TEXT: ptg6934589
  
  The - 
  NoN- 
  desigNer’s-
  PhoToshoP-   
  Book-
  essential
  imaging
  techniques
  for design
  Robin Williams & John Tollett
  Peachpit Press
  Berkeley
  California
  
  ©2012 by robin Williams and John Tollett
  Peachpit Press
  1249 eighth street 
  Berkeley, California 94710
  510.524.2178   voice
  510.524.2221   fax
  editor: 
  Nikki Mcdonald
  Proofer:  
  Cathy Lane
  Cover design  
  and production: 
  John Tollett
  interior design: 
  robin Williams
  Production: 
  robin Williams and John Tollett
  index: 
  robin Williams
  Prepress: 
  david Van Ness
  Peachpit Press is a division of Pearson education.
  Find us on the web at www.peachpit.com.
  To report errors, please send a note to errata@peachpit.com.
  The Non-Designer’s Photoshop Book
  robin williams and john tollett
  %
  Notice of rights
  All rights reserved. No part of this book may be reproduced or transmitted in 
  any form or by any means, electronic, mechanical, photocopying, recording, or 
  otherwise, without the prior written permission of the publisher.
  For information on obtaining permission for reprints and excerpts,  
  please contact permissions@peachpit.com.
  Notice of liability 
  The information in this book is distributed on an “as is” basis, without warranty. While every precaution 
  has been taken in the preparation of this book, neither the authors nor Peachpit Press shall have any 
  liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be 
  caused directly or indirectly by the instructions contained in this book or by the computer software and 
  hardware products described herein.
  Trademarks
  Adobe and Photoshop are either registered trademarks or trademarks of Adobe systems incorporated 
  in the United states and/or other countries. Many of the designations used by manufacturers and 
  sellers to distinguish their products are claimed as trademarks. Where those designations appear in 
  this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the 
  owner of the trademark. All other product names and services identified throughout this book are used 
  in editorial fashion only and for the benefit of such companies with no intention of infringement of the 
  trademark. No such use, or the use of any trade name, is intended to convey endorsement or other 
  affiliation with this book.
  isbn 13: 978-0-321-77283-1
  isbn 10: 
  0-321-77283-0
  10  9  8  7  6  5  4  3  2  1
  Printed and bound in the United states of America
  
  iii
  Contents
  1 The Photoshop interface 
  1
  Photoshop interface overview . . . . . . . . . . . . . . . . . . . . . . . . . . .  2
  Panels overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  4
  Control your panels  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .   5
  Panel docks, groups, and stacks   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .   5
  Workspace overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  7
  screen modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  7
  Tools overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  8
  rulers and the ruler tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 10
  Measure a distance or straighten a photo . . . . . . . . . . . . . . . . . . 10
  document guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
  Zoom in or out   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 11
  Pixel grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  2 simple Projects 
  13
  Whiten teeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
  remove dust and scratches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
  Correct a photo that’s too light  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 16
  Correct contrast with one click . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
  rescue photos that are too dark . . . . . . . . . . . . . . . . . . . . . . . . . . 18
  Make wrinkles disappear   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 19
  Convert a color photo to black and white . . . . . . . . . . . . . . . . . . . . 20
  Fix blown-out whites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  Alter colors with ease  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 22
  Alter colors in Camera raw   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 24
  straighten a photo  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 26
  Fill a background  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 27
  remove electrical power lines  . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
  Liven up a dull exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
  Manually adjust the contrast . . . . . . . . . . . . . . . . . . . . . . . . . . 31
  resize a photo without cropping  . . . . . . . . . . . . . . . . . . . . . . . . . 32
  extend a photo  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 34
  Blur a background instead of replacing it  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 36
  
  c o n t e n t s
  iv
  remove something from a photo . . . . . . . . . . . . . . . . . . . . . . . . . 38
  Lose some weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
  Use a simple Transform operation    .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 39
  or use Content-Aware scale . . . . . . . . . . . . . . . . . . . . . . . . . 40
  or use the Liquify filter   . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
  Liquify text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
  Create unique images with the Filter gallery   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 43
  Place an image inside text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
  Add Layer styles for special effects  . . . . . . . . . . . . . . . . . . . . . . . 46
  replace the picture on a wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
  Colorize a photo  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 50
  Modify color using a hue/saturation Adjustment Layer  .  .  .  .  .  .  .  . 50
  Paint with the Color replacement tool  . . . . . . . . . . . . . . . . . . . 52
  Use “Colorize” in the hue/saturation Adjustment panel  .  .  .  .  .  .  .  . 54
  remove a subject from a photo . . . . . . . . . . . . . . . . . . . . . . . . . . 55
  Clone something out of a photo . . . . . . . . . . . . . . . . . . . . . . . . . . 58
  Correct the dreaded red eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
  Make a sky more dramatic  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 60
  Create a panorama with Photomerge  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 62
  Quickly juice up the color in spots . . . . . . . . . . . . . . . . . . . . . . . . . 63
  Colorize line art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
  Colorize the lines instead of the background . . . . . . . . . . . . . . . . 65
  hand-tint a photo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
  3 Basic Technical stuff 
  67
  Bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
  Vector graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
  Color modes and file formats  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 69
  Bit depth  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 69
  image resolution  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 70
  4 select & Transform 
  71
  selection tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
  The rectangular Marquee tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 73
  The elliptical Marquee tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
  single row or single Column Marquee tool  . . . . . . . . . . . . . . . . . . 74
  The Lasso tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
  The Polygonal Lasso tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
  The Magnetic Lasso tool  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
  
  c o n t e n t s
  v
  Feather the edge (make it soft and fuzzy) . . . . . . . . . . . . . . . . . . . . 76
  Add a feather after you’ve made a selection . . . . . . . . . . . . . . . . 76
  Adjust a feather after you’ve made a selection.  .  .  .  .  .  .  .  .  .  .  .  .  .  . 77
  Modify your selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
  The Quick selection tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
  The Magic Wand tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
  The Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
  The Crop tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
  Crop based on another image . . . . . . . . . . . . . . . . . . . . . . . . . 84
  Crop in perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
  Transform commands  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
  Free Transform  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
  Transform menu options  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
  skew a selection  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 88
  distort a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
  Transform a selection in perspective . . . . . . . . . . . . . . . . . . . . . 89
  Warp a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
  5 All-Powerful Layers 
  91
  The Layers panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
  The Layers panel menu  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
  Create and organize layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
  The Background layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
  Create new layers  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 95
  drag-and-drop to create a new layer  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 95
  Create a copy of the current layer  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 96
  duplicate a layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
  select the right layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
  Link layers  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 97
  Use layer Blending Modes  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
  Change the visibility of layers  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 99
  Merge Visible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
  Merge down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
  stamp Visible  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
  group layers to help organize  . . . . . . . . . . . . . . . . . . . . . . . . . . 101
  Label layers with color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
  Layer styles  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  102
  Change a Layer style’s default settings . . . . . . . . . . . . . . . . . . 104
  Copy a Layer style from one layer to another . . . . . . . . . . . . . . 104
  Apply a preset style to a layer . . . . . . . . . . . . . . . . . . . . . . . . 104
  Convert a Layer style to image layers . . . . . . . . . . . . . . . . . . . 105
  
