done, the image should look perfect. No new brush strokes—and everything as good as new!

Adobe, the Adobe logo, and Photoshop are trademarks of Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer, Inc. Windows is a registered trademark of Microsoft in the U.S. and other countries. ©1996 Adobe Systems Incorporated. All rights reserved. Photography: Classic PIO Partners, Doug Menuez and PhotoDisc Special thanks to Russ Sparkman

8

PS4.0 11/96

Have you ever wanted a shadow that followed the exact curve of a certain shape. Have you ever wonder just what a displacement map is used for anyway? Here’s is your chance to find out. In this technique we will create a realistic drop shadow for a hat, like the one you see to the right.
Adobe Senior Creative Director Russell Brown gets displaced working in the shadows with Adobe® Photoshop® 4.0. INTERMEDIATE

DISPLACE SHADOWS WITH PHOTOSHOP
1. In Photoshop, open up the image on which you would like to create the displaced shadow. Here we want to put a hat on this incredibly good looking face and give it a realistic shadow. To start, we want to create a new image file using this image.
Shortcuts
Throughout this document, “Command/ Ctrl” means Command on the Macintosh® and Ctrl on Windows. “ ® Option/Alt” means Option on the Macintosh and Alt on Windows.

2. Go to the Channels palette. Toggle through the three channels by pressing Command/Ctrl + 1 = Red Command/Ctrl + 2 =Green Command/Ctrl + 3 = Blue Find the one channel with the most contrast. In our case it was the red channel. With the channel selected, choose Duplicate Channel.

3. In the dialog box you will want to choose “New” under Document. Then in the Name field type in “Blur map”. Note: if you are on Windows you must give it the .psd extension.

4. You should now have a new image with the file name Blur map open on your desktop. Notice: if you check its channels, it has only one channel. This is important because we only want to displace our shadow vertically. In order to have true horizontal displacement there must be a second channel.

Displacement map
A Displacment map is basically a second image that the Displacement filter uses to determine how to distort the selection. Any Photoshop file except bitmaps can be used.

5. Now we want to smooth out the gradations in this image and have detail without any speckling. The best way to do this is to choose Filter > Noise > Despeckle. Repeat filter three to four times. (Command/Ctrl + F) The softer and smoother the displacement map, the smoother the shadow effect. Once you have done this, save the image and put it aside.

Displacing Shadows With Photoshop

2

Fill your selection with 50% gray. Let’s go back to our original image. With this layer still selected. (Remember. Get back in RGB composite mode. (Command/Ctrl + ~) Next. You’ll want to do this in order to see where the shadow needs to fall. try the shortcut Shift + Command/Ctrl + T. Ahha. open the image that you want the shadow to fall under. Place it into final position. Shadows Another quick way to create a soft shadow is make your selection then choose Select > Feather. Transform! To bring up the dialog box for the Transform tool. and choose Filter > Blur > Gaussian blur to create a soft shadow. In this case. the the exact shaping will be done with the Diplacement filter). Size it using the transform tool (Command/Ctrl + T). Bring in the second image either by copying and pasting or dragging and dropping. Type in a pixel value for the selection edges to be feathered.6. 7. Now. we want to have a realistic shadow falling under the brim of this hat. Displacing Shadows With Photoshop 3 . 8. Select the bottom layer and click the new layer icon. now it’s starting to make sense! Notice that our hat already has a transparent background. Deselect. create an approximate shadow using one of the selection tools. we want to create our shadow. This will create a new layer between the hat and our face for the shadow.

11. set the mode to Mulitply. Wow! The shadow magically bends over the contour of this perfect face. With the shadow layer still selected choose Filter > Distort > Displace. Looks OK. Navigate to where you saved the Blur map file and select it. Click OK. Displacement Filter Remember. Next. (Although you may want to experiment with the amount. 10. darkening the color underneath it. to make it a little more realistic. Click OK and wait for the results. Now. Through experimentation. Ahaa. Displacing Shadows With Photoshop 4 . the image we’re using for our displacement map has only one channel. Enter 0 in the Horizontal scale and approximately 30 in the Vertical scale.) The rest of the settings can stay the same. we have found that only the vertical scale is needed for a good-looking shadow. but we can do better than this! Multiply Mode Effectively like sandwiching two negatives together. a dialog box appears asking for a file to use for the displacment map. this mode looks at the color information in the channels and multiplies the base color by the blend color.9.

S. All rights reserved. we added a single 50% brushstroke to the shadow layer underneath the hat. Your selected image will be converted to shades of red. Displacing Shadows With Photoshop 5 Photo credits: Peter Fox and John Greenleigh PS4. 12. ©1997 Adobe Systems Incorporated. and other countries. For a finishing touch to make the hat appear as though it were sitting on the head.12. registered in the U. Adobe. Voila! There you have it! The perfectly shaped and shaded shadow. Fortunately. In the Hue and Saturation dialog box.” This way the adjustment layer will affect only the shadow layer. Choose Hue/Saturation and make sure to select “Group with Previous Layer. Colorize You can use this effect to colorize black-andwhite images or to create a monotone effect. Choose New Adjustment Layer from the layers pop-up menu. For the final touch we want to add a bit of warmth and color to the shadow as there would be in real life. 13. Photoshop 4. and Photoshop are trademarks of Adobe Systems Incorporated. Mac and Macintosh are trademarks of Apple Computer Incorporated. You can then adjust the color using the Hue slider. select Colorize and then adjust your HSL levels until you have your desired density and shadow color.0 Adjustment layers make this a snap. Windows is either registered in t he U. the Adobe logo. and/or other countries or a trademark of Microsoft.0 11/97 .S.

Nicer Looking Fade Effect INTERMEDIATE .

You may notice that the fade looks as if it’s starting or ending too quickly or almost as if it’s being cut off. but when you draw a gradient on the layer mask. 2. The higher the lightness contrast between the fading image and the background. one being the paintbrush which tells you that you are painting on the layer. the more obvious this becomes. The second column has two icons.Have you ever had a fade effect look as if it’s starting or ending too abruptly—or almost being cut off? Here we explain how to use Adobe Photoshop to solve that problem and achieve better fade effects. and click and drag over the image. and choose Layer > Add Layer Mask > Reveal All. the other telling you that the layer mask is selected. and the shorter the distance of the fade. Using the gradient tool. Now let’s check out the fade effect you’ve created. Let’s quickly review how to get a fade effect in Photoshop. Although the visible quality enhancement with this technique may vary. Make sure that the Layer Mask Thumbnail icon is selected in the Layers palette. 3. Here’s how to solve the problem. Follow the same process described in step 1. Place an image to fade on a layer. 2 . set to default black and white. Layers Palette The eye icon in the first column lets you know if the layer is visible or not. it’s a good tip to know… NICER LOOKING FADE EFFECT 1. draw it about 25% longer than usual toward both the starting and ending directions.

the Adobe logo. you add speed changes to the fade transition—some speed acceleration at the beginning and some speed reduction at the end. click and drag on the graph area. Feather always creates natural-looking fading edges because it has the S-curve effect built-in. Left: Fade effect with default gradient. and Photoshop are trademarks of Adobe Systems Incorporated. 5. By adding two control points. drag the control point off the graph area. Note: Fading edges also can be created with the Feather option on the Select menu and some Selection tools. Adobe. shape an S-curve as shown here. Curves dialog box To add a control point in the Curves dialog box. ©1996 Adobe Systems Incorporated. Contributing author: Etsuro Endo Photography: PhotoDisc 3 PS4. This prevents the fade from starting or ending too quickly. By applying the S-curvebased tonal correction to the layer mask. choose Image > Adjust > Curves. thus you get a more natural-looking fade. click OK.NICER LOOKING FADE EFFECT 4. All rights reserved. With the layer mask channel still selected as the current target channel. You may want to adjust the curve to change the look of the fade transition. Right: Fade created with the S-curve technique.0 11/96 . To remove a control point from a curve. If you like the fade effect in the preview.

performs layers magic with Adobe® Photoshop® ADVANCED . Senior Creative Director at Adobe Systems.Layer Mania Russell Brown.

To load the selection of an object that is on a transparent background. Multiply mode combines the densities of the two layers and darkens the images. in relation to the background image. “Command/ Ctrl” means Command . 2.In this demo. on the Macintosh and Ctrl on Windows. Using the move tool. Move the object into position. So we need to increase the density of the blender. drag the selected image into the background image. Loading selections A shortcut to loading an existing selection is to press Option/Alt+ Command/Ctrl+4 (4 corresponds to the number of the channel). Double-click the new layer and name it. We will do all of this without the aid of the Lighting Effects filter. which we already made and saved as a channel. Here’s how we can do that without using levels or curves. We will do this with layers! BLENDER DEMO PART 1 . Set the mode of this new layer to Multiply by using the Mode pop-up menu in the Layers palette. Duplicate the Blender layer by dragging it onto the New Layer icon at the bottom of the Layers palette.LIGHTING EFFECTS 1. we will bring an object that has flat lighting (the blender) into another image (Russ the magician) and light it so that it appears to be in the scene. Here we loaded the selection of the blender. create or load the selection of the object. 3. the shortcut is Command/ Ctrl+click the layer in the Layers palette. 2 . “Option/Alt” means Option on the Mac and Alt on Windows. Shortcuts Throughout this document. or the Levels or Curves dialog boxes. The original blender image is too light. Multiply mode The Multiply mode is the equivalent of placing two transparencies over each other and viewing them on a light table. With both your background and your object image open in Photoshop. just as it is doing here.

