Adobe Photoshop 3.0. Beyond the Basics

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r��� Adobe

Beyond the Basics version

Adobe Photoshop" 3.0

© 1994 Adobe Systems Incorporated. All rights reserved.

Adobe Photoshop 3.0 Beyond the Basics

This manual,as well as the software described in it,is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please remember that existing artwork or images that you may desire to scan as a template for your new image may be protected under copyright law. The unauthorized incorporation of such artwork or images into your new work could be a violation of the rights of the author. Please be sure to obtain any permission required from such authors. Adobe, Adobe Photoshop, Adobe Illustrator, Display PostScript, Adobe Type Manager, ATM, and PostScript are trademarks of Adobe Systems Incorporated,which may be registered in certain jurisdictions. All other products or name brands are trademarks of their respective holders.

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'Pantone, Inc.'s check-standard trademark for color reproduction and color reproduction materials

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Part number:

0299 7848 (10/94)

I ntrod uction ...................................................................................... 1 Basic i m a g e fa d e. .. .. . .... .. .. . ... .. .. .. .. . .... . .... .... .. ..... . .. .. .... .. ... ..... ......... . . 2 Fa d i n g a n d b l e n d i n g i m a g e s .. ..... . .. . . .. . . . . . ... . . . .. . ..... . . .... . . .... ..... ... 3 Creati n g c o l l a g e s with c l i p p i n g g ro u p s ................................. . 4 U s i n g type a s a layer m a s k ....................... . ................ . ... . ....... ... .. . . 6 Selecting type .. .. ... . ... . . . . . . ... . . . . . .... . . . ......... .......................................... 7 Creat i n g motion: Wav i n g cactus .......... . ...... . ...... . .. . . .. . . . . . . . .. . .. . . . . . 8 Front- s h u tter a n d rea r-s h utter motion effects ... .................. 9 Crea t i n g a g l owing effect. . . .... . . . . . . . . . . . . . . . . .. .. . . ................... . ......... 1 0 Scree n i ng, d a r ke n i n g, a n d colorizi n g .................................... 1 1

Table of Contents

Drop s h a d ows . .. ... . ... .. ..... . . ....... ..... ........................... . .... . ..... .. ........ 1 2 Creat i n g cast s h a d ows . ... . . ..... ......... . . . . .... . . . ....... . . . .......... ............. 1 3 O bject s h a d ows ............................................................................ 1 4 P u n c h ed-out type . . . .. . . . . . . ... .. . . ..... ....... ...... ..... ............................... 1 5 I m p r i nted efect ............................................................................ 1 6 Crayon etc h i n g .............................................................................. 1 7 A d d i n g a l o g o to yo u r i m a g e ... . .. .... . . . .. . . . . .. ....... ..... . ... ............. 1 8 E xporti ng paths to Adobe I l l u strator to create special type effects . ... . ..................... . ......... . ... . .. . . .. .. .. 1 9 Exte n d i n g a backg ro u n d ....................... . . . . ... ..... . . .. .... . . . . . .. ..... .. . 20 T i l i n g patter n s ................................................................................ 2 1 C l o n i n g a s i n g l e row o f pixels ................... .. ... .. . . .... .. . ... . . .. . . . ... . 2 2 Fea t h e r i n g edges .................................... ..... .. .. . . . .. ..... . . . . ... .... . ...... 2 3 D i s s o l v i n g edges ........................................................................... 24 Edge m a n i p u l a t i o n s . .... . ... . .. . . . . . .. . . ... .... ... . ... . .......................... .. .. . . 25

Beyond the Basics is a c o l l ection of tips a n d tec h n i q ues fo r Adobe P h otos h o p prog ram u s ers. If you 're new to t h e Adobe Photo s h o p program, browse through this book to get an idea of what you c a n d o with t h e prog ra m, a n d t h e n do the lessons i n t h e Adobe Photoshop Tutoria/to l e a r n how t h e prog ram works. Y o u ' l l need to know the basic fea t u res o f the prog ram a n d how to u s e the too ls before you can use the tech n i q ues i n t h i s book.

Introduction

If you 're a seasoned Adobe P h otos h o p prog ra m u s e r, you can ex p l o re these advan ced tech n i q u e s right away. From t h e s i m p l e tech n i q ues ( s e l ecti ng type and creat i n g d ro p s h a d ows) t o t h e c o m p l e x ( c reat i n g c o l l a g e s w i t h c l i p p i n g g ro u p s a n d com b i n i n g i m a g e s fro m A d o b e I l l u strator i n Adobe P h otos hop), yo u ' l l i n d a va riety o f creative d e s i g n strateg ies. M a n y of these tech n i q u e s fea t u re t h e new Layers p a l ette, w h i c h l ets you e a s i l y create l ayers and layer m a s ks to edit single l ayers of com posite i m a g e s . T h e Layers p a l ette a l so l ets you create m a s ks u s i n g a g ro u p of l ayers c a l l e d

clipping

groups. If you're fa m i l i a r with an e a r l i e r vers i o n of t h e Adobe P h oto s h o p p rog ra m, you 'l l notice too l s and c o m m a n d s that you ha ven't seen before. For c o m p l ete descriptions of the new fea t u res, see t h e tuto r i a l a n d t h e user g u ide.

o

3

3

For a s i m p l e l i n e a r fa d e, u s e t h e

g ra d i e nt i l l tool with the defa u l t options. ( C h oose Reset Too l from t h e G ra d i e n t Too l O p t i o n s p a l ette m e n u to u s e t h e defa u lts.) D r a g t h e tool a c ross t h e i m a g e where t h e fa d e s h o u l d occ u r. 4 4

A p p l y i n g t h e g ra d ient i l l to the

layer m a s k c a u s e s t h e image to fa d e g ra d u a l ly. The i m a g e fa des to t ra n s­ parent where b l a c k occurs in t h e m a s k, s h ows t h r o u g h wh ite a reas i n

t h e mask, and appears partia l l y trans­ p a re n t t h ro u g h g ray a reas of t h e m a s k. 5 5

To c h a n g e t h e position or d i rection

of the fa d e, redraw the g ra d i e n t i l l . N otice h o w t h e g ra d i e nt i s u pdated in the t h u m b n a i l of t h e layer mask. The o r i g i n a l image rema i n s i n tact, but t h e a rea reve a l ed depends o n the

Basic image fade

contents of t h e layer mask.

You can make one image fade into another by using a gradient 6

ill on a layer mask. By defaul, when you create a gradient ill

To m a ke t h e fa d e a p pear m o re

d ra m atic or m o re g ra d u a l , d ecrease or

on a layer mask, the white areas of the mask reveal the image,

6

the black areas hide the image, and gray values partially reveal

i n crease t h e d i sta n ce you d ra g the g ra d i e n t ill too l . Th i s exa m p l e s h ows the g ra d i e nt i l l tool d ra g g e d a c ross

the image.

t h e entire i m a ge, fo r a very g ra d u a l fa d e res e m b l i n g a s u p er i m po s i t i o n .

7 To c reate circu l a r fa des, u s e a ra d i a l g ra d i e nt o n t h e l a y e r m a s k . To foc u s

1

7

Start with two i m a g e s p l a ced on

t h e t ra n s i t i o n a c ross a s m a l l e r a rea, adjust the R a d i a l Ofset percentage in

sepa rate l ayers in the s a m e d o c u m e nt.

the G r a d i e n t Tool O p t i o n s p a l ette.

2 C h oose Add Layer Mask fro m the

8

Layers p a l ette menu to create a layer

recta n g u l a r c u t o r fa d e by c reat i n g a

Y o u can a l s o create a n e l l i ptica l or

mask fo r t h e top layer. By defa u lt, the

selection border on t h e layer m a s k,

layer mask i s sel ected ( i n d i cated by a

fea t h e r i n g it if you want a soft edge,

b l a c k border a ro u n d t h e layer m a s k

a n d i l l i n g it with b l a c k to reve a l t h e

t h u m b n a i l i n t h e Layers p a l ette) . M a ke

i m a g e beneat h . To c u t a w a y t h e a rea

s u re t h a t t h e fo re g ro u n d a n d back­

o u t s i d e the selection, choose I nverse

g ro u n d c o l o rs a re set to black a n d

fro m t h e S e l ect m e n u to i nvert the

w h ite, respective l y.

selection before i l l i n g it.

Note: Through o u t this book, p a l ette

To m a ke t h e effect p e r m a n e n t ( a n d

m e n u refers to the palettes Con trol

red uce t h e i l e size), c h oose Remove

m e n u.

Layer M a s k fro m t h e Layers p a l ette m e n u , a n d c l i c k A p p l y.

,

3

N ext, create a m a s k for t h e second

layer. T h i s exa m p l e s h ows a m a s k o n t h e g reen w i n d ow layer. To rem ove a reas of the g l a s s g ra d u a l l y a n d reve a l t h e i m a g e u n d erneath, w e u s e t h e a i r b r u s h t o o l on t h e m a s k. The tool u ses a fo reg ro u n d color of black ( t h e defa u lt), a soft b r u s h , a n d low opacity. 4

To restore a reas of t h e i m a g e,

switch the fo reg ro u n d c o l o r to w h ite by c l i c k i n g the switch colors icon. U se the s a m e b r u s h to pa i nt the i m a g e back i n. 5

To c reate a g r a d u a l fa de w h e re two

p h otos ove r l a p, conti n u e to work o n t h e m a s k fo r t h e top l a y e r ( t h e g reen w i n d ow). This exa m p l e s h ows the g ra d i e nt ill tool d ra g g e d within a recta n g u l a r selection to create a b l a c k-to-white g ra d ient on the m a s k.

Fading and blending images

6

This efect uses individual layer masks for each layer. Until you

( b l a c k a reas of t h e g ra d ient i l l ) to

,

apply a mask, you can continue to remove and then paint back

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areas of an image.