  c o n t e n t s
  vi
  Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
  Create a Layer Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
  Create Layer Comps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
  smart objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
  Create smart objects  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  112
  edit smart objects  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  112
  duplicate a smart object  . . . . . . . . . . . . . . . . . . . . . . . . . . 113
  smart Filters for smart objects . . . . . . . . . . . . . . . . . . . . . . . 113
  Flatten layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
  Make bigger layer thumbnails  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  114
  6 Photoshop Type 
  115
  set type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
  Point type  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
  Paragraph type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
  The Character panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
  The options bar  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  119
  The Paragraph panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
  Vertical text  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  120
  Change type color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
  specify smart Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
  hang the punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
  Apply effects and styles to text  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  122
  Warp text  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  122
  Apply Layer styles to text  . . . . . . . . . . . . . . . . . . . . . . . . . . 123
  rasterize the type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
  set text on a hand-drawn path . . . . . . . . . . . . . . . . . . . . . . . . . . 124
  reposition text on a path  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
  Place text inside or around a shape . . . . . . . . . . . . . . . . . . . . . . . 125
  Force type to the inside of a shape . . . . . . . . . . . . . . . . . . . . . 126
  Move text to the inside bottom of a circle shape  .  .  .  .  .  .  .  .  .  .  .  .  126
  7 Photoshop with a history 
  127
  The history panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
  The history Brush tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
  Undo, redo, and revert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
  
  c o n t e n t s
  vii
  8 Adjustment Layers 
  133
  important Adjustment differences  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  134
  Adjustments panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
  The Adjustment Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
  The Levels panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
  The Brightness/Contrast panel . . . . . . . . . . . . . . . . . . . . . . . 138
  The Curves panel  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  138
  The exposure panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
  The Vibrance panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
  The Color Balance panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
  The hue/saturation panel . . . . . . . . . . . . . . . . . . . . . . . . . . 140
  The Channel Mixer panel  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  143
  The Photo Filter panel  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  144
  The Posterize panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
  The Black & White panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
  The invert panel  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
  The Threshold panel  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  146
  The gradient Map panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
  The selective Color panel . . . . . . . . . . . . . . . . . . . . . . . . . . 147
  Auto Adjustments  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  147
  Adjustment masks  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  148
  9 Working with Transparency 
  149
  What is transparency? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
  Transparency preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
  Lock the transparent pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
  Lock image pixels and position  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  152
  Use the Fill setting for special effects . . . . . . . . . . . . . . . . . . . . . . 153
  Fill image pixels with color  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  153
  Change Background layer opacity . . . . . . . . . . . . . . . . . . . . . . . 154
  save as tiff with transparency . . . . . . . . . . . . . . . . . . . . . . . . . . 154
  10 draw & Paint 
  155
  Create “elbows” (LBos: lines, boxes, ovals) . . . . . . . . . . . . . . . . . . 156
  Change the colors with the Paint Bucket tool  . . . . . . . . . . . . . . 157
  drawing with shapes and pens . . . . . . . . . . . . . . . . . . . . . . . . . . 158
  draw a shape in Fill pixels mode . . . . . . . . . . . . . . . . . . . . . . . . . 159
  draw a shape with the Pen tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  160
  
  c o n t e n t s
  viii
  draw shapes in Shape layers mode  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  164
  Change the Color Fill of a shape . . . . . . . . . . . . . . . . . . . . . . 166
  Fill a shape with a gradient or pattern  . . . . . . . . . . . . . . . . . . . 166
  Manually change the path of a shape  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  167
  Transform a vector shape.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  167
  stroke a vector shape with a brush . . . . . . . . . . . . . . . . . . . . . 168
  Paint with brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
  The Brush options bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
  select and use a brush   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  171
  Change the cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
  resize brushes  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  172
  More customization with the Brush panel . . . . . . . . . . . . . . . . . 173
  Paint with a textured brush . . . . . . . . . . . . . . . . . . . . . . . . . . 174
  More about brush settings . . . . . . . . . . . . . . . . . . . . . . . . . . 175
  The Mixer Brush  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  176
  The Mixer Brush options bar . . . . . . . . . . . . . . . . . . . . . . . . 176
  Create a painterly effect with the Mixer Brush . . . . . . . . . . . . . . 177
  Brush Blending Modes   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  178
  Paint with the Clone stamp tool . . . . . . . . . . . . . . . . . . . . . . . . . 179
  A simple clone project  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  179
  Paint with the gradient tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  182
  Fill a layer or a selection with a preset gradient  .  .  .  .  .  .  .  .  .  .  .  .  .  182
  Paint with a pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
  11 Color Tools 
  185
  Pick a color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
  The Color panel  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
  The Adobe Color Picker . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
  The hud color picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
  The eyedropper tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  189
  The kulerpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
  Manage the swatches panel  . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
  Add a color to the swatches panel . . . . . . . . . . . . . . . . . . . . . 191
  delete a color from the swatches panel . . . . . . . . . . . . . . . . . . 191
  save a custom set of swatches as a library  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  191
  share swatches with indesign and lllustrator . . . . . . . . . . . . . . . 191
  Load or replace color libraries . . . . . . . . . . . . . . . . . . . . . . . . 191
  reset the default swatches library  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  191
  Match color  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  192
  
  c o n t e n t s
  ix
  12 Filters & effects 
  193
  Filter gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
  Filters in the Filter menu   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  195
  Artistic filters  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
  Blur filters  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  195
  Brush stroke filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
  Noise filters  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
  Pixelate filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
  render filters  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  197
  sharpen filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
  sketch filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
  Filters and smart objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
  Work on a low-res version of a smart object  .  .  .  .  .  .  .  .  .  .  .  .  .  .  198
  Copy a filter to another smart object . . . . . . . . . . . . . . . . . . . 199
  delete or disable a smart Filter . . . . . . . . . . . . . . . . . . . . . . . 199
  Lens Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
  The Liquify filter  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  202
  Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
  13 Camera raw 
  205
  open an image in Camera raw . . . . . . . . . . . . . . . . . . . . . . . . . 206
  The Camera raw interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
  The Camera raw Adjustments panels  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  207
  The toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
  Noise reduction  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
  Lens Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
  The Targeted Adjustment tool  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  210
  The Adjustment Brush   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  211
  Camera raw images as smart objects  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  212
  overexposure warning   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  212
  14 Puppet Warp 
  213
  Puppet Warp an image on a transparent layer . . . . . . . . . . . . . . . . 214
  overlap mesh areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
  Puppet Warp a smart object . . . . . . . . . . . . . . . . . . . . . . . . . . 216
  Puppet Warp anything   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  216
     index 
  217
  
  x
  reAd This FirsT
  Chances are you’ve used Photoshop on some level, but never had the time to 
  become familiar with as many of the features and techniques as you would 
  like. The first two chapters in this book get you up and running quickly 
  while creating small projects from start to finish. The remaining chapters 
  provide more exercises and detailed information for the types of tasks that 
  are frequently encountered in graphic design (as opposed to photography).
  Because Photoshop is an advanced application, we expect that you know 
  how to use your mouse and the windows; the difference between a single 
  click and a double click; how to find, open, and save files; how to access 
  contextual menus (right-click or Control-click); and how to use your computer 
  in general. But you probably know all those things already or you wouldn’t 
  be jumping into Photoshop! 
  This is not a manual, but more of an image-editing cookbook. Many of 
  the steps and techniques you might need for various projects are littered 
  throughout, so check the index for specific things you need.
  We can’t explain every single option in Photoshop (no one can do that in a 
  book this small). The more you know about Photoshop the more you realize 
  there are multiple ways to do almost anything. We hope that when you find 
  a technique you like, it will spur you to go to Photoshop Help (from the 
  Help menu) and find out more about it. As you explore the lessons in this 
  book, we expect you to poke around, click and prod, and experiment. Turn 
  the eyeball icons on and off and see what happens, rearrange layers, explore 
  different Blending Modes, etc.    
  Of course, we’re in awe of what this software can do because for many years 
  we worked in the design world before Photoshop was invented. To you it 
  might be just an ordinary, everyday miracle thingy. In any case, prepare to 
  have more fun with software than you ever thought possible.    
  