If on a Layer image. and we can do this using layer masks.LIGHTING EFFECTS 4. Add a layer mask to the next two layers also. Target the topmost layer mask. choose Layer > Add Layer Mask > Reveal All. duplicate the copied layer two more times. The top portion of the blender is still not lit correctly. and click and drag at the same diagonal as the blender to create a smooth transition. Notice how the highlights start to form along the top edge.BLENDER DEMO PART 1 . Then select the gradient tool. 6. BINGO! Default Colors Pressing the D key on the keyboard when a layer mask is selected gives you the default white and black as your foreground and background colors. Repeat this step for each layer that has a layer mask. 3 . Notice how the blender darkens with each layer duplicated. make sure your default colors are white and black. To increase density even more. 5. the default colors would be black and white as your foreground and background. We need to erase some of each of the layers. With the topmost layer selected.

Duplicate the Background layer by dragging it onto the New Layer icon in the Layers palette. a reflection of my nice shiny head and white gloves needs to appear on the blender so that it looks like it’s really part of the scene. choose Layer > Transform > Flip Vertical. 4 . Next. use the dodge and burn tools or select the paintbrush tool and paint black on the layer mask to add more highlight effects. Double-click inside the image. and drag the lower middle point up to compress and distort the image. move the image into position. Then. Don’t double-click yet. Finetuning If the image needs more adjustments. using the move tool. 9. 8. The reflection should be an exact mirrored image. Choose Layer > Transform > Scale. so with the transform points still active.LIGHTING EFFECTS 7.BLENDER DEMO PART 1 .

Overlay mode Colors are overlaid on the existing pixels while the highlights and shadows of the base color are preserved. A ng l eo A l ng eo fr ef le ct n io 12. click to define the two layers as a clipping group. think of the blender layer as the masking shape and the background copy as the image that will be pasted into the mask. duplicate the Background copy layer by dragging it onto the New Layer icon at the bottom of the palette. choose Overlay from the Mode pop-up menu. With the Background copy layer still selected in the Layers palette. In this case. Reflections 101 Don’t forget your basic physics when making realistic reflections. id en ce 5 fi nc . The angle of incidence always equals the angle of reflection. and move the pointer over the line between the Background copy layer and the Blender layer below it. 11. move the image into place so you can see the reflection in the surface. Using the move tool. Clipping groups A clipping group is somewhat like using the Paste Into command with two layers.BLENDER DEMO PART 1 . If the image is too light. Hold down Option/Alt.LIGHTING EFFECTS 10. The image should appear inside the blender. Move the Background copy layer up between the Blender layers. The base color is not replaced but is mixed with the blend color to reflect the lightness and darkness of the original image. When the pointer changes to the clipping group icon.

soft edge. select the eraser tool with a medium size. 6 . take out some of the reflection appearing higher up on the surface. because the reflection would not appear that high on the blender.LIGHTING EFFECTS 13. choose Merge Down from the Layers palette pop-up menu. 14.BLENDER DEMO PART 1 . the fantastic blender trick! Flexibility By creating the reflection on a layer of its own. Also. With the Background copy layer targeted. With Background copy 2 selected. Merge the layers that create the reflection for further finetuning. you can easily edit and reposition it at any time. Clean up the hard edge of the reflection in the blender by erasing the image. And there you have it.

Target the original Blender layer. 2. 7 . press the Open Bracket and Close Bracket ([ and ]) keys to reduce and enlarge the brush size. Yes. and then we’ll add a fish so that it looks as if it’s inside the blender. Select Brush Size and Precise. we’ll tone down the bright highlights on the blender with some great brush tricks. Choose an opacity of 50% and select Darken mode in the pop-up menu.WORKING WITH SMALL ANIMALS 1. because more layers will be added. First. select a light copper color from the blender to tone back the highlight areas. Darken mode With Darken mode. choose Preferences > Display & Cursors. While holding down the Option/Alt key (which toggles you from the paintbrush to the eyedropper tool). It will not paint in the dark shadow areas. Click OK. BLENDER DEMO PART 2 . Double-click the paintbrush tool to bring up the paintbrush options. we’ll experiment with more advanced capabilities to enhance the blender. it’s a little more tricky. Continuing to work with the blender image from the previous demo. 3. Select the paintbrush tool with a medium size. the paintbrush will paint only where the chosen foreground color is darker then the highlight color. Preserve Transparency Preserve Transparency will protect the transparent areas in the image and allow you to paint only where there are pixels. Then check Preserve Transparency in the Layers palette. soft-edge brush.In this next portion of the demo. Brush size tip To change your brush size without going to the Brushes palette. Preserve Transparency creates something like an invisible mask.

Select the lasso tool. we’re going to put a fish inside the blender. Opacity tip When a selection tool is active. and then target the original Blender layer. Notice that you don’t have to worry about going beyond the boundaries of the blender—Preserve Transparency is at work! Continue painting over all the highlight areas to tone them back. Paint over the highlight areas. drag the fish into the blender image and position it in the blender. 6. and so on. Holding down the Option/Alt key. 8 . With the move tool. Press 1 for 10% and 0 (zero) for 100%. Note: No small animals were harmed in the creation of this demo. click the blender area around the fish. 5. Feather the highlight at the top of the blender to keep the curvature of the lid.WORKING WITH SMALL ANIMALS 4. Move the fish to the topmost layer. as a challenge for you super users. selecting the area that will be sandwiched over the fish. pressing any of the numeric keys changes the opacity to a corresponding percentage.BLENDER DEMO PART 2 . Now.

Blending layers The sliders here let you define which pixels are blended by indicating a range of brightness values for the replacement pixels. Inc. Windows is a registered trademark of Microsoft in the U. semi-transparent inside the blender. In our example. 9. Macintosh is a registered trademark of Apple Computer. The further apart the triangles. choose Layer > New > Layer Via Copy. the softer the appearance of the layer. Photography: Doug Menuez Special thanks to Ridgley Curry. From the menu bar. All rights reserved. ©1996 Adobe Systems Incorporated. Option/ Alt+click the This Layer high-value range slider (white triangle) and move half of the triangle to the left. move the new layer above the Fish layer.BLENDER DEMO PART 2 .S. the Adobe logo. Adobe.0 11/96 . In the Layers palette. and other countries. the highlight range was split to soften the layer. There you have— super advanced—the next steps for working with layers and lighting a particular scene. You can see the goldfish. giving it a semi-transparent and fogged look. 8. Classic PIO Partners 9 PS4. Double-click this new layer to bring up the Layer Options dialog box. and Photoshop are trademarks of Adobe Systems Incorporated.WORKING WITH SMALL ANIMALS 7.

select an image or object that doesn’t bleed off the edge of the tile. . INTERMEDIATE MAKING SEAMLESS PATTERNS 1. Shortcuts Throughout this document. or grids. This technique shows how to create a pattern tile with edges that won’t be visible when the tile repeats. Creative Director at Adobe Systems shows you how to make a Photoshop pattern without seam lines. Open the image that contains the area you want to use for a pattern tile. however. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. you simply select an area using the rectangle marquee tool and then choose Edit > Define Pattern. The tile image Images with plain or textured backgrounds are the best candidates for a smoothly tiling pattern because it is easier to smooth away the tile lines. Crop the image to the size and area you want the pattern tile to be. Luanne Seymour Cohen. For a pattern to tile seamlessly. “Option/Alt” means Option on the Macintosh and Alt on Windows. Try to avoid images with gradations because these are very difficult to touch up. filling an area with this pattern will leave telltale tiling lines.To make a pattern in Adobe® Photoshop®. Almost always. 2. the edges of the pattern tiles must align exactly to create a continuous image. Also.

Choose Filter > Other > Offset. The Offset Filter This filter basically slices up your image and moves it horizontally and vertically. 4. Making Seamless Patterns 2 .3. enter approximately half the value of the width and height you noted in step 3. It is helpful to do this so we can see how the edges of the pattern tiles will meet. 5. Check the size of the file by holding down Option/Alt and selecting the size box in the lower left corner of the window. Click OK. Notice that the left half of the image completes the right half and the top half of the image completes the bottom half. Make a note of the width and height pixel values. Select the Wrap Around option. for the horizontal and vertical values. The Offset filter splits the image into four sections.