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This exa m p l e beg i n s with el e m e nts

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o p a q u e ( w h i te a reas of the g ra d ient i l l ) beca u s e t h e g ra d i e nt ill i s a p p l ied to th e layer m a sk.

Tip: To reposition the image on the layer

along with the layer mask, click the layer icon, and then use the move tool on the image. 7 Conti n u e to e d i t t h e layer m a s k a s d e s i red. To erase t h e entire m a s k, c h oose A l l fro m t h e Sel ect m e n u , a n d press Del ete; t h e m a s k i s i l led with

on t h ree sepa rate layers: the back­

w h ite, and t h e image o n t h e layer i s

g ro u n d , the red w i n d ow, and the

restored. Here, we restore t h e red

g reen w i n d ow. 2

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The i m a g e fa des fro m tra n s p a rent

w i n d o w.

Create a layer m a s k fo r the i rst 8

layer ( red w i n d ow) you want to edit by

We t h e n m a ke a feathered sel ec­

tion a ro u n d a diffe rent a rea o n t h e

c h o o s i n g Add Layer M a s k in t h e

i m age a n d i l l t h e s e l ection with b l a c k

Layers p a l ette m e n u. Y o u w o r k on t h e

( A I H B a c kspa ce). W h e n y o u have

m a s k r a t h e r t h a n o n t h e layer. S e t t h e

c o m p l eted e d i t i n g t h e layer m a s k,

fo reg ro u n d a n d backg ro u n d c o l o rs t o

a p p l y t h e m a s k by c h o o s i n g R e m ove

b l a c k a n d wh ite, respective l y. M a ke a

Layer M a s k fro m the Layers p a l ette

feathered recta n g u l a r selection

m e n u.

around t h e edge of the p h oto, a n d i l l it with b l a c k ( AI H Backspace)-t h u s

As a i n a l efect to c reate depth, we

era s i n g pa rt o f t h e w i n d o w a n d

use the a i r b r u s h tool set to B e h i n d

revea l i n g t h e backgro u n d i m a g e.

m o d e to p a i n t s h a d ows beh i n d e a c h

o

of the p h otos o n t h e i r layers.

3

3

I n t h e Layers p a l ette, p u t t h e i rst

o bject you want m a s ked o n a layer a bove t h e base l aye r. 4

Alt+c l i c k t h e l i n e a bove the base

layer to c reate t h e c l i p p i n g g ro u p; the base layer is u n d e r l i ned. D otted l i nes i n t h e L ayers p a l ette i n d icate l ayers w it h i n the c l i p p i n g g ro u p. 4

5

Add a new layer a bove t h e c l i p p i n g

g ro u p, a n d p u t a second o bject to b e m a s ked o n the layer. I n t h i s exa m p l e, we a d d e d type t h a t was fo r m a tted in Adobe I l l u strato r and copied fro m t h e C l i p board. A l t+c l i c k t h e l i n k between t h i s n e w layer a n d t h e p revi o u s laye r to i n c l u d e t h e new layer 5

i n t h e c l i p p i n g g ro u p . 6

C l i p p i n g g ro u p s offer t h e advan­

tage of lett i n g you reposition each o bject within t h e base s h a p e u n til you

Creating collages with clipping groups

a re satisied with t h e masking efect. H e re, we re position t h e ocean layer to

Clipping groups are a way to mask mUltiple images on separate

d i s p l a y s o m e of t h e statu e's textu re,

layers to create a single shape. In a clipping group, the bottom

a n d we m ove the type to c h a n g e t h e

layer in the group (called the ba se layer) acts as a mask for the

6

other layers above it in the group.

w o r d s t h a t a p p e a r with i n t h e statue. Try selecti n g a layer i n yo u r c l i p p i n g g ro u p a n d repositi o n i n g it w i t h t h e

This collage uses four separate clipping groups. Each group

m ove too l .

consists of a bottom shape to which the other images in the Yo u c a n a l s o u s e c l i p p i n g g ro u p s to

group are clipped.

c reate s p e c i a l effects.

7 I n this exa m p l e, we use a second 1

c l i p p i n g g ro u p to mask a lens fl a re

Start by c h o o s i n g t h ree i m a g es:

effect a n d a p h oto of c l o u d s to a

an i m a g e fo r t h e m a s k ( o r " m a s k i n g

tria n g l e s h a pe. The c l i p p i n g g ro u p

o bject") a n d t w o i m ages to be

c o n s ists of t h ree l a ye rs: a tria n g u l a r

m a s ked. T h i s exa m p l e used a statue

s h a p e ( w h i c h i s t h e b a s e layer a n d

a s t h e m a s k, a n d a p h oto of t h e ocean

m a s k), a c l o u d s layer, a n d t h e efects

and type i m po rted from Adobe I l l u s­

layer.

trato r as t h e o bjects to be m a s ked by the statue. 2

2

8

Put yo u r m a s k i n g o bject o n a

existing l a y e r g ro u p . Y o u c a n h i d e t h e

layer a bove t h e backg ro u n d . W h e n

i rst c l i p p i n g g ro u p to make it easier t o

c h o o s i n g t h e m a s k i n g o bj ect, k e e p

work w i t h t h e new g ro u p .

i n m i n d that t h e i m a g e s it w i l l m a s k a p pear o n l y w h e re t h e re a re p i x e l s o n t h a t layer. I n t h i s case, t h e s i l h o u ette of the statue i s s u r ro u n d e d by tra n s­ p a rent pixels. The stat u e w i l l be t h e base l a y e r o f t h e c l i p p i n g g ro u p.

To c reate a second c l i p p i n g g ro u p,

start by c rea t i n g a new layer a bove t h e

o

9

Moving the clipping groups

Create t h e m a s k i n g o bject on t h i s

b a s e layer. Th i s exa m p l e s h ows a

1

s i m p l e tria n g l e s h a pe i l led with

Y o u c a n a l s o m ove an e n t i re layer

g ro u p as a u n it.To red i s p lay all h i d d e n

black. The a rea around t h e t r i a n g l e

l ayers, c l i c k t h e eye i c o n s i n t h e fa r-l eft

i s t r a n s p a rent.

co l u m n of t h e p a l ette. C l i c k t h e base

10

layer of t h e layer g ro u p you want to

Add a layer, a bove t h e base l ayer,

m ove; t h e n c l i c k the l i n k co l u m n fo r

conta i n i n g t h e i m a g e you want

each layer in t h e g ro u p to l i n k a l l t h e

m a s ked. Th i s exa m p l e uses a p h oto of c l o u d s . Alt+c l i c k the l i n e between the

l ayers to t h e base.

2

two to c reate t h e second layer g ro u p . 11

2

Now w h e n you u s e the move tool

i n t h e i m a g e, t h e entire c l i p p i n g

Add a n o t h e r l a y e r fo r t h e spec i a l

g ro u p moves a s a u n it.

effects. O n t h i s layer, y o u c a n use va r i o u s tec h n i q u e s to c reate text u res

3

I n a d d ition, you c a n change t h e

or l i g ht i n g efects. These effects can

layering order o f c l i p p i n g g ro u p s i n

then be b l e n d ed with the other

t h e L ayers p a l ette. Sel ect t h e b a s e

i m ages i n the c l i p p i n g g ro u p by u s i n g

l a y e r o f yo u r s e c o n d c l i p p i n g g ro u p,

t h e m o d e s on t h e L ayers p a l ette. We

a n d d rag it down b e l ow the base layer

3

i l l t h i s layer with b l a c k a n d t h e n a p p l y

of t h e i rst c l i p p i n g g ro u p.

t h e Le ns F l a re i l ter with t h e defa u l t sett i n g s .

4

D ra g g i n g t h e c l i p p i n g g ro u p s

c h a n g e s t h e layeri n g o r d e r of t h e 12

Y o u c a n a l so c h a n g e t h e mode of

g ro u p s i n the i m age. T h i s exa m p l e

t h e effects layer. ( Th i s exa m p l e uses

s h ows t h e tria n g l e g ro u p m oved

t h e Screen mod e.) The mode ca us es

b e l ow the orig i n a l sta t u e g ro u p.

the s p e c i a l effect to b l e n d with t h e i m a g e u n d e r neath.

5

4

In o u r i n a l i m a g e, we use a t h i rd

a n d fo u rt h c l i p p i n g g ro u p. Both u s e 13

As you saw e a r l i e r, beca u s e each

base l ayers that conta i n g ra d i e nt i l l s:

object i n t h e g ro u p is o n its own layer,

t h e leaf c l i p s to a g ra d ient recta n g l e

you ca n u s e the move tool to reposi­

a n d t h e g l o b e c l i p s to a g ra d i e n t c i rcle.

tion each object i n d e pendently a n d Experiment using d iffe rent s h a pes

control t h e a rea t h a t s h ows t h r o u g h t h e mask. W e re position t h e l e n s fl a re efect layer here.

5

o

C}c;��gl'"

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fo r m a s ks. When you're satisied with the effect of yo u r layer g ro u p, you s h o u l d merge t h e l ayers to m i n i m i ze the ile size.