  r e a d  t h i s  f i r s t
  xi
  Things to know before you begin
  Right-click: Because most people these days have a two-button mouse, 
  we use the phrase “right-click” to mean “right-click or if you don’t have a 
  two-button mouse on a Mac, Control-click.”
  We use the terms press and drag. Press means to hold down the mouse and 
  don’t release it until you finish the current instruction. Drag means to press 
  on the mouse, then drag the cursor without releasing the mouse until you’ve 
  completed the drag operation. We avoid the term “click-and-drag” because 
  for many things, if you click (which implies you let go), the drag won’t work. 
  To keep text short and easy to understand, most instructions for choosing 
  menu items are in this form: From the Layer menu, choose New > Layer 
  via Copy. This means go to the Layer menu, slide down to “New,” and 
  from its submenu, choose “Layer via Copy.”
  Brushes: Many tools have brush-like qualities but you don’t think of them 
  as brushes. See pages 170–175 for controlling the paint brushes and know 
  that the same techniques control other “brushes” such as the Eraser tool, 
  Quick Selection tool, Clone Stamp tool, Blur tool, etc. Get in the habit 
  of using the [ and ] keys to reduce and enlarge the size of the brushes as 
  you work. 
  Choose your tool, then check the Options bar to see what its settings are! 
  That’s one of the biggest causes of frustration—not realizing that there 
  is some setting that is messing up your expectations. Photoshop does 
  exactly what you tell it—it’s your job to understand what you’re telling it!
  Check the Cursors preferences (page 171) so you understand that you have 
  control over how it appears.
  Learn your keyboard shortcuts. We often tell you to go to a menu and choose 
  a command, but when you go to the menu, also take note of and learn the 
  shortcut.
  
  One that 
  Photoshopped 
  not wisely  
  but too well
  Almost Famous Quotes  
  from Non-Designer 
  Shakespeare
  Photoshop: It’s like a recipe for creativity.
  
  1
  The Photoshop 
   Interface
  If you’re at least vaguely familiar with Adobe InDesign or 
  Illustrator, the Photoshop interface should look familiar 
  in many ways. The following pages provide an overview 
  of the essential windows, panels, and icons that come 
  into play for almost every Photoshop task or project.
  In this chapter we’ve labeled many of the buttons and 
  icons that are mentioned in the step-by-step exercises.  
  If you can’t find something, come back to this chapter 
  and look for it (or check the index). 
  In addition to an overview of the main interface, we 
  describe many of  the options and preferences you 
  should be aware of so you can understand and take 
  advantage of this truly amazing software.
  1
  To Photoshop, 
  perchance to 
  dream.
  Almost Famous Quotes  
  from Non-Designer 
  Shakespeare
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  2
  Photoshop interface overview
  Tools panel.
  Tools with small triangles in 
  the bottom-right corners have 
  additional tools hidden in the 
  same space. Press on a tool 
  to reveal a pop-out menu that 
  displays the hidden tools. 
  Brush Preset picker.
  Options bar.
  The options you 
  see in this bar are 
  dependent on which 
  tool is selected—choose 
  a different tool, see 
  different options.
  Application bar. Hide or show it 
  from the Window menu.
  Foreground
  and Background 
  color boxes.
  Quick Mask Mode.
  To show rulers, choose 
  View > Show Rulers. 
  To hide rulers, choose 
  View > Hide Rulers.
  Status bar/document information.
  Tabbed document windows. To separate 
  the windows, go to the Window menu and 
  choose Arrange > Float All in Windows.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  3
  The current document 
  name is displayed here, 
  and its tab is white.
  The Collapse To Icons
  button (double arrows). 
  Click to toggle
  between panel icons and 
  expanded panels.
  Panels minimized to 
  icon mode in a vertical 
  dock. To expand 
  the dock to show 
  panel names, drag the 
  left side of the dock 
  toward the center of 
  the window.
  Layers panel icon.
  When panels are docked, 
  as shown here, they expand 
  one at a time, keeping the 
  workspace uncluttered. 
  Panels that are docked as 
  a group expand together. 
  As shown expanded, the 
  Layers, Adjustments, and 
  History panels are a group.
  To expand a panel, single-
  click its icon.  
  To collapse back to icons
  in the vertical dock, single-
  click the double triangles in 
  the panel title bar.
  To dock panels in other 
  arrangements, drag  
  the icons into another group.
  To float a panel 
  anywhere, drag it away 
  from the dock.
  Workspace switcher. This is only 
  visible when the Application bar is 
  showing; otherwise use the Window > 
  Workspace menu.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  4
  Panels overview
  Panels provide tools, such as the Tools panel on the left side of the screen, 
  and other specific tool options and controls in the panels stacked in the 
  vertical dock on the right side of the screen. The following tips are to help 
  you understand and manage panels.
  •	Panels have a panel menu (circled, 
  right). Click it to show a pop-up menu 
  of useful options and commands.
  •	When several panels are stacked in a 
  panel group, as shown here, each panel 
  is identified with a tab. To separate 
  a panel from the others, drag its tab 
  out of the panel group and float it 
  anywhere on the Desktop.
  •	To	minimize	a	floating	panel, click the double arrow icon in the 
  top-right corner.
  •	To	expand	panels (docked or floating) to display both 
  panel icon and panel label, drag one side of the panel 
  away from the center, shown on the right. 
  •	To	minimize	a	panel and show only the 
  tab, double-click the tab or the gray 
  title bar. To	expand	the	panel, double-
  click the tab or gray title bar area again.
  •	To	rearrange	the	tabs	in	a	panel	group,
  drag a tab left or right.
  •	To	rearrange	panels	in	a	vertical	dock 
  (shown to the right), drag a panel to another 
  position in the dock. A blue drop zone 
  indicates where the panel will be placed 
  when you release. 
  •	To	add	a	panel	to	the	dock, select it from the 
  Window menu, then dock it where you want.
  •	To	remove	a	panel	from	the	dock,	and	close	it,
  right-click its tab, then choose “Close.”
  Tip: To hide or show all open panels in any screen mode, tap the Tab key.  
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  5
  Control your panels
  To display a default set of panels, shown below left, click “Essentials” in the 
  workspace switcher area in the Applications bar (see it on page 3). 
  Click here to collapse panels 
  to icons and labels.
  Click here to 
  expand panels.
  Hover cursor 
  over the edge, 
  then drag right 
  to collapse to 
  icons only, or 
  drag left to 
  expand. 
  Panel docks, groups, and stacks 
  A panel dock is a vertical collection of panels (or 
  panel groups). A dock can be docked up against 
  the side of the screen, or against the side of another 
  dock or panel. The examples above are all the same 
  dock, shown expanded (left), collapsed to show 
  icons and labels (middle), and collapsed more to 
  show icons only (right).
  •	To	dock	a	panel, drag it into the dock. Release the drag when a blue 
  drop zone appears where you want to position the panel.
  •	To	dock	a	panel	group, drag it by its title bar (the solid empty bar 
  above the tabs) into the dock.
  •	To	remove	a	panel	or	panel	group	from	a	dock, drag it out of the dock 
  by its tab or title bar. Drag it into another dock or float it anywhere 
  in the workspace.   
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  6
  This stack is made of three panel groups.
  To disengage a panel group from a dock,
  press on its finger grip (the double dotted 
  lines) and drag the panel group out of the 
  dock. Or drag a panel tab out of a tabbed 
  group (below, right).   
  A panel stack is a group of floating, minimized panels that move together when 
  you drag it by the topmost title bar. To	minimize	a	panel,	double-click its tab.
  •	To	stack	floating	panels, drag a minimized panel’s tab to the blue 
  drop zone (that appears when your cursor is over a drop zone)  
  at the bottom of another panel or panel group.
  •	To	change	the	stacking	order	of	panels, drag a panel up or down  
  by its tab. Release the tab over the narrow drop zone between panels, 
  rather than the drop zone in a title bar.
  •	To	remove	a	panel (or panel group) from the stack, drag it out  
  by its tab or title bar.
  A panel group is a collection of panels grouped together as tabs under the 
  same title bar (the empty gray bar above panel tabs). You can create a group of 
  frequently used panels, or create groups of any kind that help your workflow.
  •	To	move	a	panel	into	a	group, drag the panel’s tab to the highlighted 
  drop zone in the group.
  Four views of the same panel group.
  A panel group 
  docked with 
  other panel 
  groups.
  A dock of panel 
  groups collapsed 
  to icons only.
  A floating 
  panel group.
  A tabbed group of panels.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  7
  Workspace overview
  Once you get all your favorite panels in the groups and docks and positions 
  you like best, you can save that arrangement so that with the click of a 
  button they’ll all be in their correct places whenever you need them. The 
  workspace switcher lets you switch between the various layouts you might 
  need for different projects. Adobe has already created some workspaces for 
  you (Design, Painting, Photography, etc.), but you can also create your own, 
  save them in the workspace switcher, and use them again for future projects. 
  1 Arrange the panels as you want them.
  2 Click the double arrows in the workspace switcher section of the 
  Application bar, shown below. From the menu that appears, choose 
  “New Workspace… .” 
   