If you want the same filter but need to adjust some values. Choose Filter > Other > Offset.6. Now use the rubber stamp tool to blend the center seams between the four sections of the image. Check to see if any problems were created by painting or cloning near the edge of the tile in step 6. I use a soft-edged brush set at 50% opacity. short brush strokes so that the stroke itself is not visible. For this soft. press Command/ Ctrl+Option/Alt+F. diffused background I used a soft. we must reverse the offset process. The dialog box of the last used filter will appear. If so. Filter shortcuts To apply the last filter you used. (In this example. This brings up the filter dialog box last used. Use a small brush and be careful not to change any of the pixels right on the edges of the tile. Click OK. The goal is to try to blend the backgrounds of each rectangle together and to remove other elements that you don’t want to repeat. simply press Command/Ctrl+F. In this example.) Cloning a smooth background Try to clone using multiple. Add a minus before each of the pixel values to reverse the offset effect. 7. Use a brush that is similar in size and texture to the background. I removed the stem and the stray bit of petal. Making Seamless Patterns ¡ ¡ 3 . 8. To put the finishing touches on the pattern tile. carefully cover these up using the rubber stamp tool again. transparent brush. the arrows point to the areas where I painted too close to the edge and need to repair.

If you want to touch up the tile. If you like the effect. registered in the U. Make sure that the file is several times larger than the pattern tile. and Photoshop are trademarks of Adobe Systems Incorporated. Photograph: Digital Vision. Adobe. Making Seamless Patterns 4 PS4. return to step 8. Macintosh is a trademark of Apple Computer. Next. choose Pattern.S. test the pattern tile for any flaws. Use a Mode of Normal and an Opacity of 100% so that you can easily identify any problems in the pattern. Select a large area (or the entire file). Inc.9.0 12/97 . 10. From the Use pop-up menu. All rights reserved. 11. and choose Edit > Fill. save the pattern tile file. Create a new file to use as a pattern fill test. Windows is either a registered trademark or a trademark of Microsoft in the U. then choose Edit > Define Pattern. the Adobe logo. Choose Select > All (Command/Ctrl A). ©1997 Adobe Systems Incorporated. and/or other countries. Click OK. Evaluate the overall look of the pattern and identify any problem areas. and other countries.S.

Adjustment layers Adjustment layers allow you to alter the look of your image without actually making a permanent change to the original. Peopled scenes are fine but close-ups of faces don’t work as well because the facial features can become too distorted or smeared. you might want to intensify them for the painting. Shortcuts Throughout this document. BEGINNER PAINTERLY IMAGES 1. Landscapes and still lifes work very well. The best types of images for this technique are ones that contain lots of color and texture. Creative Director at Adobe Systems. Move the saturation slider to the right to intensify the colors in your image. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. Create an Adjustment layer by holding the Option/Alt+Command/ Ctrl keys while clicking on the new layer icon. “Option/Alt” means Option on the Macintosh and Alt on Windows. Open a new CMYK or RGB file. makes a good impression with Adobe® Photoshop® 4. 2.0. Choose Hue/Saturation. . Optional: If your image has flat or dull colors.Learn how to create a painting from a photograph. simply double-click on the adjustment layer name and make changes in the dialog box that appears. In just a few simple steps you can turn a run of the mill snapshot or stock photo into a digital painting. To readjust. Luanne Seymour Cohen. They give you the flexibility of being able to change the adjustment as many times as you want.

) The extra brushes will appear in the brushes palette. Select Load Brushes from the Brushes palette. 5. You can use the default brushes in your brush palette.3. Painterly Images 2 . you’ll need to choose a brush that approximates the texture of the subject matter. I’m going to use a custom brush. Now we will make a copy of the background layer by dragging it to the new layer icon. Once you’ve created the brush image. (Mac users: Goodies > Brushes & Patterns > Assorted Brushes. Custom brushes You can use any image or part of an image to create a custom brush. Double-click the rubber stamp tool and change the Option in the Rubber Stamp Options palette to Impressionist. Go to the Photoshop folder and open Brushes > Assorted. Before you begin painting. The most effective brushes are created with black and gray pixels on a white background. 4. select it and choose Define Brush from the Brushes palette. Important: Save the file at this point. But for the flower field in this image. The original background layer will be left as is and we will paint on the copy.

Photoshop reads the pixels from the lastsaved version of the file. registered in the U. 8. the Adobe logo. All rights reserved. The impressionist tool samples the colors that are in the saved image and allows you to smear them. choose File > Save a Copy. It’s as if the photo was made of wet paint and you are moving it around with a brush.6. Mac and Macintosh are trademarks of Apple Computer. If you save the file during the painting process you will no longer be painting with the original source pixels. and/or other countries.0 12/97 .S. I tried to match the brush stroke direction to the texture of the rusty shed. Continue brushing the entire image until you are satisfied with the result. In this example. it smears the pixels from the image to create an impressionistic effect. and other countries. Windows is either a registered trademark or a trademark of Microsoft in the U. You may want to zoom in to paint certain sections or objects in your image. You may want to go back over certain areas with a smaller brush. Painterly Images 3 PS4. Adobe. ©1997 Adobe Systems Incorporated. Or change the brushes or brush stroke direction based on the subject matter. Inc. Select your brush and begin painting the image. Impressionist option When you use the Impressionist option of the rubber stamp tool. Note: Do not save the file while you paint! If you want to keep interim copies. if you want to recover detail that might have been lost.S. Photograph: DigitalVision. As you drag over an area with the brush. 7. and Photoshop are trademarks of Adobe Systems Incorporated.

2. you’ll end up with 4x4x4 colors or 64 colors. Open the original image in Photoshop. To get the best results in Streamline you must first simplify the shapes in your image using Photoshop. Play around with the number of levels. tracing it in Adobe® Streamline® and then editing and finessing the colors and shapes in Adobe Illustrator. You can do this by first posterizing it in ® Adobe® Photoshop. Creative Director at Adobe Systems.Sometimes you want to make a photographic image look very graphic with crisp. Don’t worry about the number you end up with. 300600 pixels per inch will give the best results in Streamline. shares a technique on how to create cool posterized images with Adobe Streamline. use a higher resolution image. This means that for a 3-channel RGB image. INTERMEDIATE POSTERIZED IMAGES WITH STREAMLINE 1. Luanne Seymour Cohen. Inc. .® This technique shows you how.. and turn on the Preview button to see the results. For best results. To do this choose Image > Adjust > Posterize. sharp edges and high contrast colors. just pick a number that gives you the best shapes while still maintaining detail. Adobe Photoshop and Adobe Illustrator. Posterizing in Photoshop 6 levels of posterization means that Photoshop will use 4 tonal values in each channel.

This is where you will experiment with the Maximum # of colors for your posterization. PICT.0 format. Don’t worry if the number of colors is different from what you want because we will adjust that later. Posterizing Images With Streamline 2 . Select Reduce detail. Then it divides the colors evenly into a color palette that contains the number of colors selected in the Color/B&W Setup dialog. Streamline’s posterization Streamline creates a graph of the image color values (histogram). Save the file with a new name. TIFF compressed. Select one of the preset Color settings. Deselect (for photographic image) or select Color averaging (for images with large areas of color). Select the Add new colors to custom color list. 4. or Photoshop 2. Switch to Streamline and open the Photoshop file you just saved. Choose Options > Settings. Photoshop. 5. You can save the file in TIFF.3. Choose Options > Color/ B&W Setup.

Choose Outline for a photographic image. Keep trying different numbers of colors and complexity levels. Streamline has given your settings a new name. Choose Options > Conversion Setup. 8. Noise Suppression Pixel areas with a diameter measuring the number of pixels selected in the Noise Suppression setting are ignored during conversion. You can change it in the Settings dialog if you want. Naming Settings If you make a change to either the Conversion Setup or Color/B&W Setup after you have saved your settings you will need to resave the new settings with a different name. then click Create. Click the Preview button to see how the image’s color shapes will be divided up. Because you’ve changed some of the specifications. 7. Posterizing Images With Streamline 3 . Anything less and the detail I wanted was lost. make that selection also. until you are satisfied with the shapes and level of detail in the preview. I found that 16 was the minimum number I needed to retain the detail in the flower centers.6. The actual colors can be changed later in Illustrator. If your image has straight and curved lines. Experimentation pays off In the image at the left. (don’t forget to click Preview). I tried several different color settings starting with 6 colors. If your image has a lot of noise correct it by increasing the Noise Suppression slider.

They are named “Auto Color” followed by a number. Choose Window > Show Swatches and view by Name. Choose Edit > Smooth Path. The artwork will update in the window so you can preview the new color change. Click OK. Move the Swatch Options dialog so you can see the image.ai to the file name. Choose File > Convert and Streamline will begin the autotrace process. Choose Minimum. choose File > Save Art As and save in Adobe Illustrator format. Posterizing Images With Streamline 4 . Auto Colors The colors created by Streamline are named “Auto Color” and are spot colors in Illustrator. Notice that there are now several new spot colors at the bottom of the Swatches palette. When the tracing is complete.9. 11. To adjust or change a color. Medium or Maximum. Adjust the sliders to the desired color. Streamline will add or replace a suffix of . Open the . use the Smooth Path feature. double click on an Auto Color in the Swatches palette. you are ready to autotrace the image.ai file in Illustrator. Select the path or paths that need simplifying. Smoothing paths If the shapes that Streamline created are too complex or have too many anchor points. Once your settings are adjusted. 10.