1

I ]Shuttle .1

� I"N 'm',l::'I. ,£..I

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o Preserve Transparency

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2

conta i n s a p i c t u re of t h e m o o n with

t h e s p a c e s h uttle. 2

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� III � I Normal o Preserve Transparency

T h i s exa m p l e uses a backg ro u n d

t h e earth r i s i n g, a n d t h e layer conta i n s

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1

with a layer a bove it. The backgro u n d

Add a layer mask to t h e layer by

using t h e Layers p a l ette menu. When a layer m a s k is active, a thick black border s u r ro u n d s its t h u m b n a i l in the L ayers p a l ette. 3

Set t h e colors to t h e d efa u Its of a

b l a c k fo re g r o u n d a n d a w h ite b a c k­ g ro u n d . M a ke s u re t h a t t h e layer m a s k i s sel ected. Then c reate a n d edit t h e m a s k u s i n g a ny o f t h e e d i t i n g too l s d i rectly i n t h e i m age. Beca u s e t h e 3

m a s k is sel ected, a ny e d i t i n g afects o n l y the m a s k, not the i m a g e; t h e m a s k t h u m b n a i l p reviews t h e e d i t i n g . T h i s exa m p l e s h ows t h e t y p e tool u sed with t h e fo reg ro u n d color set

Using type as a layer mask

to b l a c k.

Layer masks let you easily clip a single-layer image onto a 4

shape- such as type-and continue to reposition the mask with

To view j u st t h e m a s k a n d h i d e t h e

i m a ge, Alt+ c l i c k t h e l a y e r m a s k

the image un til you are satisied with the results.

thumbnail. 5

To red i s p l a y t h e i m a ge, Alt+c l i c k

t h e layer i c o n ( n ot t h e layer m a s k i c o n ) . The b l a c k t y p e m a s ks out t h e s h uttle. H oweve r, we wan t to reve a l t h e s h uttle t h ro u g h t h e t y p e . To reverse t h e effect a n d s h o w t h e layer (the s h uttle pictu re) t h ro u g h t h e type, 5

sel ect the layer m a s k . Deselect t h e type, a n d choose M a p> I nvert from the I m a g e me n u . 6

To reposition t h e m a s k, s e l ect t h e

l a y e r m a s k, a n d u s e t h e m ove t o o l i n t h e i m a g e to reposition t h e m a s k over the b a c kg ro u n d . H e re, the type i s m oved to t h e l eft. 6

3

C l i c k i n s i d e t h e i n d i vid u a l c h a rac­

ters to sel ect t h e e n t i re a nti-a l i a sed l etterform, without selecting t h e backg ro u n d a rea o r tra n s p a ren cy. H o l d down the S h ift key a n d c l i c k on a d d it i o n a l l etters t o a d d to t h e selection. 4

Reposition t h e l etters by d ra g g i n g

t h e m or b y press i n g t h e a r row keys t o

4

move t h e selection i n l - pixel i n c re­ ments. 5

To s e l ect all of the type o n

a l a y e r q u i c kly, c h o o s e L o a d S e l ection from t h e S e l ect menu; the L o a d Sel ec­ t i o n d i a l o g box a p pears. Choose Layer Tra n s p a rency ( w h e re Layer i s the layer na me) fro m the C h a n n e l d rop-down l i st. A selection i s m a d e of j u st the l etters o n t h e layer. You ca n u s e t h i s selection o n t h e backg rou n d l a y e r to

Selecting type

m a ke a m i rror i m a g e of the type.

It� sometimes dificult to select individual characters of type to

6

separate layer.

6

: lucid

'

,

: ri�

icon i n t h e C h a n n e l s p a l ette. M a ke the a l p h a channel t h e active c h a n n e l

b y c l i c k i n g i t s n a m e (#4 i n a n R G B m o d e ) i n t h e C h a n n e l s pal ette. Choose S e l ect A l l .

7 C h oose F l i p>Vertical fro m t h e I m age menu. 8

1

7

C reate yo u r type on a sepa rate

layer a bove the backg ro u n d . Desel ect b l e n d i n g m o d e s b y u s i n g the L ayers p a l ette.

.?l�r,�c �J�L DAnti-.li.sed

M. ic ...nd 0 tions

,,

,,

: ITC!q ,, ,

Select the m a g i c wand too l . In t h e

M a g i c W a n d Options p a l ette, d e s e l ect

2

r-------------------,

k.��" ,'\\� !

the type. Adj u st the color, opacity, a n d

2

Save t h e selection to a n a l p h a

c h a n n e l by c l i c k i n g t h e S a v e S e l ection

kern or edit. These shortcuts work well when you create type on a

�

the S a m p l e M e rged option, and set t h e tolerance to a va l u e of 254 or less.

8

-

-

-

,' '

---- - ----------- �

Sepa rate t h e C h a n n e l s a n d Layers

p a l ettes so that you can e a s i l y u s e bot h . I n t h e C h a n n e l s p a l ette, m a ke c h a n n e l #0 active. In the L ayers pal ette, m a ke the B a c kg ro u n d active. Load the sel ection fro m the a l p h a c h a n n e l onto t h e backg ro u n d i m a g e b y Alt+c l i c k i n g t h e a l p h a c h a n n e l

n a m e (#4) i n t h e C h a n n e l s p a l ette.

To reposition the s e l ection, select t h e move tool; t h e n hold down the Ctrl a n d Alt keys a n d d rag t h e s e l ec­ tion border. You c a n t h e n edit t h e

o S.mple Merged

sel ected a rea by a p p l y i n g a i l ter o r by a dj u s t i n g t h e Leve l s or C u rves, a s d o n e i n t h i s exa m p l e .

o

3� iiI I Norm,l

_I

t O"oa"i c y '-,

o Preserve Tfansparency

3

Choose Paste L ayer fro m the E d i t

m e n u , a n d n a m e t h e new l a y e r ( c a l l e d

the

blur 1 l a y e r h e r e ) . C l i c k OK . T h i s

pastes t h e selection c o p i e d i n s t e p 2 on top of t h e o r i g i n a l selection as a new layer. 4

Creat i n g a layer fo r part of the

o bject lets you rotate a n d apply i lters i n d e pe n d e n t l y of t h e rest of t h e i mage.The

blur 1 l a y e r a c t s a s t h e

b eg i n n i n g of t h e m o t i o n . O n t h e n e w l a y e r with noth i n g s e l e cted, choose Rotate> Free fro m t h e Image m e n u . Rotate the layer, a n d t h e n a l i g n it with t h e base of t h e ori g i n a l . We rotate the

blur 1 layer 1 0 d e g rees c l o c kwise. Desel ect t h e l a ye r. 5

N ow a p p l y t h e Motion B l u r i lter,

a n d red uce t h e layer's opaci ty. H e re, we use Motion B l u r sett i n g s of - 3 5 d e g ree a n g l e a n d 5 0 pixels, a n d w e set

Creating motion: Waving cactus

the layer opacity to 3 0 percent.

You can create the illusion of movement on isolated areas of a 6

subject by copying, rotating, and blurring the selected areas, and

Pa s t i n g copies of t h e o r i g i n a l

o bject onto a d d i t i o n a l l ayers lets you

then varying the opacity of the copies.

6

c reate t h e a p pearance a of b a c k-a n d ­ fo rth m ot i o n . R e p e a t s t e p 3 a n d ca l l t h e new layer

blur2. Rotate a n d b l u r

t h e selection. H e re, w e rotate t h e copy 1 5 d e g rees cou nterc lockwi se, a p p l y t h e s a m e M o t i o n B l u r i lter setti n g s ( Ct r l + O p t i o n + F ) , a n d red uce the layer o p a c i ty to 40 percent. La en

I Norm,l l:

I!I

Opacity:

1

cloud.

7 To c reate t h e top a x i s of motion, repeat step 3 to c reate a t h i rd layer

a n i m a g e with a cactus layer p l aced

(cal led

a bove a c l o u d s layer.

copy, b u t d o not b l u r it. T h i s exa m p l e

2

axis layer h e re) . Rotate the

s h ows a cou nterc l ockwise rota t i o n of

Fi rst, i s o l ate t h e a rea to w h i c h you

25 d e g rees.

want to a p p l y motion by u s i n g a s e l ec-

U 2

7

Start with a i l e t h a t h a s an o bject

separate fro m a backg rou n d . We u s ed

tion tool with n o feat h e r and t h e Anti-

8

a l iased option sel ected . Copy t h e

opac ity of t h e

sel ection to t h e C l i p board. Y o u ' l l u s e

8

t h e copied s e l ection seve ra l t i m e s i n

In t h e Layers p a l ette, red uce the

axis layer, and d ra g the

layer between t h e

Background layer

and t h e o bject layer. This reve a l s the

t h i s tec h n i q u e.

o r i g i n a l position of t h e o bject. We set the

axis layer o p a c ity to 40 percent.

When you have c o m p l eted the a rtwo r k, a s a i n a l step to reduce the ile s i ze, merge t h e l ayers.

o

1� INo=' =.t==Ol�.. L,= ,L �t'_ ...

.

o Preserve Tr,nsparency

'�

. . . _,.,_ ..

1 Beg i n with an i s o l ated s u bject on a t ra n s p a rent layer a bove a backg ro u n d .

2 D u p l i cate t h e l a y e r conta i n i n g t h e s u bject, a n d n a m e t h e l a y e r motion. Yo u w i l l a p p l y t h e motion on t h i s d u p l icate layer. Move t h e motion layer b e l ow the

2� 0' 0,, 1£1 0""oo,it,-_" INorm.l

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DP,eserv. Transparency

.1 �'

'1

i" r �l motion

IDbackrOUnd

1 1 J

. .(.).��;�l 3 �-•. :s(.)

3

In traditional photography, two types of lash modes afect the way motion is recorded on ilm: front-shutter lash and rearshutter lash.

Make t h e

motion layer active.

Alt+c l i c k t h e eye icon next to t h e

motion layer so that j u st that layer is d i s p layed. A p p l y t h e Motion B l u r i l ter to t h e

motion layer. Set t h e i l te r's

a n g l e in t h e d i rection yo u r o bject i s moving, a n d specify a h i g h d i stance va l u e to exa g g e rate t h e b l u r. H e re, we use a sett i n g of a deg rees with a

d i sta nce of 1 00. 4

Front-shutter and rear-shutter motion effects

subject layer by d ra g g i n g i t

i n t h e Layers p a l ette.