   Or from the Window menu, choose Workspace > New Workspace….
  Click here to see 
  more workspaces 
  and other options.
  Workspace choices.
  3 In the “New Workspace” dialog that opens, type a name for the  
  new workspace.
  4 Name the workspace, and then click “Save.”
  To delete a custom workspace, choose “Delete Workspace…” from the 
  workspace switcher menu (shown above) or from Window > Workspace. 
  Choose your workspace and click “Delete.”
  To reset a workspace if things have moved around, from the Window 
  menu, choose Workspace > Reset Workspace Name. 
  Screen modes
  There are three different screen view modes: standard, full screen with menu 
  bar, and full screen. To change screen modes, tap the F key. Subsequent taps 
  cycle through all screen modes. (Make sure a text box is not active, or you’ll 
  just type the letter “f” instead of changing screen modes.)
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  8
  Tools overview
  The tools in the Tools panel are grouped into 
  categories, as shown to the right.
  To change the Tools panel to a two-column panel,
  as shown below-left, single-click the double arrow 
  button in its top-right corner. To switch back to 
  column panel, click the double-arrow button again.
  To	float	the	Tools	panel	anywhere	on	the	Desktop,	
  drag it away from the screen edge. 
  To dock it to the edge of the screen, drag the panel all 
  the way to the edge until a blue vertical bar appears 
  against the edge of the screen. This is a visual clue 
  that the panel is docked. Let go and the panel snaps 
  in place.
  All tools except the top and bottom ones (the Move 
  tool and the Zoom tool) have small triangles in the 
  bottom-right corner, indicating hidden tools in the 
  same space. To	reveal	a	menu	of	hidden	tools, press
  (don’t click) or right-click on one of these tools 
  (see below). The hidden tools are closely related in 
  function to the tool they hide under.
  To quickly cycle through hidden tools, hold down the 
  Shift key and tap the tool’s keyboard shortcut that 
  appears in tool tips (see next page).  
  A two-column view of the Tools panel. 
  Single-click the double-arrow icon (or 
  double-click anywhere in the top bar) to 
  switch between one and two-column views.
  Press on a tool in the Tools 
  panel to show hidden tools.
  Selection tools.
  Crop and slice tools.
  Measuring tools.
  Retouching and 
  painting tools.
  Drawing and 
  type tools.
  Navigation 
  and 3D tools.
  Foreground color and 
  Background color 
  boxes.
  Quick Mask mode.
  Switch between 
  Foreground and 
  Background colors.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  9
  Hover the cursor over a tool or icon to display a descriptive tool tip.
  Most tools and icons have hidden tool tips that appear when you hover the 
  cursor over the item. Use this feature when you’ve forgotten what a certain 
  tool looks like, which icon you need to choose, or just to tell you what it is.
  The letter in a Tool tool tip indicates which key to press to select that tool.   
  Some tools have the same letter key, such as the Brush, Pencil, and two 
  other tools in the same slot. Hold down the Shift key and tap the letter key 
  to cycle through all tools with that letter key. 
  If tool tips don’t appear, turn them on in Preferences: From the Photoshop 
  menu (PC: Edit menu), choose Preferences > Interface…, then put a check 
  in the “Show Tool Tips” box. 
  Panels, dialogs, and items in the Options bar often have fields that require 
  a value, such as the Opacity options in the Layers panel, shown below.   
  To enter a value in a field do one of the following:
  •	Type a value in the field.
  •	Single-click the blue triangle next to the field to display a slider 
  (below, left). Drag the slider button left or right.
  •	Position the cursor over the title of the field (below, right). When 
  the cursor changes to a pointing finger, drag left or right. This is 
  called a scrubby slider. To change the increments by a factor of ten, 
  hold down the Shift key.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  10
  Rulers and the Ruler tool
  Rulers are extremely useful for positioning image elements and guide lines—
  and even more useful if you know a couple of tips for manipulating them.
  •	To	show	or	hide	rulers, from the View menu, choose “Rulers.”
  •	To change the ruler’s unit of measurement, right-click a ruler  
  (the horizontal or vertical one) to show a pop-up menu of options,  
  then select one (below, left).
  •	To	change	the	zero	origin, the point at which the ruler begins 
  measurement, press in the top-left corner and drag to the spot  
  where you want the zero position to start (above, right).
  •	To	reset	the	zero	origin to its original position, double-click  
  the top left corner where the two rulers meet.  
  Measure a distance or straighten a photo
  In addition to the rulers, you can use the Ruler tool to measure lengths, 
  place elements exact distances apart, and even to straighten photos. The 
  Ruler tool is hidden under the Eyedropper tool (see page 8 to access it). 
  •	Measure	a	length: Select the Ruler tool, then drag across the image 
  from one point to another. A non-printing line appears and the 
  measurement information appears in the Options bar. Drag the 
  measurement line to another position to use it as a spacing guide.  
  Reposition the line: Press on the line’s middle section and drag.  
  Resize	the	line: Drag one of its end points.  
  Remove	the	ruler	line: Click the “Clear” button in the Options bar.
  •	Straighten a photo: Select the Ruler tool, drag along the edge of an 
  element in the image that should be perfectly horizontal or vertical, 
  then click the Straighten button in the Options bar.
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  11
  Document guides
  Guides are helpful when you need to align objects or text. Make sure the 
  rulers are showing: press Command R (PC: Control R).
  •	 Place	a	guide on the image: Press on a ruler and drag a guide out of 
  the ruler and into the image. Let go to drop the guide wherever you 
  want it. 
  •	 Reposition	a	guide: Select the Move tool in the Tools panel. Press 
  on an existing guide and drag it to a new position. 
  •	 Clear	guides: From the View menu, choose “Clear Guides.”
  •	 Lock	guides so you don’t accidentally move them: From the View 
  menu, choose “Lock Guides.”
  •	 Hide	or	show	existing	guides: From the View menu, choose Show > 
  Guides.
  •	 Turn	on	Smart Guides: From the View menu, choose Show >  
  Smart Guides. Smart Guides automatically appear when you move 
  an element near another object that you might want to align it to.
  •	 Make	elements	snap	to	guides: From the View menu, choose “Snap.”  
  Specify which elements to snap to: From the View menu, choose 
  “Snap To,” then choose one of the options (guides, grid, layer 
  content, slice boundaries, document edges, all, or none).      
  Zoom in or out
  Zoom is a great and versatile feature. Open an image and practice these 
  techniques so they become comfortable and automatic to use. 
  •	 To	magnify	the	view: Press Command + (PC: Control +)  
  (that’s the plus sign in the upper-right of your keyboard). 
  •	 To	reduce	the	view:	Press Command – (PC: Control –)  
  (that’s the minus sign to the left of the plus sign). 
  •	 To	magnify	or	reduce	the	view: Hold down Command Spacebar  
  (PC: Control Spacebar) and drag left or right anywhere in the image.
  •	 To	magnify	or	reduce	the	view:	Select the Zoom tool and single-click 
  in the image to magnify it. Hold down the Option key (PC: Alt key), 
  which makes the plus sign in the Zoom tool become a minus sign—
  click in the image with the minus Zoom tool to reduce the view. 
  —continued
  