Photography: PhotoDisc Posterizing Images With Streamline 5 PS4. Once you’ve removed or simplified the really complex paths. ©1997 Adobe Systems. All rights reserved. Adobe. Photoshop. Depending on the complexity of the image you traced. Use the delete anchor point tool. 14. This adds visual depth to the image. Incorporated. SL4. you might have some unwanted lumps and bumps in some of the paths. 13. The new tonal value of the auto color can then be dragged to the Swatches palette. zoom in on that area.0. breakup complex paths or remove points from a path. To adjust the tone of a spot color. select its name in the Swatches palette and move the slider in the Color palette. To clean up shapes. I added a gradient and a stroke to the background shape. Illustrator. In the image at the right. you’re done. the scissors tool and/or the knife tool to simplify and split up paths.0.0 . and Streamline are trademarks of Adobe Systems. To clean up your file you may want to remove unwanted shapes. You can then make a selection in your artwork and target the tonal color. the Adobe logo.12. The added swatch will retain the original color name and have a percentage after it. AI7. Incorporated.

customizes Actions in Adobe Photoshop 5. BEGINNER QUICK PICTURE FRAMES 1. Several of these Actions create frames.0 comes with more than 100 different Actions.0 application folder for both Mac and Windows versions. Choose Window > Show Actions to display the Actions palette. If you like the frame but want to customize it for your image.0 Goodies Sampler folder. beveling and texture. The image size must be more than 100 pixels in both width and height. you can do so easily. Luanne Seymour Cohen. . This action works best on a flattened or a one-layer file. Open the image you want to frame. 2. Open the Default Actions set. In this technique. 100 free Actions Photoshop 5. Here we are using the Wilderness file found in the Adobe Photoshop 5.0. you will make a picture frame for your image and then change its color using an adjustment layer.Adobe® Photoshop® 5. You can find them in the Goodies folder inside the Photoshop 5. Adobe Imaging Evangelist.0 ships with eight Action sets containing more than 100 different Actions. Adjustment layers allow you to alter the color of the frame without losing its shading.

Layer Effects To change a layer effect setting. From the Layers palette. Click Continue if you have at least a 100 pixel wide and tall image.3. 5. save the file now and you are finished. Once you click the Play button a dialog box will appear. Applying the Action to your image will make your image 100 pixels wider and 100 pixels taller than the original image. The Action creates a “wood” frame around your image. doubleclick on the layer effect icon. Select the Wood Frame . Quick Picture Frames 2 . Select the frame layer. If you are satisfied with the image. go to step 5. 4. located in the Layer palette. choose New Adjustment Layer. If you want to change the color of the frame.50 pixel Action and click the Play button. Click Stop if your image is smaller than this.

adjust the Lightness slider. and/or other countries. the Adobe logo. Remember. Photo credit © Adobe Image Library.S. registered in the U. Macintosh is a trademark of Apple Computer. If you don’t like the effect. and Photoshop are trademarks of Adobe Systems Incorporated. Inc.6. Adobe.0 5/98 . and other countries. Adjustment Layers If you want to experiment with color or contrast adjustments but you don’t want to permanently change the original. Select the Colorize option. To make the color more or less intense. You can apply an adjustment layer to an entire file or to just one layer at a time. 7. Click OK to view the results. ©1998 Adobe Systems Incorporated.S. To make the color lighter or darker. Then move the Hue slider until you find the color you want. so you can double click on it at any time and change the values. All rights reserved. In this case we want to change the color of the frame so choose Hue/Saturation. use adjustment layers. just double click on the adjustment layer and change the values. Windows is either a registered trademark or a trademark of Microsoft in the U. Quick Picture Frames 3 PS 5. They float above the layers you want to alter. you used an adjustment layer for maximum flexibility. Click Group With Previous Layer so that the color adjustment affects only the frame layer. Choose the type of adjustment you want to make. 8. adjust the Saturation slider.

Open the image you want to begin working on. .0 1. Adobe Senior Art Director Russell Preston Brown in a virtual paradise with Adobe® Photoshop® 4. I have chosen an image that lends itself to a naturallooking rainbow. along with channels and layer masks.0™ INTERMEDIATE RAINBOW IN PARADISE WITH PHOTOSHOP 4. “Command/ Ctrl” means Command . As you can see. Click the Edit button to bring up your Gradient Editor dialog box. with a dark stormy background and front highlights. Open Gradient Tool options by double-clicking on the Gradient tool. Shortcuts Throughout this document. on the Macintosh and Ctrl on Windows.For all you Photoshoppers wanting your own slice of paradise. 2. here is the tip for you! You will learn how to create your own rainbow using the new Photoshop gradient tool. It’s a virtual pot of gold. “Option/Alt” means Option on the Macintosh and Alt on Windows.

4. Finally. Download gradient for PC Download gradient for Mac Tab Tab Tab! When your colors are close together. Once you name the new gradient. Duplicating Colors By holding down the Option/Alt key while clicking on any color square. select New to begin creating your rainbow gradient. The key step here is to make sure that your color bands are at one end of the bar. you can duplicate that color. I’ve chosen the following simple set of four colors: 28-137-18 / 210-2550 / 255-60-0 /0-0-0 for black You can also experiment to find your own color solutions. Next. Rainbow in Paradise with Photoshop 4. set the Type of gradient to Radial.3. Click OK once you have the gradient you want. as in the example shown. use the Tab key to move through your selections to ensure you don’t accidently select the wrong one. 5. if so you might be tempted to create that soft blend right here–but don’t do it! We will do that later. Edit your new color by clicking in the color swatch area. start adding colors by simply clicking below the gradient bar.0 2 .

So first. set the Layer mode to Screen and move the opacity back to 60%. Create a new layer for the rainbow by pressing the new layer icon. Resulting colors will always be lighter.6. Yikes! Right away you will notice two obvious problems: The gradient will be black with harsh bands of color.0 3 . 7. Then zoom out so that you can start the gradient well below the actual image. Click and drag your gradient tool about two-thirds the way up the image. Screen Mode This Blend mode is like taking two separate transparencies and projecting them on top of each other. Black will change nothing and white remains white. Rainbow in Paradise with Photoshop 4. 8.

We need to make the rainbow appear as though it’s coming from behind the trees. Choose Filter > Blur > Gaussian Blur. There is still one thing that we need to do. Rainbow in Paradise with Photoshop 4. 10. Duplicate this channel by dragging it over the new channel icon.0 4 . less blur will be sufficient. I am going to use the channels. view each channel separately to find which one has the best contrast to make a layer mask. You could paint a mask to hide parts of the rainbow or start with one of the channels in your image. you can adjust the levels by choosing Image > Adjust > Levels. I chose about 9 pixels for this 72-dpi image.9. We can do this using a simple layer mask. for higher resolution you will need to go higher. For lower resolution. First turn off the Rainbow layer (click on the eye next to the layer) and go to the Channels palette. Now. To heighten the contrast as I’ve done. Next we want to soften the bands of color. Display Shortcut To go through your channels quickly you can use these shortcuts: Command/Ctrl+1 = Red Command/Ctrl+2 = Green Command/Ctrl+3 = Blue Command/Ctrl+~ = Composite 11. Your image resolution will determine how much you will want to set your blur to. How much blur? The degree of Gaussian blur will depend on your image size and resolution. but some photos may not work as well as this one.

0 5 PS4. 14. With the channel as your selection click the layer mask icon. Rainbow in Paradise with Photoshop 4.0 8/97 . Adobe. press: Command/Ctrl + Option/Alt + 4 13. Macintosh is a registered trademark of Apple Computer. Target your rainbow layer. the Adobe logo. and other countries. ©1997 Adobe Systems Incorporated.S. and Photoshop are trademarks of Adobe Systems Incorporated. All rights reserved. There you have it! The perfect rainbow in paradise.12. Layers Shortcut To load the channel selection from your Layers palette. Inc. Turn this new channel into a selection either by dragging it over the dotted circle at the bottom or using the shortcut: Command/Ctrl + click on the target channel. Switch back to the composite channel and then back to your Layers palette. Windows is a registered trademark of Microsoft in the U.