Alt+ c l i c k the eye icon to red i s p l a y

a li layers.To i nteg rate t h e subject layer with t h e

motion layer, m a ke the

subject layer s l i g htly t r a n s p a rent. We use SO -percent opac ity here. 5

For a rea r-shu tter l a sh ef ec t, posi­

t i o n th e motion i m age to t h e l eft of ( beh i n d ) t h e s u bject.

Front-shutter lash, which is the most common mode, causes the camera to lash as soon as the shutter opens. This causes motion to appear in front of the image. Conversely, rear-shutter lash causes the camera to lash at the end of the exposure, and gives the appearance of motion behind the image.

6

For a front-s h u tter fl a s h effect,

sel ect the

motion layer, a n d u s e t h e

m ove t o o l t o position th e m o t i o n i m a g e j u st to th e r i g h t ( i n fro nt) of t h e s u bject i m a g e . For t h e i n a l i m a g e, we place t h e m a n n eq u i n a n d the

motion l a y e r o n

top o f a backg ro u n d i l e conta i n i n g t h e m o u s e i m age.

1

Beg i n with an o bject on a back­

g ro u n d , a n d m a ke a sele ction a ro u n d t h e o bject. C o py it to t h e C l i p board. Save t h e selection i n a n a l p h a c h a n n e l by c l i c k i n g t h e Selection i c o n i n t h e C h a n n e l s p a l ette or by c h o o s i n g Save Selection fro m the Sel ect m e n u . Y o u w a n t t h e selection t o re m a i n ava i l a b l e 2

L. ers

l -lI.!,1 am! I-N,or!!

Opacit�:

caved face

even if it i s desel ected . 2

U s e t h e Paste Laye r co m m a n d to

paste t h e selection onto a new layer a bove t h e b a c kg ro u n d . Name t h e layer (cal led

carved face h e re) . Th e

P a s t e Layer co m m a n d d e s e l ects t h e selection. 3 3

Set t h e Foreg ro u n d c o l o r to b l a c k .

M a ke t h e

Background l a y e r act ive, a n d

press A I t + B a c k s p a c e to i l l it with 1 00percent b l a c k. 4

Creating a glowing effect

With t h e

Background layer sti l l

act ive, l o a d t h e sel ection fro m t h e a l p h a c h a n n e l you created i n s t e p 1 b y

You con create a glow around any subject by making a selection

c h o o s i n g L o a d S e l ection f r o m t h e

and then feathering and illing it with color.

S e l ect m e n u , o r, i n t h e C h a n n e l s 4

p a l ette, b y Alt+c l i c k i n g t h e a l p h a c h a n n e l . Feat h e r t h e s e l e c t i o n . H e re, we use a fea t h e r of 2 0 . 5

S e l ect a color fo r yo u r g l ow b y

c h o o s i n g a fo reg ro u n d color fro m t h e Swatc hes p a l ette. F i l l t h e selection b y pres s i n g A I t + B a c ks pace.

5

6

6

To m a ke a l a rg e r and m o re i ntense

g l ow, ill t h e sel ection a g a i n .

3

F i l l t h e s e l ectio n with 1 00-percent

w h ite (AIt+ Ba c kspa ce) . l n t h e Layers p a l ette, use the s l i d e r or press 5 to a dj u st t h e o pacity to 5 0 percent. T h i s p ro d uces a bleached ef fect. 4

Add a seco n d layer (ca l l e d

black

layer here). Set the fo reg ro u n d co lo r to b l a c k. U s e t h e ixed-size rectan­ g u l a r m a rq u ee too l, and click the lo wer-l eft co r n e r of t h e layer to sel ect t h e lo wer-l eft q u a d rant. Fill it with 1 DO -percent black (AIt+Backspace). Set t h e layer's o pacity to 5 0 percent. The 50-percent black darkens the layer. 5

Add a t h i rd layer, a n d n a m e it

color. Use t h e ixed-s ize recta n g u l a r m a rq u ee too l to sel ect t h e u p per­ r i g h t q u a d rant. S e l ect a co lo r fro m the Swatc hes or Picker p a l ette fo r t h e fo regro u n d colo r, a n d i l l t h e sel ec­

Screening, darkening, and colorizing

tio n . C hoo se the Co lo r mo d e in t h e

By using shapes filled with black, white, and color on diferen t

L ayers p a l ette to p ro d uce a co lo rized

layers and then changing the opacities of the layers, you con

efect. The Co lo r mo d e re p l a ces the

create screened, darkened, and colorized images. Creating

hue and satu ratio n o f the u n d e r l y i n g 6

effects on a layer lets you repeatedly change the color values

l a y e r with that o f t h e l ayer a bove, but it reta i n s t h e l u m i no s ity o f t h e u n d e r­

until you are satisied with the artwork as a whole.

l y i n g i m age. 6

Add a inal layer to the i m a g e;

n a m e it

type. H e re, we place t h e wo rd

ROSE in 1 DO -percent white (the fo nt is Frutiger) , i m po rt the bo d y type 1

Fi rst, d i vide yo u r i m a g e i n to fo u r

7

q u a d ra nts. To v i e w the m i d po i n t of

o nto t h e type layer.

the i m a g e's width a n d heig ht, yo u c a n

7 As a i n a l to u c h , we a d d t h e p u n c h ­

use t h e r u l e rs, o r yo u c a n Alt+c l i c k t h e

o ut effect to t h e

I m a g e Si ze bo x at the lo wer l eft of the

t y p e layer, we s e l ect t h e bo dy type

i m a g e to d i s p l ay t h e i m a g e size.

that a p pears in t h e u p per-left q u a d­

Reco rd t h e width and h e i g ht i n pixels.

rant a n d c u t t h e type.

2 2

fro m Ado be I l l u strato r, a n d p l a c e it

Add a new layer a bove the back-

g ro u n d a n d ca l l it

white. Use the rect-

a n g u l a r marquee too l with the Fixed

a a

white layer. O n t h e

Then we s e l ect t h e

white laye r,

paste t h e type, a n d d rag it i n to po si­ tio n . We u s e t h e Deflo at co m m a n d to

Size style, with the width and h e i g h t

m a ke t h e type s e l ectio n affect t h e

s e t to the q u a d ra n t s i z e yo u d eter-

w h ite layer, a n d t h e n w e p r e s s Back­

m i n ed in step 1 , a n d c l i c k the u p per-

space to p u n c h o u t t h e l etters fro m

left co rner of the i m a g e; this selects

the wh ite s q u a re.

the u p per-l eft q u a d ra n t of the l ayer. Set t h e fo reg ro u n d co lo r to wh ite.

W h e n yo u a re satisied with yo u r a rtwo r k, yo u s ho u l d merge t h e l ayers to red u ce the ile size.

3

To ill t h e co py o f t h e hand with a

so l i d s h a do w co lo r, sel ect t h e Prese rve Tra n s p a rency o ptio n i n the Layers p a l ette. S e l ect a fo reg ro u n d co lo r, a n d p r e s s A I t + B a c kspace to i l l t h e layer with t h e new co lo r. Beca u s e t h e tra ns­ p a rency o f t h e layer i s pro tected, the new co lo r i l l s o n l y t h e h a n d . 4

To so fte n t h e e d g e s o n t h e s h a do w,

d e s e l ect t h e Prese rve Tra n s p a re n c y o ptio n i n t h e Layers p a l ett e, a nd a p p l y t h e G a u s si a n B l u r i l te r. I n t h e Layers p a l ette, try d i fferent b l e n d i n g mo des and o pa c ity sett i n g s to change ho w t h e s h a do w i n teracts with t h e u n d e r­ lying i mage. 5

The t y p e a n d it s s h a do w are

c reated using t h e s a m e tec h n i q u e . Type i s i rst c reated o n i t s o w n layer. 6

Drop shadows

Fo r the s h ado w ef fect, we c reate a

co py of t h e

Duplicating a layer lets you easily create shadows for both

below the

objects and type.

type layer. I n t h e L ayers

p a l ette, we mo ve t h e d u p l i cate layer

type layer so that t h e

s h a do w a p pears b e h i n d t h e type. Yo u c a n then c h a n g e t h e co lo r of t h e type o r of t h e s h a do w by fo l lo w i n g steps 3 a n d 4.

7 The Mo tio n B l u r i lter is a p p l i ed to the 8

shadow layer.

Yo u c a n l i n k layers u s i n g t h e Layers

p a l ette so that yo u can mo ve t h e m as 1

T h i s exa m p l e beg i n s with t h e h a n d

i m a g e o n a layer a bove t h e back­ g ro u n d . To c reate t h e s h a do w, i rst co py the

hand layer by d rag g i n g its

n a m e to the N ew Layer i co n . This co py i s the

shadow layer. To repo s itio n t h e

s h a do w b e h i n d t h e h a n d, d ra g t h e

shadow l a y e r b e n e a t h t h e hand layer i n t h e Layers p a l ette. 2

With the

shadow layer act ive,

s e l ect the mo ve too l and t h e n press t h e a r ro w keys on t h e keybo a rd to n u d g e t h e s h a do w s h a p e away fro m t h e o ri g i n a l in l - p i xel i n crements. ( S h ift + a ny a r ro w key mo ves the layer co ntents i n 1 0- p ixel i n crements.)

o n e but co nt i n u e to edit the l ayers i n d ivid u a l ly. With the

shadow layer

active, c l i c k in the m i d d l e co l u m n next to t h e

type layer n a m e . L i n k i co n s

(fo u r- h e a d e d a r rows) a p pear next to bot h layers. Yo u c a n t h e n u s e t h e mo ve too l o n t h e i m a g e to repo s i tio n t h e type a n d s h adow s i m u lta n eo u s l y. W h e n yo u h ave i n i s h ed e d i t i n g t h e l ayers, yo u c a n merge the v i s i b l e layers s o that t h e y act a s o n e u n i t. Do i n g so reduces the ile size a n d m e mo ry u s a g e, b u t t h e effect i s p e r m a n ent.