  1 :  t h e  p h o t o s h o p  i n t e r f a c e
  12
  •	 To	snap	to	a	view	size	of	100	percent: Double-click the Zoom tool in 
  the Tools panel. Or from the View menu, choose “Actual Pixels.”  
  Or press Command 0 (PC: Control 0)—that’s the zero in the row  
  of numbers across the top of your keyboard.
  •	 To	view	an	exact	percentage	size:	Change the percentage value in the 
  bottom-left corner of the document window, then press the Enter key. 
  You can also click in that little field and use the up and down arrows 
  to change the percentage; hit the Enter key to activate the change. 
  •	 To	fit	an	image	on	the	screen	as	large	as	possible: Double-click the 
  Hand tool in the Tools panel.
  •	 To	view	another	area	of	an	enlarged	image: To practice, first enlarge 
  the image so big that it is not all visible in the window, or make the 
  window smaller. Now hold down the H key, then press-and-hold 
  the mouse button. While the H key is held down, a marquee in 
  the shape of the current window is visible. Continue holding down 
  the H key and drag the marquee to an area of the image you want 
  displayed. When you release the H key, that section of the image 
  returns to the previous magnification. Try it.
  •	 To	magnify	a	specific	part	of	an	image: Select the Zoom tool, then 
  press-and-drag with it over the area you want to zoom into.
  •	 To	zoom	in	continuously: Position the Zoom tool on the image,  
  then press the mouse button while the image magnifies. 
  •	 To	zoom	out	continuously: Hold the Option (PC: Alt) key as you 
  press the mouse button, as above.
  Pixel grid
  When the image preview is higher than 500 percent magnification, a pixel 
  grid is visible, as shown below. To hide the white lines of this grid, from the 
  View menu, choose “Show,” then deselect the “Pixel Grid” option.  
  Of course you can always choose to show it when you decide you want to 
  see the individual pixels.
  The pixel grid can be useful when you 
  need to do really close and detailed work.
  
  Simple 
  Projects
  The seemingly endless list of things you can do in Photoshop 
  can be intimidating and might prevent some non-designers 
  (and designers) from jumping in to learn the program. If that 
  sounds like you, don’t worry—you’re in good company. 
  Much of what we learned about Photoshop happened gradually, 
  learning what we needed at the moment to do a certain task. 
  But we want you to learn the same things quickly, instead 
  of waiting for specific situations to show up in real world 
  projects— which could take years… aaarrgh! One thing you can 
  be very happy about is the fact that every version of Photoshop 
  gets more powerful and easier. Some operations that used to be 
  complex and weird can now be accomplished with a click or 
  two. That’s the kind of technical expertise we love. 
  This chapter includes a collection of common image-editing 
  tasks you’re likely to encounter and will introduce you to 
  many of the features and techniques in Photoshop. Follow 
  along with these tasks on your own photos to familiarize 
  yourself with commands you’ll use every day in other projects.  
  If you’re not very familiar with the Photoshop interface, go 
  back to Chapter 1 at any time for an overview of where things 
  are and what they’re called. 
  Almost every task in Photoshop requires you to check the 
  controls in the Options bar, so get in the habit of choosing a 
  tool and checking the Options bar to see what the settings are. 
  13
  
  2 :  s i m p l e  p r o j e c t s
  14
  Select a brush size for the 
  Sponge that makes it easy  
  to brush just the teeth: 
  For a smaller brush,  
  tap the left bracket key. 
  For a larger brush,  
  tap the right bracket key.
  Whiten teeth
  If only it was this quick and easy in real life. Hopefully, you won’t have a 
  more challenging teeth-whitening client than this one. If there’s not a lot of 
  discoloration and you just want to quickly lighten the teeth, skip to Step 4.
  1 Open an image of someone with less than perfectly white teeth.
  2 Select the Sponge tool, hidden under the Dodge 
  tool (shown on the right). 
  In the Options bar, set “Mode” to Desaturate
  and “Flow” to 100%.
  3 Scrub the teeth with the Sponge tool to remove color from the teeth.
  4 Now select the Dodge tool.  
  In the Options bar, set the “Range” to Highlights and set  
  “Exposure” to 20%.
  6 Scrub the teeth with the 
  Dodge tool.
   
   Reset the “Range” to Midtones,
  then scrub the teeth again. 
   