Repairing Digital Photographs Adobe Senior Creative Director Russell Brown shows you how to repair your digital images with Adobe® Photoshop® ADVANCED .

and it is more difficult to interpret those colors. when you capture an image with a digital camera. it’s compressed with JPEG compression. and Command/ Ctrl+3 for the Blue channel. the Kodak DC50. Duplicate the Base Layer by dragging it onto the New Layer icon at the bottom of the Layers palette. we chose Preferences > Display & Cursors. 3.In this demo. “Option/Alt” means Option on the Macintosh and Alt on Windows. Shortcuts Throughtout this document. Zoom in on the image and take a close look at the problem areas. 2 . Open your digital image file in Photoshop. The Blue channel is the telltale channel of a scanned image and often will show the errors of the scan. Also. Here’s how to easily fix this image using Photoshop layers. we will repair a photograph taken with a low-resolution digital camera—in this case. Blue channel The CCD (Charged Couple Device) in the camera is least sensitive to the blues. Double-click this new layer and rename it Color Blur. Press Command/ Ctrl+1 for the Red channel. 2. especially noting the skin tone in this image. Notice the artifacting and extra noise in the Blue channel. Brush Size and Precise. Command/Ctrl+2 for the Green. and selected. REPAIRING DIGITAL PHOTOGRAPHS. PART 1 1. Preferences For this demo. but they have a few deficiencies that can be repaired digitally using layers. Go through the RGB channels. “Command/Ctrl” means Command on the Macintosh® and Ctrl on Windows®. This technique is also quite useful for repairing badly scanned images. The combination of these two factors creates noise in the blue channel. Zoom out of the image and return to the RGB composite. Often these cameras produce excellent results.

but soften it—especially in the troubled area of the blue channel. Press Command/Ctrl+3 to go to the blue channel again.REPAIRING DIGITAL PHOTOGRAPHS. create an overlay of the two layers using Color mode from the pop-up menu in the Layers palette... With the Color Blur layer still targeted. Choose Filter > Blur > Gaussian Blur. 3 . See how the noise has been smoothed out. You want to soften the image—not lose the image completely. 5. The base color is not replaced. 6. there’s more. Amazing but true! But wait. PART 1 4. Choose values based on the resolution of the image. Zoom in to the image and look at the same area. Color mode Colors are overlaid on the existing pixels while the highlights and shadows of the base color are preserved. but is mixed with the blend color to reflect the lightness and darkness of the original.

change the mode back to Normal and set opacity to 30%. PART 1 7. This creates a nice soft look around the edges of the image. and then move it to the top (above the Soft Focus layer). which is not something we want. Name this layer Sharpen Details. Press 1 for 10%. 0 for 100%. Duplicate the Color Blur layer by dragging it to the New Layer icon. 9. and then double-click the new layer and rename it Soft Focus. especially the face. With the Soft Focus layer targeted. Let’s continue working with this image and give it more of a portrait look by softening the focus of the image. and so on. Duplicate the original Base Layer.REPAIRING DIGITAL PHOTOGRAPHS. so we will create another layer to sharpen parts of the image. 8. pressing any of the numeric keys changes the opacity to the corresponding percentage. as if it were shot through a special filter. Opacity Tip When a selection tool is active. 4 . hair. The eyes are also being softened. and hat areas.

11. Now we will isolate the areas of this layer that need to overlay the image. The further apart the triangles. Deselect. Blending Layers The sliders here let you define which pixels are blended by indicating a range of brightness values for the replacement pixels. the highlight range was split to soften the layer. Make sure Preview is checked.REPAIRING DIGITAL PHOTOGRAPHS. Move the This Layer highvalue range slider (white triangle) to the left. giving it a semi-transparent and fogged look. PART 1 10. In our example. and then move it to the bottom of the stack. Click the eye icon for the Sharpen Details layer so that only the bottom and top layers are visible. Pressing Command/Ctrl+Delete fills the area with the background color. Create a new layer by clicking the New Layer icon. This new layer is needed only to preview the effects of blending layers—which you are about to see. and then choose Select All and fill the layer with white. 5 . 12. Fill shortcut Pressing Option/Alt+ Delete fills the area with the foreground color. the softer the appearance of the layer. Notice that areas of the face and hat are being eliminated. Doubleclick the layer to bring up the Layer Options dialog box. Optionclick the eye icon for this layer. Target the Sharpen Details layer.

being sure not to add back detail where you don’t want it. Select the Red channel in the Blend If pop-up menu. Looks pretty good! On to the next phase. Click the eye icon to view the other layers and turn off the bottom layer eye icon. 6 . Before and after To see the effects of sharpening. and then click OK. but too much of the red shirt is showing. 15. Move the two half-triangles around to achieve a soft look. PART 1 13. and move half of the triangle to the left.REPAIRING DIGITAL PHOTOGRAPHS. click the eye icon on and off next to the Sharpen Details layer. Splitting the triangle softens the transition. Remember to split the slider to soften the image. This trick can be used on any of the layers. The face has been adjusted fine. Go back to the Gray channel to do any final adjustments. The transition is very harsh and needs to be softened. Now adjust the slider to isolate the reds. 14. Option/Alt+click the white triangle slider.

Very nice! 7 . 18. Another thing we can do to this image is to bring back some of the white in the eyes. Add Layer Mask A layer mask can be added to any layer to isolate particular areas you don’t want affected. Press Comand/ Ctrl-click the New Layer mask icon at the bottom of the Layers palette to add a layer mask. To bring back the detail. Choose a small brush. Zoom in on the eye and target the Soft Focus layer. 17. PART 1 16.REPAIRING DIGITAL PHOTOGRAPHS. make sure the foreground color is black. Zoom out to view the larger image. we will make a layer mask. which was dimmed when the soft blur was applied. and not directly on the image. set the opacity to 50%. Notice that you are painting on the layer mask. and begin painting in the area of the eye where you would like to bring back that nice white highlight.

3. Dissolve mode Dissolve gives the brush a ragged. After saving. without affecting it. choose Dissolve. choose Flatten Image from the Layers Palette pop-up menu. Then choose the Quick Mask mode on the Tool palette. and on the Mode pop-up menu. Select 100% opacity. 2. Now we need to create a selection mask so that the little boy in front can be separated from the background image. To do this. I’d like to alter the focus range. With your digital image file still open in Photoshop. Double-click the paintbrush tool to bring up the Paintbrush Options palette. Low-resolution digital cameras offer no control of depth of field. Make sure the default foreground and background colors are black and white respectively (press D on the keyboard).Continuing to work with the same digital image. For this exercise. to make a mask. 8 . Quick Mask mode With Quick Mask mode on. dissolving quality which takes on some of the quality of the edge of the hat in the image. and then we’ll blur the background. Zoom in on the edge of the hat. REPAIRING DIGITAL PHOTOGRAPHS. just below the background color. PART 2 1. you can paint directly on the surface of the image. save a version with all the layers. This allows us to simulate the same grain of the photo so the mask will not look fake. we will first separate the little boy from the background. Select a large hard-edge brush from the Brushes palette. Press Q to toggle between Quick Mask mode and Standard mode. we need to flatten the image so that it becomes one composite layer. rough. but we can add a professional quality to the image—as if there were a depth of field control.

6. 5. PART 2 4. Make sure that there is a continuous outline of the quick mask around the little boy.REPAIRING DIGITAL PHOTOGRAPHS. and then select the bucket tool from the tool bar. 9 . and continue painting along the edge of the shirt and overalls. to white. Begin painting on the inside edge of the hat. The Normal brush works here because the edge is softer and smoother. which subtracts from the mask. Pressing X on the keyboard toggles between the foreground and background color. which adds to the mask. You could never achieve the same quality of selection with the lasso tool. Click in the middle of the Quick Mask outline to fill the area with the quick mask. This gives you a much more natural selection. Mask You can add and subtract from the mask while painting by switching your foreground color from black. Paint all the way around the edge of the hat in Dissolve mode to get the rough texture of the hat. Notice that you are painting with the Quick Mask paintbrush. Choose Normal mode.

Click the new channel to view it and make it active. Go to the Channels palette.REPAIRING DIGITAL PHOTOGRAPHS. Deselect. and click the Selection icon at the bottom to save the selection as a channel. 9. Return to Selection mode by clicking the icon to the left of the Quick Mask icon or by pressing Q. PART 2 7. 10 . 8.

Double-click the new layer and name it Background blur. and then Command/ Ctrl+click the Mask channel to load the selection. Return to the Layers palette. the edge of this channel needs a little softening. PART 2 10. 11. Blur More filter The Blur More filter smooths transitions by averaging the pixels next to the hard edges of the defined lines and shaded areas. 11 . Because we used a hardedge brush. Click the RGB composite channel.REPAIRING DIGITAL PHOTOGRAPHS. It does this three to four times more than the Blur filter. Choose Filter > Blur > Blur More. 12. We will give it just a little bit of blur. Now choose Layer > New > Layer Via Copy to place a copy of the background selection over the image.

Your blur value will vary. View your results. The amount of defringe you use will depend on the resolution of your image and the quality of the edge. Now we will blur the background. There is a problem. Click the eye icon on the Background layer to view it again. and Photoshop are trademarks of Adobe Systems Incorporated. choose Layer > Matting > Defringe. This gives a more solid and resolved edge against the hat and bleeds underneath the hat. 12 PS4. All rights reserved. Inc. Adobe. 15.REPAIRING DIGITAL PHOTOGRAPHS. the Adobe logo. yet make it look realistic against the boy. 14. depending on your resolution.S. Windows is a registered trademark of Microsoft in the U. Special thanks to Russ Sparkman and Etsuro Endo. With this new layer targeted. the blur is blurring into the hat. and other countries. To fix this. ©1996 Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer.0 11/96 . You can see that the background has been isolated from the foreground (the little boy). Click OK. Choose Filter > Blur > Gaussian Blur. PART 2 13. Excellent! Defringe Defringe will push the blur back to meet the edge of the hat. turn off the view of the Background layer by clicking the eye icon.

shares some super tips and techniques for preparing images for the World Wide Web in Adobe® Photoshop® 4.Russell Brown. Senior Creative Director at Adobe Systems.0 INTERMEDIATE Russ Goes Surfing with GIF .