3

3

To cast t he s h a do w, m a ke s u re t h a t

the

shadow laye r i s se le cte d . Choo se

Effe cts> Disto rt fro m the I m a ge me n u . The Di sto rt co m m a n d c re a te s a d i sto rtio n box w i t h h a n d le s o n l y a ro u n d t he i m a ge o n t h e laye r, no t o n a ny t ra n s p a re n t a re a s . 4 4

Drag t h e d i sto rtio n h a n d le s to

d i sto rt t he s h a do w o bje ct a s de s i re d ; the n mo ve the po i n te r i n s i de the d i sto rtio n box, a n d c l i c k the gave l i co n to a p p l y t he d i sto rtio n . Dese le ct t he i m age . 5

To c reate t he s h a do w ef fect fo r the

cast s h a do w, yo u can u se t he g ra d ie nt i l l too l to i l l t he d i sto rte d i m a ge . Be g i n with t he

shadow laye r sti l l

active, a n d se le ct the P re se rve Tra ns­ pare n cy o ptio n in t he Laye rs pa le tte . This o ptio n c a u se s p a i n t to be a p p l ie d

Creating cast shadows

o n l y to e x i s t i n g p i xe l s o n t he l aye r.

Using layers, the Distort command, and the gradient ill tool, you

6

Se le ct t he g ra d ie nt lltoo l . Sta rti n g

at t he o bje ct, d rag away fro m t he

can create a cast shadow from any isalated object.

o bje ct to cre a te a l i ne a r ble n d fro m 6

b l a c k to w h i te a c ro s s the d i sto rte d i m a ge . ( U se t he too l 's de fa u l t se tti n g s by c hoo s i n g Re se t Too l fro m the G r a d ie n t Too l O ptio n s p a lette .)

7 To m a ke the s h a do w laye r a p pe a r to ble n d i n to the ba ckgro u n d i m a ge, c hoo se M u l t i p l y fro m t he Mode d ro p­ do wn l i st in the Laye rs pale tte . 1

Start with two i m a ge s: a back-

7

g ro u n d i m a ge a n d an i so l ate d o bje ct

s h a do w co lo r at a ny t i me . If de s i re d ,

laye r a bo ve the backgro u n d . This

c h a n ge the s h a do w co lo r b y se le cti n g

e xa m p le u se s s a n d as the backg ro u n d

a ne w fo re g ro u n d co lo r. M a ke s u re

a n d the s u n as the o bje ct that w i l l cast

that the

the s h a do w. Co py the o bje ct laye r by d ra g g i n g

U se t he move too l to d ra g the

o bje ct l aye r. Yo u c a n c h a nge the

o bje ct s ho u l d be on a t ra n s p a re nt

2

8

shadow laye r be lo w t he o ri g i n a l

t h a t yo u w i l l u se to cast a s h a do w. The

shadow laye r is active a n d

t h a t the Prese rve Tra n s p a re n cy o ptio n 8

is sti l l se le cte d ; t he n, u s i n g t he

the laye r to the Ne w Laye r ico n at t he

g ra d ie nt i l l too l , d ra g to cre a te a ne w

botto m of the Laye rs p a lette . Do u b le-

s h ado w i l l .

c l i c k the co py laye r, a n d n a me it

shadow. Yo u w i l l u se t h i s co pie d l a ye r to cre a te the cast s h a do w.

3

D e l ete t h e backg ro u n d selectio n.

No tice that t h e c h e c kerbo a rd i s d i s p l a yed, i n d icati n g t h a t t h e d e l eted a rea i s no w tra n s p a rent.

Note: You can change how a transpar­

ency is displayed by using the Prefer­ ences> Transparency dialog box. In this technique, we reset the display to None so that the shadow efect is visible against a solid white background. 4

Deselect t h e i m a g e. S e l ect a

p a i n t i n g tool with a sof t b ru s h. ( The a i r b r u s h too l is s ho w n h e re. ) S e l ect the p a i n t co lo r. l n the Optio n s p a l ette, set the mo d e to B e h i n d , a n d set t h e o pacity. Pa i n t a lo n g t h e edges o f 5

t h e o bject to c reate t h e s h a do w. Try a p p l y i n g p a i n t in a co nti n uo u s stro ke so that yo u c a n u n do the entire s h a do w if needed.

Object shadows

Filling behind

These shadow techniques use the Behind mode, which is avail­

Yo u c a n a l so s e l ect t h e s h a p e of t h e

able for use with the pain ting and ill tools. Behind mode applies

o bject a n d i l l the sel ectio n u s i n g t h e

the pain t behind the image on the layer, afecting only the trans-

B e h i n d o ptio n i n t h e F i l l d i a lo g bo x. 6

parent areas.

5

If yo u fo l lo wed t h e previo u s steps,

u n do the b r u s h stro ke a p p l ied in step

4 to remove it. C hoo se Lo a d S e l ectio n fro m the Select m e n u. I n t h e Lo a d Sele ctio n d i a lo g box, c hoo se

Layer 0

transparency fro m the C h a n n e l d ro p­ do wn l i st. A selectio n a p pears a ro u n d t h e s h a p e o n t h e layer- t h e layer's

Painting behind 1

7

6

fro m its o ri g i n a l backg ro u n d a n d

s e l ecti n g the mo ve too l, ho l d i n g

Background

n a m e in t h e Layers p a l ette; Layer 0

do wn t h e Ctrl a n d Alt keys a n d d ra g ­ g i n g t h e bo rder.

a p pea rs. R e n a m e t h e layer. Th is co nverts t h e backg ro u n d to a layer with t ra n s p a ren cy, o pac ity, and b l e n d i n g p ro p erties. 2

S e l ect t h e backg ro u n d a rea a ro u n d

t h e s u bject.

Feat h e r t h e s e l ectio n 8 p i x e l s.

Mo ve t h e s e l ectio n bo rder by

m a k i n g t h e backgro u n d tra n s p a rent. To do so, do u b le-c l i c k t h e

2

o pa q u e (no ntra n s p a rent) a rea.

Start by i so l a t i n g t h e s u bject

7 8

Press S h ift- Backspace to d i s p lay

the Fill d i a lo g bo x. S e l ect t h e B e h i n d mo d e, a n d i l l t h e sel ectio n. 8

Beca u s e t h e o bject a n d s h a do w

a re o n a tra n s p a rent backg ro u n d, yo u c a n e a s i l y d ra g a n d d ro p t h e m o n to a no t h e r i m a g e witho ut havi n g to m a ke a s e l ectio n o r save an a l p h a c h a n n e l w i t h t h e i l e.

3 Ctr1+O Ctrl+'

Save t h e selectio n to an a l p h a

c h a n n e l b y c l i c k i n g t h e save s e l ectio n ico n i n the C h a n n e l s p a l ette. You c a n sepa rate t h e C h a n n e l s a n d Layers

Ctrl+2 Ctrl+3 Ctrl+4

p a l ettes to wo r k with them mo re e a s i l y in t h i s p ro cedu re. 4

Feather the sel ectio n a bou t 3

pixels to soften t h e edge. s

To create t h e s h a do w, i l l t h e s e l ec-

tio n with a g ra d ient. Set the fo reg rou n d co lo r to black. S e l ect t h e g ra d ient i l l too l , a n d s e t i t s o pt io n s a s fo l lows: Tra n s p a rent to Fo reg rou nd, l i n ear, a n d 1 DO-percent o pac ity. Drag t h e g ra d i e nt ill too l vertica l l y w i t h i n t h e sel ectio n, sta rting at t h e to p of t h e l etters a n d re l e a s i n g t h e too l a bou t a qu a rter of t h e way do wn t h e i r h e i g ht. 6

No w lo a d t h e o r i g i n a l type sel ec-

tio n fro m t h e a l p h a c h a n n e l by

Punched-out type

Alt+c l i c k i n g the c h a n n e l n a m e in t h e C h a n n e l s p a l ette. S e l ect t h e mo ve

To create this effect, start with a ile containing texture, or create

too l , a n d offset the sel ectio n by

a new ile and use a ilter such as the Clouds or Noise ilter to

ho l d i n g do wn the Ctrl and Alt keys

create a texture.

a n d d ra g g i n g t h e selectio n bo rder u p a n d to t h e r i g h t . Press Backspace to d e l ete t h e type s h a pe fro m t h e s h a do w s h a p e o n t h e layer. 7

Desel ect. U s e t h e move too l to

repo s itio n t h e s h a do w a nywhere o n the layer a bove t h e textu re. You c a n c reate d i fe rent efects b y c h a n g i n g 1

I n t h e Layers p a l ette, create a new

t h e o pacity o r b l e n d i n g mo d e of t h e

7

layer, a n d n a m e it type shadow. Create

shadow layer. To c h a n g e t h e co lo r of

type on the layer u s i n g the type too l .

t h e s h a do w, select t h e Preserve Tra n s-

D o no t d e s e l e c t t h e type. 2

parency o ptio n in t h e Layers pal ette, a n d t h e n i l l the layer with a new fo re-

In the Layers p a l ette, d rag the

g rou n d co lo r.

Opac ity s l i d e r to 1 percent to m a ke

2

t h e selectio n tra n s p a rent. When a

s

layer co nta i n s a flo a t i n g selectio n

to t h e i m a g e, you c a n easily re place

su c h a s type, t h e Opa city s l i d e r i n the Layers p a l ette co ntro l s t h e o pacity of ju st t h e selectio n , no t the overa l l layer.

s

Becau s e t h e s h a do w is no t l i n ked

t h e backg rou n d textu re o r d ra g and

lti�l�t

d ro p t h e shadow layer o nto a no t h e r i m a g e withou t recreating t h e type.