   Finally, reset the “Range”  
  to Shadows and finish 
  scrubbing the teeth. 
  As you work, be careful not to scrub 
  away detail or make teeth so white 
  that it looks unnatural, like the 
  blinding glare of movie-star teeth.
  
  2 :  s i m p l e  p r o j e c t s
  15
  Remove dust and scratches
  Scanned images, such as old family photos, often show dust and scratches. 
  The dust is sometimes on the scanner glass, not the photo, so Step 1 should 
  be “clean the scanner glass surface before you scan.” If your photo shows 
  dust specs, scratches, or blemishes of almost any kind on the subject or 
  background, the Spot Healing Brush is a quick and easy miracle tool.    
  1 Open an image that has dust or 
  scratches. 
  2 From the Tools panel, select the  
  Spot Healing Brush tool. 
  3 In the Options bar (shown below), 
  select “Content-Aware.” Brush over 
  the areas you want to repair, as 
  explained below. 
  For small specks and blemishes, 
  just tap the tool on the spot to 
  remove it. 
  For long scratches, drag the Spot 
  Healing Brush across them. As 
  you drag, the brush appears to 
  paint a black stroke (shown, left), 
  but when you stop the stroke, the 
  repaired result appears. (If you 
  don’t like it, Undo.)
  When painting close to an edge, 
  such as between the white collar 
  and the black jacket shown here, 
  use a hard brush: Single-click on the Brush Preset picker (shown above) 
  and set the Hardness slider to 100%. When the brush is not near an 
  edge, a softer brush (a lower percentage) works well.
  Brush Preset picker.
  When you select the Spot Healing Brush it appears here, in the Tool Preset picker.
  There’s a filter for dust and scratches. But 
  it blurs the image to do the job, usually too 
  much blur, so we prefer this method. 
  
  2 :  s i m p l e  p r o j e c t s
  16
  Correct a photo that’s too light
  Give new life to faded photo memories with a simple adjustment.
  1 Open an overexposed or faded image.
  The original, 
  faded photo.
  2 From the Image menu, choose Adjustments > Levels….
  3 In the Levels panel, drag the black triangle under the histogram  
  (the spiky image) to the right until it aligns with the left edge of 
  the histogram (as shown below, right). Drag the white triangle  
  to the left to align it with the right side of the histogram. Click ok.
  
  2 :  s i m p l e  p r o j e c t s
  17
  Correct contrast with one click
  The problem with this image is similar to that on the opposite page—flat, 
  with a lack of contrast. This time, however, we’re going to let Photoshop do 
  all the work because dragging sliders and triangles is too tiring.
  1 Open an image that has poor contrast.
  2 From the Layer menu, choose New Adjustment Layer > Levels; 
  click ok. 
  3 In the Levels panel that appears (you might have to hunt for it if 
  you’ve got a lot of panels open), click the “Auto” button (circled 
  below, right).
  
  2 :  s i m p l e  p r o j e c t s
  18
  Rescue photos that are too dark
  Even a seemingly worthless photo like this one contains lots of digital 
  information and detail that can be brought out from the dark.   
  1 Open an image that’s underexposed or too dark.
  2 From the Image menu, choose Adjustments > Shadows/Highlights… 
  to open the “Shadows/Highlights” panel (below, right). The 
  “Shadows” Amount slider is set to 35% by default, which is usually 
  too much for most images. Drag the slider back to the left, to about 
  10%, but don’t let the dark tones don’t get too washed out.
  3 To enrich the color a bit, move the “Color Correction” slider to +50 
  (or whatever works best for your image). Click ok. 
  
  2 :  s i m p l e  p r o j e c t s
  19
  Make wrinkles disappear
  Some of us would like the Spot Healing Brush tool in our makeup bags.    
  1 Select the Spot Healing Brush tool. 
  2 In the Options bar (shown below): Select a brush size and hardness 
  from the Brush Preset picker; choose a brush Size slightly larger 
  than the wrinkles you want to remove, and set the Hardness to 0%. 
   
   To change brush sizes on the fly, tap the left bracket key [ to reduce
  brush size, and tap the right bracket key ] to increase brush size. 
  3  In the Options bar, above, set the “Type” to Content-Aware.
  4 Press-and-drag the brush across wrinkles (below left) to blend them 
  with the skin color and texture.
  Brush Preset picker.
  5 To add more smoothness: From the Filter menu, 
  choose Blur > Surface Blur…. Surface Blur 
  ignores edges, more or less, depending on your 
  settings. In the “Surface Blur” dialog (right), 
  adjust the Radius and Threshold settings  
  to your satisfaction. 
   
   The Surface Blur filter is also useful for 
  minimizing unwanted noise and texture.
  Tip: Press on the surface Blur dialog preview to see the 
  original image inside the pane; release to see the filtered effect. 
  To toggle between before and after views in the document 
  window, check/uncheck the Preview box, or tap the P key.
  
  2 :  s i m p l e  p r o j e c t s
  20
  Convert a color photo to black and white
  Photoshop can automatically convert color images to grayscale: From the 
  Image menu, choose Mode > Grayscale. But this doesn’t give you any control 
  over the conversion. When you convert a photo to black and white, you can 
  use an Adjustment Layer so you can control the final appearance of the image. 
  1 Open a color image.
  2 Create a new Adjustment Layer: From the Layers menu, choose  
  New Adjustment Layer > Black & White. Click ok.
  3 In the Adjustments panel that appears, drag the color sliders to 
  lighten or darken the grayscale conversion for that color. 
   
   Doing this on an Adjustment Layer allows you to change the 
  grayscale appearance later, if need be.
  Original color image.
  An automatic grayscale conversion.
  This controlled grayscale conversion 
  has more contrast.
  
  2 :  s i m p l e  p r o j e c t s
  21
  Fix blown-out whites
  This technique works best on photos that were shot in the raw format. Raw 
  is an uncompressed format that retains invisible digital image information 
  that Photoshop can recover, as opposed to jpegs that are compressed. 
  1 Open an image file that includes 
  white areas. 
    From the Image menu, choose 
  Adjustments > Shadows/
  Highlights….
  2 In the “Shadows/Highlights” 
  panel (below right), set the 
  “Shadows” Amount slider to 0%. 
   
   Set the “Highlights” Amount 
   
   slider to the right to darken the highlights, but don’t make them 
  too dark.
  3 Drag the “Highlights” Tonal Width and Radius sliders left or right 
  until you’re satisfied with the results. Click ok.
  If the image appears too dark, go 
  to the Image menu and choose 
  Adjustments > Levels…. Click 
  the “Auto” button. Or drag the 
  highlights slider (the white triangle 
  under the histogram) to the left. 
  
  2 :  s i m p l e  p r o j e c t s
  22
  Alter colors with ease
  Of the many ways to adjust colors, this is one of the easiest and quickest.
  1 Open an image you want to adjust.
  2 Create a new Adjustment Layer: If the Adjustments panel is  
  not open on your screen, go to the Window menu and choose 
  “Adjustments.” (If there is a checkmark next to its name, that 
  means it is already open.) 
   
   In the Adjustments panel, click the Hue/Saturation icon (circled 
  below). This creates the new layer in the Layers panel and opens  
  the Hue/Saturation panel.
  