Web surfers. (If the background color doesn’t also appear within your image. Open an indexed color image that has a solid background that you want to remove. “How can I use this?” you ask. 2 Shortcuts Throughout this document. I have a great tip and technique just for you. Here I chose a Tolerance of 60 and. This image has a black background and black outlines inside the letterforms. The tools in the GIF Export filter let you mask out any single color throughout the image. Well. so increasing the tolerance ensures that the selection eats into the colored foreground edges and eliminates any black halo around the selection. When everything that you want to be transparent is selected. you don’t need this technique. Double-click the magic wand tool in the toolbox.OK. on the Macintosh and Ctrl on Windows. In my image. this selects everything but the background. 3. it’s a great way to see through a background color but not disturb that same color inside the image. I’m going to show you how to magically make a color in an indexed color image appear transparent in one area and opaque in another. This image has an antialiased edge. “Command/ Ctrl” means Command . CREATING TRANSPARENT AREAS WITH A CHANNEL MASK 1.) 2. Now click all the areas in the image that you want to be transparent on your Web page. Remember. choose Select > Inverse. checked the Antialiased option. the Shift key lets you add to the selection. . the Command/Ctrl key lets you subtract from the selection.

let’s first use the eyedropper to select the background color in this image and make it transparent. Aha! Our dilemma is clear: All the blacks in the image become transparent. Just to make sure you understand why we made the mask. including the outlines around the letterforms. 6. Click OK. 3 . 5. and save this selection as a New channel. Deselect (Command/ Ctrl+D).CREATING TRANSPARENT AREAS WITH A CHANNEL MASK 4. Then choose File > Export > GIF89a Export. Choose Select > Save Selection.

Here is the final image placed in the Web page. 9. my mask is in Channel #2. 8. 4 . Notice how nicely the mask takes out the background without affecting the inner areas of the image.CREATING TRANSPARENT AREAS WITH A CHANNEL MASK 7.gif. Notice that the name of the file has been appended with the extension . Now for the simple solution: Choose the channel you just created from the Transparency pop-up menu to load your background mask. Be sure to save your file with a nice short name with no spaces so that it’s compatible across multiple computer environments. In this example. click OK to export the results. To create the GIF file.

(I used 10. 3. Layer Redefinition Redefining the Background layer as a non-background layer lets you delete to transparent instead of to the background color. soft-edged graphic that looks good on your Web pages. Make a selection around the image or area that you want to appear on your Web page.) If it’s already an indexed color file. Shortcuts Throughout this document. Web-heads. Doubleclick the lasso tool and increase the Feather value. double-click the Background layer in the Layers palette and give the layer a new name. since you can edit your pen tool path before you convert it to a selection. 5 .Surf ’s up. (This is how the image will appear on the Web. Choose Select > Inverse to invert the selection. CREATING IMAGES WITH A SOFT EDGE 1. If this is a single-layered document.) Make sure that Anti-aliasing is checked. convert it to RGB mode for this technique. Make sure that the image is a 72-ppi RGB image displayed at a 1:1 magnification. 2. “Alt/Option” means Alt on Windows and Option on the Mac. I’m going to show you how to create an irregularly shaped. Hold down the Alt/ Option key to constrain the lasso tool to straight lines. I’ve got a great Web design tip for you. Open the image you want to use. Note that the pen tool is a great means for making a more complex selection.

With larger images. click OK in the GIF89a Export dialog box to export the file. 6. Cover photo: PhotoDisc. You’re now ready to export the image to GIF. Preview the image and experiment with reducing the number of colors in the Adaptive palette. ©1996 Adobe Systems Incorporated. Click the Transparency color box and select your transparency color if it is something other than the standard Netscape gray. Windows is a registered trademark of Microsoft Corporation. To finish. with smaller images. Choose File > Export > GIF89a Export. If the filter doesn’t appear in the Export submenu. Inc. Netscape and Netscape Navigator are trademarks of Netscape Communications Corporation. Inc. Be sure to save the file with a nice short name with no spaces so that it is compatible across multiple computer environments. choosing fewer colors can make a big difference in file size. the difference is less significant.gif. the smaller and faster the image will be for display and when downloaded over the Web. The fewer the colors in the image. Adobe. All other products or name brands are trademarks or registered trademarks of their respective holders.0 11/96 . Macintosh is a registered trademark of Apple Computer. reinstall the filter or check your Plug-in Preferences to make sure that the correct plug-ins folder is selected. All rights reserved. the Adobe logo. Notice that the name of the file has been appended with the extension . Adobe Photoshop are trademarks of Adobe Systems Incorporated. 6 PS4.CREATING IMAGES WITH A SOFT EDGE 4. 5.

We’ll start by making a standard selection with the ellipse tool as shown in this image. choose Transform Selection.0 timely techniques. That’s the beauty of this technique. INTERMEDIATE TIMESAVING SELECTIONS 1. It’s new! It’s wild! You’ll use it all the time! .Ever found yourself trying to make an elliptical selection with a round tool? Well here are a couple of great new ways to get a handle on time and learn some Adobe® Photoshop® 5. We can access the ellipse tool by clicking and holding the marquee tool on the tool palette. to introduce a new feature found only in Adobe Photoshop 5. Adobe Senior Creative Director Russell Brown makes selections the easy way with Photoshop 5.0 or later… From the Select menu. Now. No need to make the ellipse selection exact. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. This new feature will transform the shape of the selection without altering its contents. The goal of this project is to make elliptical selections easily and quickly. 2. as shown to the right. Shortcuts Throughout this document.0.

this time we’ll get a special kind of preview! Once again. less obvious approach to transforming a selection. Special note: You can now change the point of rotation by moving the central control point to any other location on the image. 2. make a selection with the ellipse tool as shown to the right.3. there’s no need to be exact. A shortcut for the edit in Quick Mask mode is to press the Q key on the keyboard. and then rotate the selection. However. In the tool box. Press the Enter key and the newly transformed selection will be precisely in position. Technique number two! 1. scale. WOW! You can now rotate. As you can see here the Quick Mask appears like a transparent layer of plastic over the image. To rotate the selection. Timesaving Selections 2 . move the mouse just outside the selection until you see the rotation icon. Remember. Painting on this layer with white will add to the selection and painting with black will subtract from the selection. Quick masks Make a selection. click on the edit in quick mask mode icon. Amazing! But wait – there’s more! Selections To reshape the selections. We’ll use it to transform the watch as we did with technique number one. and distort the selection until the ellipse fits the shape of the face of the watch. The flashing selection will now be displayed as a Quick Mask. simply select and move any of the control points available. The default color for the Quick Mask is red with a 50% opacity. Here’s another.

scale. Then we can press the Enter key to apply the transformation. 5. The selection area becomes much more clear and distinct.3. The transformation control vectors appear as before. and distort the Quick Mask with the transformation tool until it fits the watch face exactly. This time. but this time we are transforming a visible mask. choose Free Transform from the Edit menu. we can rotate. As before. 4. Timesaving Selections 3 . Super user tip Double-clicking inside the transformation region is a quick and easy way to apply the transformation.

Try setting the Color to white and the Opacity to 100% to block out the image outside the cropping area. The selection can be transformed with more accuracy when the color has greater contrast. On the the Channels palette. 8. Fifty percent red is the default color for the Quick Mask. the new Quick Mask color makes the selected area more distinct. it’s possible to change the color of the Quick Mask to help make the preview of the selection more distinct. The Quick Mask Options dialog box will appear. As you can see in this example. However. double-click the words Quick Mask. Cropping an image This same technique can be used to preview the cropping of an image. Timesaving Selections 4 .6. Experiment with changing the color and opacity of the Quick Mask until it is more apparent with your image. 7.

set the Mode for this newly created layer to Multiply. target the Channel palette. and other countries. select Duplicate from the pop-up menu. And there it is: You’ve learned how to control time and space. to revert the Quick Mask back to a selection. with an Opacity of 85%. Channels To make a Quick Mask into a channel. Adobe. ©1998 Adobe Systems Incorporated. Inc. choose Edit > Paste Into. I’m using an image of a desert road stretching to the horizon.S. Timesaving Selections 5 PS5. Open up a new image. select the edit in standard mode icon. and/or other countries. With your selection made. In this case. Photo credit © Adobe Image Library.. This makes a copy of the Quick Mask and a permenant alpha channel you can load as a selection anytime. Here’s a simple way to use this selection. the Adobe logo. Windows is either a registered trademark or a trademark of Microsoft in the U. registered in the U. and Photoshop are trademarks of Adobe Systems Incorporated. Select the entire image by choosing Select > All or Command/ Ctrl+A.S. or press the Q key on your keyboard. Macintosh is a trademark of Apple Computer.9. 10. Then as the final step in this project.0 9/98 . All rights reserved. 11. Then copy the selection by choosing Edit > Copy or Command/Ctrl+C. Close the image you copied. After completing the transformation of the Quick Mask. and click OK.