3 La

. .u Opacity: _ lJ 1 __.. .1 r.. .. ............................................................. ... ers

o Preserve Transparenc'

3

C reate a new layer o n yo u r

textu red i l e, a n d n a m e t h is layer

ill.

T h is w i l l be t h e center part of t h e i m p r i n t a n d w i l l c reate t h e recess ed a p pe a r a n ce. Pas te yo u r o bject o nto t h e new layer, a n d pos itio n it w h e re yo u want t h e i m p r i n t to o c c u r. 4

Befo re d es e l ec t i n g the o bject, s ave

the s e l ectio n to an a l p h a c h a n n e l by

4

c hoos i n g Save S e l ectio n fro m t h e S e lect m e n u . Yo u w i l l us e t h e s e l ectio n a g a i n i n step 8. Des e l ect t h e o bj ect, a n d in the Layers p a l ette, red u ce t h e o pa city to 5 0 percent. 5

Co py t h e ill layer twice by d ra g­

g i n g t h e layer to t h e new layers i co n .

�i

I[,]hi9hli9ht

o Pr&serve Tram:pary

Imprinted effect

Do u b le-c l i c k t h e layer n a m e to n a m e i t . N a m e o n e o f t h es e layers a n d o n e of t h e layers 6

Select t h e

highlight

shadow.

shadow layer, a n d set

t h e layer o pac ity to 1 00 percent. With

You can create the illusion of an imprint using copies of the same shape offset from each other. You then ill the copies with black and white and vary their opacities.

t h e mo ve too l s e l ected, press t h e a r ro w keys to mo ve t h is l a y e r 2 pixels to t h e l eft.

7 M a ke t h e highlight l ayer active. Press S h ift+ B a c ks pace to d is p lay the Fill d i a lo g bo x. C hoos e wh ite and 1 00percent o pa c ity, and s e lect t h e Pres e rve Tra ns p a rency o ptio n . T h is i l ls o n l y t h e s h a p e with 1 00-percent w h ite. Leave t h e layer o pacity s et to 5 0 percent. I n t h e Layers pal ette, m a ke

1

Start with a i l e that co nta i ns so m e

s u re that t h e Pres e rve Tra ns p a re n c y

so rt o f textu re, o r a d d text u re to t h e

o ptio n is d es e l ected. With t h e mo ve

i l e us i n g i l ters, s u c h as t h e No is e o r

too l s e l ected, press the a r ro w keys to

t h e R e n d e r i l ter.

mo ve t h e layer 2 pixels to t h e r i g h t .

2

C hoos e an o bject fro m a s e p a rate

ile to i m p r i n t o nto the new i l e . H e re, we c hoose a b i rd a n d its s h a do w. F i l l

8

While the

highlight l a y e r is s t i l l

active, c hoos e Lo a d Selectio n fro m t h e S e l ect m e n u to lo ad t h e s e l ectio n

t h e o bject w i t h 1 OO -percent b l a c k so

saved in step 4. C l i c k OK. D e l ete t h e

that o n l y a b l a c k s h a p e re m a i ns . Co py

s e l ectio n . No w m a ke t h e shadow layer

j us t the s h a pe of the o bject.

active, and d e l ete t h e s e l ected area. T h is reve a ls t h e ill layer.

Note: You may need to adjust the

opacity of your ill layer to suit your particular image.

3

3

Use t h e eraser too l wit h o n e of t h e

p a i nt i n g too l sett i n g s to remove a reas of the b l a c k layer a n d reveal the co lo r spect r u m u n d e r n e at h . To vary t h e effect , t ry d i fferent eraser too l o pt io n s, s u c h as t h e Fade o pt io n wit h t h e Pa i nt b r u s h sett i n g . To rei l l t h e layer

wit h black and co nt i n u e to st e p 4, p ress AIt+ Backspace. 4 4

Yo u c a n a l so re p l i cat e the c rayo n

effect u s i n g a n i l l u st ratio n o r sket c h i n st e a d of u s i n g t h e eraser o r p a i nt i n g too l s H e re, w e sta rt b y creat i n g a new a l p h a c h a n n e l ; t h e n we place a d ra w i n g creat e d in Ado be I l l u st rato r i nto t h e c h a n n e l . 5

5

T h e o r i g i n a l d ra w i n g co n s i st s o f

b l a c k l i n e s o n a w h it e backgro u n d. Beca u s e w h it e i n t h e c h a n n e l beco m es sel ect e d w h e n lo a d e d o nto

Crayon etching

t h e i m a g e, yo u need to invert t h e

You may remember creating this type of art as a child, by coloring

act ive, c hoo se M a p> I nvert fro m t h e

a rainbow on paper with crayons, covering the drawing with

I m a g e m e n u . Desel ect t h e i m age.

d ra w i n g . W h i l e t h e sel ectio n i s st i l l

thick black crayon, and then scraping of the black to reveal the

6

6

Ret u rn to t h e R G B # 0 channel. Lo a d

colors undeneath. You can create the same efect in Adobe

t h e sel ect io n fro m t h e a l p h a c h a n n e l

Photoshop by using two layers.

b y A lt+ c l i c k i n g t h e a l p h a c h a n n e l n a m e i n t h e C h a n n e l s p a l ett e. 7

M a ke s u re t h at t h e to p b l a c k layer

i s act i ve. Press Backspace to remove t h e b l a c k fro m t h e layer i n t h e s h a pe of t h e d ra w i n g . 1

Creat e a new R G B o r CMYK i l e. Set

7

t h e fo reg ro u n d a n d backgro u n d co lo rs t o t h e s a m e co lo r (but not b l a c k

t io n a l a reas of t h e co lo r spect r u m o r b y u s i n g t h e s m u d g e too l t o soft e n

s a m p l e a co lo r fro m t h e Swat c h es

edg es, a s t h i s exa m p l e s hows.

p a l ett e a n d t h en Alt+ c l i c k t h e s a m e swat c h t o sel ect t h e backg ro u n d co lo r. Set t h e g ra d i e nt i l l too l o pt io n s t o t h e defa u lt s; t h e n c hoo se eit h e r Co u nt e rc lo c kwise Spect r u m o r C lo c kwise Spect r u m st y l e. Drag t h e g ra d i e nt i l l too l over t h e backgro u n d . 2

Creat e a new layer. Set t h e fo re-

g ro u n d co lo r to b l a c k, and press AIt+ Backspace to i l l t h e layer wit h 1 DO -percent bla ck.

Yo u c a n co nt i n u e to edit t h e i m a g e

by u s i n g t h e eraser too l t o reve a l a d d i­

o r w h it e ) . A n e a s y w a y to d o t h i s i s to

2

8

a

Choo se Effects> Ro tate o r Disto rt

3

fro m t h e I m a g e m e n u , a n d d ra g t h e h a n d les o n t h e selectio n to it you r lo go to t h e s h a pe of t h e i m a g e. T h e preview u pdates each t i m e yo u c h a n g e t h e h a n d l es . C l i c k t h e gavel to a p p l y t h e effect. Desel ect t h e type. To c h a n g e t h e co lo r of t h e lo go,

4

s e l ect t h e Prese rve Tra n s p a re n cy o ptio n in t h e Layers p a l ette, a n d press AIt+Backs pace to ill t h e lo go w i t h 1 00 p e r c e n t o f t h e co lo r. I n t h e L ayers p a l ette, c h a n g e t h e b l e n d i n g mo d e a n d o pac ity of t h e layer to a l ter t h e effect. U s e t h e mo ve too l to re po s itio n

5

: ����������� �

.oe wmtnt:

thannel:

t I

Lo a d se le c t lo n R c m e lunc hboH

LogoTr.n,pUtncy

o Invert

Adding a logo to your image

Operatiol

I tl

I�

---j

@NewSeledion

oSIbtra:1

fumSelection

technique uses a single background image and a black-and­ white logo drawn in Adobe Illustrator. The irst technique shows you how to place the logo onto the image and then change the ill color or opacity of the logo.

6

§)

)

logo, a s o p po sed to p a i n t i n g it.)

5

C hoo se Lo a d S e l ectio n fro m the

Sel ect m e n u. In t h e Lo a d Sel ectio n

d i a lo g bo x, c hoo se

logo layer trans­

l i st.

o Inlenetl . ilhSelechon

that has been scanned, to your Adobe Photos hop image. This

edit t h e i m a g e in t h e s h a pe of t h e

pare n cy fro m t h e C h a n n e l d ro p-do w n

OAddtoSeltttion

You can easily add a logo created in a drawing program, or one

t h e lo go over t h e i m a g e. ( Yo u c a n a l so

}gO i�

&,_",""f

6

)

T h i s c reates a s e l ectio n based o n

t h e tra n s p a rency i n t h e layer. Th e Laye r Tra n s p a rency o ptio n i s ava i l a b l e whether you m a ke o r save a selectio n . 7

H i d e t h e lo go layer fro m view, a n d

m a ke t h e backg ro u n d i m a g e active. The tra n s p a rent selectio n i s no w active o n t h e backg rou nd.

1

Start by o pe n i n g t h e i m a g e to

w h i c h yo u w i l l a d d t h e lo go. 2

C reate a new layer; t h e n c hoo se

8

You c a n c reate a n y n u m be r o f

effects b y a l teri n g t h e sel ected a rea. Fo r exa m p l e, yo u c a n adju s t co lo r o r s a t u ratio n , a p p l y a i l ter, i nvert

Place fro m the File m e n u , and lo cate

the co lo r, pa i nt wi t h i n t h e sel ected

yo u r lo go ile. If yo u r lo go ile i s l a rg e r

a rea, or a dj u st levels or cu rves, a s

t h a n t h e i m a g e, Ado be P hoto s ho p

s ho w n h e re.

scales the lo go to i t wit h i n t h e o p en i m a g e . To sca l e the p l a ced i m a g e m a n u a l ly, d rag t h e co rner h a n d l es. C l i c k t h e gavel to co nvert t h e lo go to P hoto s ho p fo rmat.