  2 :  s i m p l e  p r o j e c t s
  23
  3 In the Hue/Saturation pane, select the 
  Targeted Adjustment tool (circled, right). 
  4 Click on a color in the image that you 
  want to adjust. 
   
   Now hold down the Command key  
  (PC: Control key) and drag left or right 
  in the image (below). 
   
   The Targeted Adjustment tool samples the range of colors at the 
  point of the click. When you hold down the Command (or 
  Control) key, the Hue slider automatically moves left and right 
  as you drag the cursor left and right, and changes the hue of the 
  sampled color range, wherever it occurs in the image.
   
   If you drag the cursor without a key held down, it adjusts the 
  Saturation of the sampled color. Experiment with both possibilities 
  and combinations.
  
  2 :  s i m p l e  p r o j e c t s
  24
  Alter colors in Camera Raw
  This is a quick introduction to the Camera Raw work area. There’s more 
  information about Camera Raw in Chapter 13, but this example quickly 
  demonstrates how easily you can alter entire color ranges in images, even 
  if they were not shot in the raw format to begin with.       
  1 From the File menu, choose Open…. 
  2 In the Open dialog, single-click to select a jpeg image. 
  3 From the “Format” pop-up menu, choose “Camera Raw.” 
  4 Click “Open.” The image opens in the Camera Raw interface,  
   as shown below.
  You can use 
  any high-
  resolution 
  jpeg.
  
  2 :  s i m p l e  p r o j e c t s
  25
  5 Press (don’t click) on the Targeted Adjustment tool icon in the tool bar,  
  circled on the previous page, to display a menu of options. Choose Hue. 
  6 The Targeted Adjustment tool samples the color range at the point 
  where you click in the image, and the cursor changes to a horizontal 
  double-arrow. Single-click on a color in the image, then drag the 
  cursor horizontally left or right to change the hue of that color range.
  If you were to click with the Targeted Adjustment tool in the green 
  body of the bug, greens would be sampled and then altered as you 
  drag left or right.
  To alter the image saturation, luminance, or grayscale settings,  
  press on the Targeted Adjustment tool again to reveal the pop-up 
  menu shown on the opposite page. Make your choice and follow 
  the steps as above.
  To revert	to	the	original	appearance after experimenting with the 
  Camera Raw tools and settings, but still carry on experimenting, 
  hold down the Option key (PC: Alt key). The “Cancel” button 
  changes to “Reset.” With the Option or Alt key held down, click 
  the “Reset” button and carry on. 
  
  2 :  s i m p l e  p r o j e c t s
  26
  Straighten a photo
  Straightening a photo can’t get much easier than this. 
  1 Open an image that you want straightened. 
  2 Select the Ruler tool. It is stored under the 
  Eyedropper in the Tools panel—press or 
  right-click on the Eyedropper to reveal 
  a pop-up menu that contains the Ruler 
  tool; select the Ruler tool.
  3 Drag the Ruler tool along an edge or shape 
  in the photo that you want to straighten. 
  (The image is faded here to make the 
  Ruler’s path more visible. In reality, when 
  you drag the Ruler tool, the image is 
  unchanged.)
  4 Click the “Straighten” button in the 
  Options bar (shown below). 
  	
  	 To	start	over with the Ruler tool, click the 
  “Clear” button instead of “Straighten.”
   
   
  5 If the final result crops away too much 
  of the image, press Command Z (PC: 
  Control Z) which will undo the crop and 
  enlarge the document window to show 
  the entire straightened image. 
   
   Since this image we’re using started as a  
  closely cropped image, the background  
  must necessarily be radically cropped. 
  Fortunately, there is Photoshop magic 
  available to reconstruct the background,  
  as shown on the following page.
  
  2 :  s i m p l e  p r o j e c t s
  27
  Fill a background
  Content-Aware Fill analyzes the image and 
  attempts to fill a selected area with content 
  that matches the existing background. It works 
  better on some images than others. Images may 
  need various degrees of touch-up after applying 
  this feature. 
  1 Choose the Quick Selection tool from  
  the Tools panel. 
  2 Click in each area of white space that  
  you need to fill; the click with the Quick 
  Selection tool will select the contiguous 
  (touching) white space.
  3 From the Edit menu, choose “Fill….” 
   
   In the “Fill” dialog that opens, set the  
  “Use” pop-up menu to “Content-Aware.”
  4 Click ok. The fill (shown middle-right) is  
  not perfect, but amazing nonetheless. 
   
   In this example, if the top edge and right 
  corner aren’t needed, the image could 
  be cropped and would look fine. But if 
  the entire image is needed, then some 
  touch-up with the Clone Stamp tool 
  can finish the job, as shown to the right. 
   
   Learn about the Stamp Clone tool on 
  pages 58.
  
  2 :  s i m p l e  p r o j e c t s
  28
  Remove electrical power lines
  Because power lines are everywhere, it’s almost impossible to keep them out 
  of photos, at least in urban areas. You can use the same Spot Healing Brush 
  that we used on page 19 to eliminate power lines as easily as wrinkles, or the 
  Clone Stamp tool, page 58. But if you’re familiar with using the Pen tool to 
  draw a path, here’s a technique that’s more accurate. (If you’re not familiar 
  with the Pen tool, see pages 160–63.)
  1 Open an image in which you need to remove the power lines.
  2 Open the Paths panel. From the panel menu that pops out when 
  you click the top-right corner (below, left), choose “New Path….” 
  Name the path, if you want, then click ok. 
  3 Select the Pen tool from the Tools panel. Draw a path on top of  
  one of the power lines in the photo.   
  4 With the new path layer in the Paths panel selected (highlighted 
  in blue, as shown in Step 2, above), select the Spot Healing 
  Brush tool from the Tools panel. 
  This is 
  the path.
  
  2 :  s i m p l e  p r o j e c t s
  29
  5 In the Options bar, click the Brush Preset picker (shown below). 
  Choose a brush Size slightly thicker than the power line, and set  
  the brush Hardness to 0% (a soft-edged brush). 
  6 Also in the Options bar, check the button to set “Proximity Match.” 
  7 Select the Stroke Path icon (circled below, left), located at the bottom 
  of the Paths panel. A black Spot Healing Brush stroke appears on 
  top of the path (below right), and a small progress wheel indicator 
  spins while Photoshop analyzes the image. 
  Brush Preset picker
  After a few anxious 
  moments of anticipation, 
  the black brush stroke 
  disappears. 
  To	remove	the	path and 
  reveal a nicely retouched sky, 
  press Delete (PC: Backspace). 
  Repeat this operation for 
  each power line. 
  Alternatively: Draw all the 
  paths, set the Spot Healing 
  Brush parameters, then click 
  the Stroke Path icon at the 
  bottom of the Paths panel.
  This technique also works great for taking airplane contrails out of the skies 
  of your otherwise perfect landscape shots.
  
  2 :  s i m p l e  p r o j e c t s
  30
  Liven up a dull exposure
  At first glance, the photo below looks like a nice, colorful image. But if you 
  look with a more critical eye, the contrast is flat and the colors are rather 
  dull. Keep in mind that our digital cameras, amazing as they may be, are 
  imperfect and limited in their ability to capture reality in all its glory. In 
  other words, don’t be timid about juicing up a photo to make it match what 
  you saw with your own beady eyes.  
  The contrast 
  in this image 
  is flat.
  1 Open a dull image that needs to be enriched.
  2 To adjust the contrast, do one or both of the following:
  •	 From the Image menu, choose “Auto Contrast.”  
  This option doesn’t give you any control over the results,  
  but it can work very well. 
  •	 From the Image menu, choose Adjustments > Levels…, then 
  click the “Auto” button in the Levels dialog. 
  For many images, this is all you’ll need to do. To explore more options for 
  adjustments to the contrast, continue to the following page. 
  