ADVANCED TEXTURED GRADATIONS 1. Why use alpha channels? Alpha channels are a quick and convenient way to select objects or images. Do not deselect yet! Click on the new channel name in the palette to view it. We will begin to build the textured. Switch to the Channels palette and click on the save selection icon. it may be worthwhile to save that selection as an alpha channel. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. Make a new layer named base and use the selection tools or type tools to create the graphic. Creative Director at Adobe Systems. Shortcuts Throughout this document. Then you’ll add a layer mask and texturize it. Select the shape (if it is not already selected) by Command/Ctrl-clicking on the layer name. If you know you’ll need to select something more than once during a Photoshop session. Luanne Seymour Cohen. You can also paste shapes from other files or import the graphic from Adobe® Illustrator®. . “Option/Alt” means Option on the Macintosh and Alt on Windows. When you need to activate the selection. You’ll end up with a multi-layered file that is very versatile. simply hold down the Command/ Ctrl key and click on the channel name. 2. You can experiment with different colors. gradated graphic by first creating its basic shape and filling it with a color. gets textural with Adobe® Photoshop® 4. layer modes. You’ll build a different layer for each color you want to spatter onto your image. and textures as you lay one colored texture on top of another.0.Want your graphics to have a great textured look? Want your shadows with different colors? Add dimension and character to your type or graphics using textured gradations.

Save the file at this point. Textured Gradations 2 . you are working with a negative version of your image. Selecting gradations When you load a selection that contains a gradient. but they will still be selected. soft edges that are more than 50% transparent will not have a selection border. The areas that are dark will block out more color in the final image. you might wonder why it looks as if some parts aren’t selected. Feathered. Photoshop only displays a selection border around pixels that are up to 50% transparent. Switch to the Layers palette and click on the base layer to activate it. Add a gradient to the selected area.3. and the areas that are lightest will let the most color through. With the gradation selection still active. channels contain only grayscale information. Remember that when you are working in channels. 4. Load the new channel as a selection by Command/Ctrlclicking on the channel name. 5. click on the layer mask icon to save the selection as a layer mask for the graphic layer. Also. Now we will apply the gradation to the graphic. The gradient you choose should be grayscale.

There are many other textures besides noise that you can use in this step. you will want to create more than one colored texture layer. See page 4 for a few examples of other textures. the duplicate layer saturates the image with more color. 7. Because the layer masks have some transparency. Click on the layer mask for the shaded layer. Pick a new foreground color. and then fill the layer with the new color (Option/ Alt+Delete/Backspace). When you’re satisfied with the result. Lets fill this second layer with the color of the shadow we want in the final artwork. click OK. Choose Filter > Noise > Add Noise. Option/Altdrag the base layer onto the new layer icon in the Layers palette. To get a richer looking texture. because they will change once we add the texture. You can change the colors at any time during the design process simply by using the Preserve Transparency option and filling the layer with a new color. Give the layer a new name. select the Preserve Transparency option. Layer masks The great advantage of using layer masks in a technique like this is that you aren’t committed to a certain color for your graphic. To fill only the area of your graphic. Now we will add texture to the shaded layer. Select Uniform Distribution.6. Textured Gradations 3 . and experiment with the slider to see what values work best for your image. A quick way to create a new layer is simply to duplicate the existing one. Don’t worry if the colors don’t look right yet. 8.

registered in the U. Textured Gradations 4 PS4.9. Variation 2: For this texture. the Adobe logo. and Photoshop are trademarks of Adobe Systems Incorporated. Variation 1: This is the same file used above. I chose Filter > Artistic > Sponge instead of the Noise filter. use Filter > Sketch > Reticulation instead of Noise in step 8.S. Its important to reapply the texture filter to each new layer. and/or other countries. it will cover up the other color’s texture. Windows is either a registered trademark or a trademark of Microsoft in the U. In this example I added one more layer of orange. and other countries. ©1997 Adobe Systems Incorporated. Most of the filters randomly apply texture and if you just copy the same texture from another color layer. To add more colored texture to your image.S. Adobe.0 12/97 . Macintosh is a trademark of Apple Computer. Inc. repeat steps 6-8 for as many different layers as you want. The only difference is that in step 8. All rights reserved.

• Frequency is the rate at which the lasso sets fastening points (a higher value anchors more quickly). place the tool over the starting point and click. From the Tool palette select the magnetic lasso tool. hold down the option key while dragging.0 makes selections more easy with the magnetic lasso tool.Photoshop 5. and makes simple layer effects a one-step process. Shortcuts Throughout this document. hold down the command key or select the move tool and click inside the selection and drag and drop the image onto another file. BEGINNER Three New Features Overview 1. Click once and begin dragging near the object. Magnetic lasso Double-click on the magnetic lasso in the tool box to access its options. Adobe Senior Designer Lisa Jeans Trail shows the basics of three new features in Adobe® Photoshop® 5. 2. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. To make a selection within a selection. found under the lasso tool. To finish off the selection. . gives you more power when working with the type tool.0. With the object selected. • Lasso width is the distance from the pointer at which the lasso will detect edges. Open an image in Adobe Photoshop that has an object to select. Your selection is made. the magnetic lasso tool will distinguish the edges for you. • Edge Contrast is the lasso’s sensitivity to edges (a higher value detects high contrast edges).

Move the dialog box so you can make use of the new Preview option. You also have the ability to change the color of the text while in the dialog box. let’s add text to the image.0 that much easier. Select the type tool and click approximately where the text should be placed.0 is the ability to transform selections found on the Select > Transform Selection menu. I’ve used an Inner Bevel and then tried different mode and opacity settings to achieve the effect I like. Next. Click OK once your text is as you would like it. you can now click outside the dialog and move our type into position–just one more feature that makes working with type in Photoshop 5. I even specified the shadow color by clicking on the color box. press the Return/Enter key to set the transformation.3. Three New Features 2 . Once the image is placed as you would like. Notice that you can now highlight part of your text and apply multiple styles and sizes as well as control the leading. This allows you to transform a selection only and not the image underneath. You can add some new layer effects with the text layer still selected. The image is placed on a new layer and can now be scaled and rotated using Free Transform (Command/Ctrl+T). Here we are going to add the Bevel and Emboss effect. 4. Moving type While in the Type Tool dialog. 5. Transformation Yet another new feature in version 5.

You can also make changes to the layer effect by doubleclicking on circle f (the layer effect icon) to the right of the layer name.S. and Photoshop are trademarks of Adobe Systems Incorporated. Even with an effect added to the text layer. Click OK once you have the effect you want.` ©1998 Adobe Systems Incorporated.6. Windows is a either a registered trademark or trademark of Microsoft in the U. You can then either make changes to the existing effect or select a new effect from the pop-up menu. See how the layer effect is added to your changes. 8. Select a layer with an effect and choose Layer > Effects > Copy Effects. and/or other countries. This brings up the effect dialog box last used on that layer. registered in the U. All rights reserved. Macintosh is a trademark of Apple Computer. Photo Credit © PhotoGear. and other countries. Copy/paste effects With the new layer effects you can copy and paste effects between layers.S. the text is still fully editable. the Adobe logo. Double-click on the “T” in the text layer to bring up the Type Tool dialog box and make any changes. ObjectGear Three New Features 3 PS 5.0 4 /98 . Adobe. 7. Inc. Then select the layer to which you would to add the effect to and choose Layer > Paste Effects.

264 pages. Two noted Web seminar instructors. as well as the latest HTML language protocols. Lisa Lopuck and Sheryl Hampton of ElectraVision. 1997 US $40 ISBN: 1-56830-426-9 4-color.Adobe Seminars: Web Page Design by Lisa Lopuck and Sheryl Hampton Adobe Seminars: Web Page Design is a portable seminar on web page design taught by experienced professionals that documents Adobe software such as Adobe Photoshop 4. 1. This October 1997 Adobe Press book will bring all the essential information of a two-day seminar into a compact and reusable format. complete with CD and step-by-step techniques. Adobe Illustrator 7. The result is a reference book of clear. and Adobe PageMill 2. The techniques within this Acrobat™ PDF file are from the upcoming Adobe Press book Adobe Seminars: Web Page Design. includes ImageClub CD . have distilled their training sessions into over a hundred two-page techniques using popular Adobe applications to simulate how Web pages are actually created. simple explanations and designs that are reusable page after Web page. Adobe Seminars: Web Page Design Publication Date: Oct.

 Object Gear. : Instead of using option + merge. and select Duplicate from the Image menu. In this case. and finally. Travels: Road Sign Photo Gear. These types of graphics are difficult to cut out by eye-balling it alone. A few factors that contribute to making smaller files include: reducing the color palette. using flat color whenever possible. you can simply turn on all the eyeball icons of the layers to be merged. Use the Option Merge technique discussed in Lesson B7 to keep the source layers intact.  . Often times. Skyscapes: Clouds#7 font: Garage Gothic Black  :   If the image is in multiple layers.   . you will end up cropping too closely and you will see a hard edge once the image is on the Web (as shown). the image to be cut out has highly feathered edges. Vol. . merge them together.  :     . 1 Design Elements: Skull Steer Object Gear.Lesson C4 Trimming Graphics to the Smallest Possible Size Web graphics always need to be made as small as possible in terms of file size. avoiding horizontal gradients. trimming your graphics to their smallest possible size.      . Check the Merged Layers Only check box to create a new merged file apart from your source file.