Yo u c a n a l so u s e t h e sel ectio n as a target a rea i n to w h i c h yo u c a n paste a no t h e r i m a g e. Try co pyi n g a text u re fro m a no t h e r i m a g e a n d u s i n g t h e Paste I n to co m m a n d to c l i p t h e text u re to t h e sel ected ou t l i n e o f t h e lo go.

1

In yo u r Ado be Pho to s ho p i m a ge,

u s e t h e pen too l i n t h e Pa t h s p a l ette. Draw a path to e n c lo s e the o bject a ro u n d which yo u w i l l place t h e type. Save t h e pat h . S e l ect t h e enti re path by using the a r ro w too l i n t h e Paths p a l ette and Alt+cl i c k i n g t h e path in t h e i m age. Co py t h e path to t h e C l i p­ bo a rd . 2

S t a r t t h e Ado be I l l u str ato r

pro g ra m , a n d u s e t h e Paste co m m a n d (Ctrl-V) to paste t h e p a t h i n to a n e w I l l u strato r i l e . 3

I n yo u r Ado be I l l u strato r do cu­

m e nt, use t h e path type too l to co nvert t h e path to a type path, a n d 3

enter t h e type yo u want. Fo rmat t h e type ho wever yo u l i ke. Do n't e d i t t h e path, ho wever, to e n s u re a matc h i n g i t w h e n yo u paste t h e type i n to

Exporting paths to Adobe Illustrator to create special type effects

Ado be Photo s ho p. U s e the selectio n too l to sel ect t h e e n t i re path with the type, a n d co py it to t h e C l i p bo a rd.

You can create special type effects by combining use of the pen tool in Adobe Photoshop to create a path with use of the type tool in Adobe Illustrator to add type that conforms to the path.

4

I n Ado be Photo s ho p, paste t h e

p a t h w i t h i t s t y p e i n to the i m a ge. W h e n pro m pted to paste the o bject a s a path or a s pixels, c hoo se t h e defa u l t of pixels w i t h the Anti-a l i ased o pt io n sel ected . These o ptio n s rasterize t h e I l l u strato r t y p e with 50ft edges. The type a p pears a s a flo a t i n g sel ectio n a bove t h e active layer. 5

To m a i nt a i n t h e mo st flex i b i l ity

with yo u r d e s i g n , place the type o nto its o w n layer. I n t h e Layers pal ette, d ra g the flo a t i n g s e l ectio n do wn to t h e newl ayer ico n . 6

With t h e Prese rve Tra n s p a rency

o ptio n sel ected i n the Laye rs p a l ette, p a i n t t h e type a s desi red. Yo u can a l so reduce t h e o pacity of t h e type layer and experiment with d i fferent mo des.

Note: You can also use the File > Export > Paths to Illustrator command in Photoshop to export your paths. Then open the ile in Adobe Illustrator, add the type, save the ile, and reopen it in Adobe Photoshop.

1

U se the Canvas S i ze co m m a n d to

i n c re a se t he size of t he canvas to t he d i me n sio n s you nee d, withou t tra ns­ fo r m i n g t he o r i g i n a l su bje ct. I n t h i s e x a m p le, we i n c re a se t he w i d t h o f t he ca nvas to a d d w h i te space o n bo t h s i de s o f t he sto ne wa l l . 2

Se le ct t he a re a of t he i m a ge t h a t

you want to exte n d . Avo i d se le cti n g a ny of t he w h i te backg rou n d o r d i stin ctive de t a i l i n t he su bje ct (su c h a s t he e d ge of t he doo r). Co py a n d pa ste the se le ctio n o n to p o f itse l f. 3

U se t he I m a ge/ F l i p co m m a n d to

fl i p t he lo a t i n g se le ctio n ho rizo nt a l ly, t he n a l i g n it to t he e d ge o f t he o ri g i n a l 3

i m a ge u s i n g t he a r ro w ke ys. Each p re s s of t he a r ro w ke y mo ve s t he se le ctio n by 1 p i xe l . ( S h ift + an a r ro w key mo ve s a se le ctio n 1 0 p i xe l s.)

Extending a background This technique is useful when you need to enlarge or extend a photograph nonproportionally to it a speciic dimension. The technique shown here is quick, and the results are more natural looking than what you could achieve by scaling or cloning large areas of the image.

4

Zoo m i n , and h i de the se le ctio n

e d ge s (Ct r l + H ) to e n su re that t he m i rro r co py is a l i g ne d with t he o r ig­ i n a l . Dese le ct. 5

U se t he ru bbe r sta m p too l se t to

t he Clo ne (a l i g ne d ) o ptio n to b le n d i n a n y no tice a b l y " m i rro re d " de t a i l i n t he te xtu re . 6

Re pe at ste ps 2 t h rou g h 4 to exte n d

t he a re a fa rthe r to it t he e m pty ca nvas. He re, we e x te n d t he left side o f t he stone wa l l u s i n g t he s a me te c h n ique .

3

The Wrap Aro u n d o ptio n takes t h e

1 0-pixel-wide part o f t h e i m a g e that was on the r i g h t bo rder a n d wraps it a ro u n d t h e l ef t bo rder; s i m i l a rly, t h e 1 O - p i xel-deep part o f the i m a g e o n t h e botto m bo rder i s wrapped a ro u n d t h e to p of t h e i m age. T h e w ra p p i n g e n s u res t h a t a l l e d g e s o f t h e i m a g e match, a n d so w i l l t i l e sea m l es s ly. 4 4

Use t h e r u b b e r sta m p too l with

t h e C lo n e o ptio n and a sof t brush to d i s g u i se t h e sea m s created by t h e Off set i l te r. Be c a ref u l no t to reto u c h the o ut s i d e bo rders o f the i m a g e . 5

When the m a r b l e loo ks n a t u r a l ,

Sel ect A l l , a n d choo se Dei n e Patte rn 5

f ro m the Edit menu. Patte r n s stay in m e mo ry u n t i l yo u q u it the p ro g ra m o r d e i n e a no t h e r patte r n . 6

Tiling patterns

I n a no t h e r i m a g e, sel ect the s h a pe

to i l l with the patte r n .

You con use the Offset ilter to create patterns that seamlessly ill

7

other backgrounds or surfaces. This example starts with a small

portion of marble that was sconned in from a 35mm slide.

Press S h if H Ba c ks pace to d i s p l a y

the F i l l d i a lo g box, a n d choo se Patte rn

6

from the Contents drop-down l i st.

Accept the d ef a u l t mo de a n d o pacity sett i n g s to see ho w t h e patte r n i l l s t h e sel ected s h a pe.

Tip: For greater con trol o ver editing, you con copy the shape to be illed onto a layer above the background. Check the Preserve Transparency option in the 1

M a ke a recta n g u l a r s e l ectio n in t h e

7

a rea yo u want to use a s a pattern t i l e ; t h e n cro p t h e i m a g e to t h e s e l ectio n .

8

that wo u l d m a ke t h e repea t i n g t i l e patte rn o bvio u s- s u c h as a n a rea

o pacity a n d b l e n d i n g mo d e s i n the F i l l d i a lo g b o x (o r o n t h e Layers p a l ette if yo u place t h e pattern i l l a bo ve t h e

U s i n g the Off set i lter, enter 1 0

pixels i n bo t h t h e Ho rizo nta l a n d Ve rtica l i e l d s to s h if t t h e m a r b l e i m a g e 1 0 pixels to t h e r i g h t a n d 1 0 pixels do wn; then sel ect the Wra p A ro u n d o ptio n .

To co ntro l ho w the patte rn b l e n d s

i n to t h e i m a g e beneath, use t h e

with d i sti nctive co lo rs or textu res.

2

Fill the layer with the pattern using the default settings.

Try no t to sel ect a n a rea withelem ents

2

Layers palette, and deselect the image.

8

backg ro u n d } . I n t h i s exa m p l e, t h e b l e n d i n g mo d e was s e t to D iff erence, a n d the Opacity was set to 80 percent. The exa m p l e at t h e to p of t h e page u s es M u l t i p l y mo d e at 60-percent o pa c ity.

3

Move 1 pixel over, a n d beg i n

p a i n t i n g with t h e r u b b e r sta m p too l . H o l d d o w n t h e S h ift k e y to constra i n t h e tool t o a stra i g h t l i n e. 4

To c l o n e a c ross a l a rge a rea on

the i m a ge, zoom i n . Alt+c l i c k to set the c l o n i n g o r i g i n ; t h e n m ove over 1 pixel, and c l i c k once to set t h e sta rti n g p o i n t .

4

5

Scro l l to t h e fa r s i d e o f the i m age;

h o l d down the S h ift key and c l i c k a g a i n . T h i s pai nts a cont i n u o u s l i n e between two p o i n t s a n d i s m u c h q u icker t h a n p a i n t i n g a n d d r a g g i n g over a l o n g a rea.

5

Cloning a single row of pixels This technique is useful when you need to remove a single

Deining a custom size brush

row of pixels, such as a scan line, or to clean up or extend an uneven edge.

Marquee

I

ODtions"

Snape: R ectang ular

I II

1

:���I��•••••I��I..;. I.��• ::]��I: Style

. . . ..... . ",..' .....·.....·.··m.·.· '

I Fixed Size +-

- - - - -

Il

To d e i n e yo u r own custom size

s q u a re or ro u n d brush, sel ect o n e of t h e m a r q u e e too l s . In t h e M a r q u ee O p t i o n s p a l ette, choose t h e Fixed Size style. Enter t h e W i d t h a n d H e i g ht fo r t h e b r u s h ; t h e n c l i c k with t h e m a r q u e e t o o l to create the select i o n . 2

1

£

•

•

•

2

t h e defa u l t options. Load t h e Square

Brushes,

•

Use t h e r u b ber sta m p tool with

F i l l t h e s e l ection with 1 00-percent

b l a c k. ( P ress AIt+Backs pace if t h e fo re­ g ro u n d c o l o r is set to b l ack.)

Brushes i l e, l ocated in t h e progra m's •

•

B r u s h e s & Patte rns s u b d i rectory, i nto

3

the B r u s h e s p a l ette. S e l ect t h e

Control m e n u . The new b r u s h a p p ears

s m a l lest b r u s h s h a pe, a s i n g l e-pixel

i n t h e p a l ette. (The p a l ette c a n d i s p l ay

s q u a re brush. I n the Brushes Options

a c t u a l brush sizes only u p to 28-pixels

dialog box, d e s e l ect t h e Anti-a l i ased

s q u a re; l a rg e r sizes will ill t h e b r u s h

o p t i o n . The s q u a re b r u s h e s let you re p l i cate a pixel shape with a h a rd edge. (The defa u l t ro u n d b r u s h e s a re a nti-a l i a sed a n d produce a soft e d g e e v e n at t h e s m a l l est size a n d 1 00percent h a r d n ess.)

With t h e shape s e l ected, choose

Dei n e Brush fro m t h e Brushes p a l ette

3

swatc h . ) F o r a h a rd-edged b r u s h , t u r n off t h e Anti-a l iased o p t i o n i n t h e B r u s h O p t i o n s d i a l o g box. O n c e t h e b r u s h i s dei ned, d e l ete t h e o r i g i n a l selecti o n . T h e n c h oose a p a i n t i n g tool fro m t h e tool box, sel ect t h e new

2

Alt+ c l i c k t h e data you want to

clone.

brush i n t h e p a l ette, and paint w i t h it.

1

You may need to extend t h e ca nvas

s ize if the a rea you select to feat h e r i s t o o close to t h e border of yo u r orig i n a l i m a g e . I n c rea s i n g t h e ca nvas size provides space fo r t h e feathered edge to blend i nto the ca nva s a rea. 2

H e re, we use t h e Canvas Size

fea t u re to a d d ca nvas both horizon­ ta l l y and vertica l l y, and we p l a c e t h e i m a g e i nto t h e c e n t e r o f the ca nva s . 3

Sel ect t h e e l l i pt i c a l m a r q u e e t o o l ,

a n d s e t t h e feat h e r va l u e to 1 0 p i x e l s . Draw a c i rc u l a r s h a p e a r o u n d t h e i n s i d e o f t h e i m age. Y o u can a l so u s e a n ot h e r s e l ection tool to d raw a diffe rent s h a pe. 4

C h oose I nverse fro m the S e l ect

m e n u to i nvert the s e l ect i o n . 5

Feathering edges This technique uses the elliptical marquee tool and the Feather command to create a vignette effect.

D e l ete t h e sel ecti o n . T h e selection

is i l led with t h e backg ro u n d c o l o r (in t h i s case, w h ite). 6

Choose a h i g h e r feather va l u e to

rem ove m o re of the i m a g e fo r a softer v i g n ette, or u s e a lower feather va l u e t o reta i n m o re of t h e orig i n a l pixels and create a h a rder-edge effect. Our second exa m p l e s h ows a feat h e r of 20 pixels.

. 1! . 1J Opacity: l=-.

1

La en:

-I

U s e t h e Layers p a l ette to a d d a

tra n s p a rent layer (ca l l ed Whale

in i n

t h i s exa m p le) t o yo u r i m a g e a b ove t h e backg ro u n d . Sca l e t h e i m a g e o n t h e n e w layer s o that it is s l i g htly s m a l l e r t h a n yo u r backg ro u n d .

I

w " "

-_'-____

2

H i d e t h e view ofthe backg ro u n d a s

y o u w o r k o n t h e laye r. Select t h e rect­ a n g u l a r m a rq u ee tool, and sel ect a l a rg e fea t h e r va l u e . H e re, we u s e a sett i n g of 20 pixels. N ow, sel ect a l a rg e a rea at t h e t o p a n d r i g h t s i d e o f t h e p h oto, i n c l u d i n g s o m e o f the tra ns­ parent area. 3

D e l ete t h e selection. The feath­

e r i n g c a u s e s a soft, semitra n s p a re n t e d g e to a p p e a r. Desel ect. 4

Red i s p l ay the backg ro u n d . In t h e

Layers p a l ette with t h e tra n s p a rent

Dissolving edges This technique creates a dissolved edge by applying the Dissolve blending mode to a feathered edge.

layer ( Whale in h e re) s e l ected, set the m o d e to D i s s olve. W h e re t h e edge was fea t h e red, it now a p pears to d i s s o l ve i n a s p l atter effect i nto the backg ro u n d . 5

U s e t h e move t o o l t o re position t h e

l a y e r i n t h e lower-l eft c o r n e r o f t h e i mage. 6

T o exte n d t h e d i s s o l ved e d g e, u s e

t h e l a s s o tool with a l a rge fea t h e r. H e re, we choose 20 pixels. S e l ect t h e oute r-top a n d r i g h t e d g e s o f t h e layer. F i l l t h e sel ected a rea with a c o l o r at low opac ity. H e re, we s a m p l e a b l u e fro m t h e u p per portion o f t h e i m a g e a n d i l l it at 2 S - p e rcent opa city.

3

With the s e l e c t i o n b o r d e r sti l l

active, sel ect t h e lasso tool a n d set a low feather va l u e in the Lasso Options p a l ette. H o l d down t h e Ctrl key, and d rag u n eve n l y over the i nterior sel ec­ tion border to d e s e l ect m o re of t h e i n s i d e fra m e a rea a n d c reate a coarse edge. 4

Set t h e fo reg ro u n d color to b l a c k .

F i l l the selection with a p e r c e n t a g e o f b l a c k ( p ress S h ifH B a c kspace t o d i s p l ay t h e F i l l d i a l o g box) . We used a i l l of 75-percent b l a c k. Desel ect t h e image. 5

Use t h e recta n g u l a r m a rq u ee tool

to m a ke a new s e l ection with i n the black border that you j u st c reated. C h oose I nverse fro m the Sel ect m e n u t o i nvert t h e select i o n . Feat h e r t h e selection.

Edge manipulations

6

A p p l y a i l ter to t h e selection. Try

u s i n g d i ferent i l ters to vary t h e fra m e

One way ta change the appearance of an edge is to apply your

effects. Th i s exa m p l e s h ows o n l y the

own frame effect. Here we used an old picture and added a sot

Ripple Filter a p p l i e d to t h e sel ected

black frame to enhance the antique look.

a re a . 7

As a n a l te r n ative tec h n i q u e, a d d

ca nvas to yo u r i m a g e, a s i n s t e p 1 . Then m a ke a selection wi t h i n t h e p h oto, c h oose I nverse fro m t h e S e l ect m e n u to i nvert the selection a n d sel ect a border a ro u n d t h e i m a g e.

1

To a d d some canvas i n to w h i c h

8 7

yo u r fra m e edges c a n b l e n d , use the Canvas Si ze com m a n d i n t h e I m a g e m e n u . Center t h e i n the ca nvas, a n d a d d b o t h h o r izontal a n d ve rtica l i m a g e a reas. 2

Use the recta n g u l a r marquee tool

to s e l ect a n a rea around t h e edge of t h e i m a g e . Po sition t h e recta n g u l a r m a r q u e e tool i n s i d e the i rst select i o n . H o l d down t h e Ctrl k e y a n d d rag t o m a ke a s e c o n d s e l e c t i o n i n s i d e the i rst that s u btracts t h e i nterior of t h e i m ag e.Th is tech n i q u e l ets you sel ect a border a r o u n d an i m a g e .

8

Then a p p l y t h e F i n d Edges i l ter

to t h e sel ected a rea.

This book was c reated e l ectro n i c a l l y u s i n g Adobe P h otos h o p, Adobe I l l u strator and Fra m e M a ker. Type i s s e t i n t h e M y r i a d fa m i l y fro m t h e Adobe Ty pe L i b ra ry. F i l m was prod u ced with t h e PostScript l a n g u a g e on Agfa I m a g esetters.

Production Notes Photogaphy C M C D, l n c.

p. 9: M o u s e; p. 1 0: Ca rved m a s k; p. 1 3 : S u n ; p. 1 8 : L u n c h box Don Day, Pen u m b ra P h oto/G r a p h i c s

p. 2 : G l a d i o l a s, W i n d ow D i g i t a l Stock Corporation

p. 6: S h uttle, P l a n et; p. 2 3 : Sea l i fe la u ra Dower

p. 1 2 : H a n d J u l i ea n n e Kost, V i s i o n s from Wit h i n

p. 3 : Sto n e wa l l, W i n d ows; p . 7 : Portraits; p. 1 3 : S a n d ; p. 1 5 : Pa i n t Text u re; p. 1 9: Reptile; p. 2 0 : Door; p. 2 1 : S c u l ptu re; p. 2 2 : F o l i a g e Va u g h n S c h i c h t l

p. 2 5 : Sixteen Karen Te n e n b a u m

p . 4: Stat u e, Ocea n, C l o u d s; p. 8: Cactus; p. 9 : M a n n e q u i n ; p. 1 1 : Rose; p. 1 6: Egg, B i rd ; p. 24: W h a l e