: The crop tool does not work in this case because it erases your Magic Wand selection. Because you are adding to the selection. choose Similar from the Select menu. Crop the image with the Crop function once the selection is perfect. To ensure that you capture all the transparency.   . :         Using the Magic Wand tool. If the Crop function is grayed out in the Image menu. For example. Invert the selection. Hold down the shift key to add to the current selection using the Marquee tool until you have a perfect rectangle. This selection shows you the absolute outer edges of your image.      . your selection is not a perfect. select the transparent background surrounding the image. start at the top-most point and draw to one of the side-most points. set on a tolerance of zero and with no antialiasing.  :     . you can build it in stages. . there may be a tiny bulge somewhere. you need to convert the selection into a rectangular one. you do not have to do it all in one step.  :     In order to crop the image according to the selection created in Step 2.

Need a liquid logotype? Then try this Photoshop technique to create wet words. not a separate layer that can be edited and moved later. ADVANCED WET PAINT TYPE 1. Then you add some drips and drops around it. 2. Use the Plaster filter to create a soft rounded effect on the type. Creative Director at Adobe Systems. instead of layers. “Option/Alt” means Option on the Macintosh and Alt on Windows. Create a new file.Try some of the variations for different wet effects. Finally. choose a face with more pronounced thicks and thins. Position the type before you deselect it. If you want a slightly eroded look. Liquid typefaces The best typefaces to use for this technique are script or calligraphic. Be sure that your foreground color is set to white and the mask channel is selected. to give ourselves more flexibility with coloring and highlighting the final art.0. Type created in channels is only a selection. ... Shortcuts Throughout this document. “Command/ Ctrl” means Command on the Macintosh and Ctrl on Windows. gets wet and wild with the Plaster filter in Adobe® Photoshop® 4. Select the Channels palette and create a new channel named mask. you add the color and . We are going to create black and white artwork in the channels. First you pick a script typeface design. Use the type tool to create your type. Luanne Seymour Cohen. The typeface used in this illustration is Ex Ponto.

I want the final artwork to have highlights on the top. 4. Play around with the values on the sliders. In this example. 2 Wet Paint Type . 5. Name the duplicate plaster type.3. We won’t get good results on layers with transparency. Click OK when you are satisfied with the result. You can do this quickly by holding the Option/ Alt key while dragging the mask channel icon down to the New Channel icon. We’ve now created the mask that we will use to bring crisp. so we are doing this first part in a channel in order to create the type on a layer later. the results will be created with the foreground and background colors. Create a duplicate of the mask channel. Use a paintbrush to add a few white drips and drops around the type. the image is in negative form. It doesn’t matter what color the image is to start with. Choose the lighting position you want. but they will turn into small “blobs of paint” later. The Plaster filter puts the foreground color in the shadow areas and the background color in the highlight areas. They won’t look much like drips at this point. Remember that since this is a channel. Doing so brings up the dialog box to duplicate the channel. Select Filter > Sketch > Plaster. sharp edges back to our type after we use the plaster filter. The Plaster filter The Plaster filter uses the foreground color for the shadows and the background color for the highlights.

8. Click OK. With the wet type layer selected. Selection shortcuts If you want a quick way to load channels without using menus. load the plaster type channel as a selection. Return to the Layers palette and click on the background layer to view it. When you are on a certain layer and you need to load a selection. Name it wet type. try this. 7. Wet Paint Type 3 . Option/Alt-click on the new layer icon to create a new layer. The cursor will change to the selection cursor to remind you that it will now load the selection. hold the Command/Alt key and click on the channel name in the channel palette.6. To fill with 100% of the background color. You can do this from the Channels palette or from the Select menu. press Ctrl+Option/ Alt+Delete/Backspace. Separate the Layers palette from the Channels palette. Choose a foreground color for the type and fill the selection (Option/Alt+Delete/ Backspace). Fill shortcuts To fill with 100% of the foreground color. Choose Select > Load Selection. Select plaster type as the Channel. I recommend darker colors for this step. press Option/Alt+Delete/ Backspace.

it also picked up the off-white areas along the edges of the letters. You’ll have to experiment with this value on your own. Use the magic wand (set to anti-aliased. Wet Paint Type 4 . 11. we want all the white areas selected. Expand the selection by 1 pixel. If your image is very high resolution. Invert the selection by choosing Select > Inverse (Command/Ctrl+Shift+I). To encompass a little more of the type’s new bulgy shape. we need a crisper. Because the selection is anti-aliased. Photoshop analyzes the colors of the pixels currently selected and proceeds to select all the other pixels in the image of those same values. 10. 32 tolerance) to select the transparent background of the wet type layer. The Plaster filter softens and spreads the letter forms. Choose Select > Modify > Expand. you can add to it automatically using the Select Similar command. you might want to try 2. cleaner edge.9. Select similar Once you’ve created a selection. expand the selection. In this example. This is fine for a plaster effect but for liquid. Choose Select > Similar to add any protected areas that you might have missed.

Usually the threshold is increased for skin tones. 13. use the Unsharp Mask filter. If so. See Variation 1 for this effect. Next we will make a layer mask with only the selected areas showing through the mask. Click on the layer mask icon in the Layers palette. Deselect and evaluate the result. Variation 1: You can increase the contrast and make it look “glossier” by using the Unsharp Mask filter. Basically.6 pixels Threshold: 8 levels Unsharp mask Unsharp mask is a traditional film compositing technique used to sharpen edges in an image. we are hiding the fuzzy edges with this layer mask. This automatically creates a layer mask with the selection. 5 Wet Paint Type . You may like it as is or you might want to increase the contrast and sharpen up the smooth gradations.12. or choose Select > Save Selection and select wet type Mask as the channel. Increasing the Threshold value allows you to protect some areas of your image from the noise introduced by sharpening.The Radius value determines the number of pixels surrounding the edges’ pixels that will be sharpened. In this example I used the following values: Amount: 440% Radius: 0.

you’ll need to make a copy of the plaster type channel.S. Open the Levels dialog (Command/Ctrl+L) and move the black input slider to the right. If you want to experiment with colors. Experiment with the values depending on how heavy or light you want the shadow. The top image was created with Image Balance set at 8 and Smoothness at 12. Windows is either a registered trademark or a trademark of Microsoft in the U. 1. and/or other countries. Adobe.Variation 2: For a puddling paint effect. registered in the U. turn on the Preserve Transparency option so you can simply fill the layer with a new color.00. we used Input Levels of 187. ©1997 Adobe Systems Incorporated. Macintosh is a trademark of Apple Computer. try the following settings in step 5. Name the new channel shadow. Variation 3: To add a shadow of a different color. and Photoshop are trademarks of Adobe Systems Incorporated. 255. and other countries. but name the new layer shadow. Inc.: Repeat steps 6 through 13. try using 40 for Image Balance and 4 for Smoothness. Variation 3 cont’d. In this example. The light pixels remaining in the preview are the areas where the shadow will appear in your image. the Adobe logo. All rights reserved.0 12/97 . If you want your letters to look sparsely painted as shown in the lower image. Wet Paint Type 6 PS4.S.

White to Transparent Magic INTERMEDIATE .

Here’s our image. 2. a scriptable plug-in that comes with the Photoshop 4. Now the magic starts! First. so the only available layer is the Background layer. and in the New Layer dialog box. turning white areas into transparency. It has anti-aliased type and a gradient as a design element against a white background.0 Deluxe CDROM. Copy the plug-in file into your Plug-Ins folder.Have you ever wanted to eliminate white areas from an image? Here we’ll demonstrate magic. simply press OK. and the Select > Color Range command does not do as good a job as we would like. Before you launch Photoshop®. The Eliminate White filter Available for free at the author’s Web site at http:// www. 2 . which can have transparency. Doubleclick the Background layer in the Layers palette. created with the Filter Factory. It’s totally impossible to get a selection using the Magic Wand. It’s flattened. you must have installed a special plug-in filter called Eliminate White (only available for the Machintosh at this time).com/filters/ 3. This is freeware by Etsuro Endo. Even gradients and anti-aliased edges will return for your further creative work! WHITE TO TRANSPARENT MAGIC 1.edesign. you must convert the background layer into a nonbackground layer.

Depending on your colors. 6. Now you get the real thing. Eliminate White The Eliminate White filter creates transparency based on the “whiteness.WHITE TO TRANSPARENT MAGIC 4. Adobe. the Adobe logo. try increaseing saturation using the Hue/ Saturation command and desaturate after you use the filter. Proceed to the next step. Remove White Matte This mode is used to eliminate the ghosting of white around the edges of images created on white backgrounds. Choose Filter > Transparency > Eliminate White. 5. Netscape and Netscape Navigator are trademarks of Netscape Communications Corporation. Saturation is restored and gradients that used to be fading into white now fade into transparency. like pastel tones. ©1996 Adobe Systems Incorporated. As an example. Choose Layer > Matting > Remove White Matte. you may have slight color shifts.” If your image has less saturated colors. and Photoshop are trademarks of Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer. All rights reserved. Wow! The white areas turn transparent. Contributing author: Etsuro Endo 3 PS4. but you never question a miracle. Inc. Few people know why.0 11/96 . Now you have the creative freedom of transparency back in your hands. here we exported a transparent GIF file for a Web page using the GIF89a Export plug-in. Through a miracle of science this actually works. But now the white halo needs to be eliminated and the overall image saturation needs to be adjusted.

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