  2 :  s i m p l e  p r o j e c t s
  31
  The Levels 
  histogram.
  Drag these sliders to adjust  
  the shadows (the black triangle),  
  the midtones (the gray triangle),  
  and the highlights (the white triangle).
  Manually adjust the contrast
   
   From the Image menu, choose Adjustments > Levels…, then drag  
  the triangles located under the Histogram (shown below). 
   
   As a general rule, drag the black triangle to the right until it aligns 
  with the left side of the histogram, and drag the white triangle 
  to the left until it aligns with the right side of the histogram. You 
  should, however, use your own visual judgment to decide how 
  much adjustment to make.
  More contrast makes a big difference, but if the colors are still too 
  dull, from the Image menu, choose Adjustments > Vibrance…. The 
  Vibrance dialog has adjustment sliders for both Vibrance and Saturation.
  The Vibrance setting saturates colors that are under-represented, and it 
  mostly ignores skin tones. The Saturation setting saturates all colors.
  
  2 :  s i m p l e  p r o j e c t s
  32
  Resize a photo without cropping 
  Imagine that a brochure layout has space for a photo, but the photo is quite 
  a bit wider than the space allotted. The client doesn’t want to crop out any 
  of the people or make the photo any smaller, horizontally or vertically, 
  than the space allotted in the design. Sounds impossible, but not if you use 
  Content-Aware Scale. This feature analyzes an image and attempts to scale it 
  by affecting areas that don’t contain important visual elements. If the image 
  is a landscape without unusual elements, skip Steps 2 and 3. But if you need 
  to ensure you don’t lose anything important, first preserve specific areas of 
  an image using an alpha channel, as shown here.  
  1 Open an image that you wish was more compact in composition.
  2 Select the Lasso tool in the Tools panel.
   
   Draw paths around the areas you want to preserve (just press and 
  drag). To make multiple selections, as shown below, create the first 
  selection, then hold down the Shift key to draw subsequent selec-
  tions that will be added to the first (you’ll see a small plus sign next 
  to the Lasso brush when it’s adding). 
   
   Since we’re going to reduce only the width of this sample photo, 
  we made sure that a generous amount of the image width is not
  preserved so Photoshop has plenty of unimportant pixels to delete 
  without messing too much with the pixels we want to preserve. 
  
  2 :  s i m p l e  p r o j e c t s
  33
  3 Choose “Channels” from the Window menu to open the Channels 
  panel. Make sure the areas in your image are still selected, then 
  click the Save Selection as Channel button (circled below).
  This alpha channel gets automatically 
  created when you click the button  
  (Save Selection as Channel).
  4 If you’re scaling a Background layer (and we are), 
  go to the Select menu and choose “All.” If we had 
  duplicated the Background layer and worked on the 
  duplicate, this step would be optional.
  5 From the Edit menu, choose “Content-Aware Scale.” 
  This puts a marquee with handles around your image. 
  Drag one of the side handles of the marquee in toward 
  the center a bit to scale the width. Switch to the 
  other side of the image and drag that side in toward 
  the center. If you drag too far you’ll see unwanted 
  distortion, as shown on the right. Hey wait, that looks kinda cool! 
  6 Hit the Enter key to commit the transformation. If you prefer to 
  click a button, the Cancel Transform and Commit Transform icons 
  are available in the Options bar.
  
  2 :  s i m p l e  p r o j e c t s
  34
  Set the Anchor position.
  Add width or height.
  Extend a photo
  When you need just a little extra sky or horizon or foreground, you can use 
  Free Transform to stretch the dimensions of a photo. Obviously this works 
  best on sky or horizons that don’t contain detail that will look distorted 
  when you stretch it.   
  1 Open an image file.  
  From the Image menu, choose “Canvas Size….” 
  2 In the “Canvas Size” panel (below), change the width or height 
  measurement to the size you want your photo to occupy. For this 
  example, we changed the width from 8 inches to 9.5 inches. 
  3 Choose the Anchor position. The gray square indicates where the 
  existing image will be positioned, or anchored, as extra canvas is 
  added to the document. The arrows point where new canvas can go. 
  Simply click in any square to make that the anchor point.
  
  2 :  s i m p l e  p r o j e c t s
  35
  4 Select the Rectangular Marquee tool. Drag a selection around the 
  side of the image that you want to extend (shown below).
  5 From the Edit menu, choose “Free Transform.” This creates a 
  marquee and control handles around the selection. 
  6 Drag the outside handle to the edge to fill the blank canvas area.  
  Hit Enter to commit to the transformation.  
  From the Select menu, choose “Deselect” to hide the marquee.
  Extra image can be added vertically in the same way, as shown below. 
  1 In the “Canvas Size” panel, add canvas to the top of the image.
  2 Create a rectangular selection across the sky.
  3 Follow steps 5 and 6, above.
  
  2 :  s i m p l e  p r o j e c t s
  36
  Click the eyeball icon to 
  turn off a layer’s visibility.
  3 From the Layer menu, choose New > Layer via Copy. A new layer 
  containing the selection appears in the Layers panel (above right). 
  Click the eyeball to turn off the Background layer visibility.
  4 To erase parts of the background that remain on this layer,  
  select the Eraser tool in the Tools panel.  
  In the Brush Preset picker, set the Hardness to around 50%.  
  To adjust the Eraser size as needed, tap the left or right bracket keys. 
  Drag the Eraser over the areas that need to be cleaned up. 
  Blur a background instead of replacing it
  You need a portrait-style shot, but all you have is a candid snapshot. You can 
  transform a snapshot like this into a portrait by blurring the background 
  beyond recognition.  
  1 Open an image that contains a potentially nice portrait shot.
  2 Select the Quick Selection tool in the Tools panel. Drag inside  
  the subject to make a quick, rough selection, as shown below.  
  (This tool detects edges and selects up to them; if your subject’s 
  clothes or hair blend into the background, you might need to  
  use the technique on pages 55–57.)
  
  2 :  s i m p l e  p r o j e c t s
  37
  5 In the Layers panel, turn on the visibility of the Background so you 
  can blur it: Click in the empty spot where its eyeball icon should be.
   
   Select the Background layer: Single-click on its name.
  6 Blur the Background copy: From the Filter menu, choose Blur > 
  Gaussian Blur…. 
   
   In the “Gaussian Blur” dialog, drag the Radius slider to the right  
  until you’re satisfied with the blur effect. Click ok.
  The background now looks 
  a lot like a portrait studio 
  background. 
  7 For a final touch-up, if necessary, you might want to soften the  
  edges of the foreground subject so it doesn’t stand out harshly 
  against the blurred background. 
  •	Select the Blur tool. 
  •	Use the left or right bracket keys on your keyboard to get  
  a small-sized brush.
  •	In the Options bar, set the “Strength” to 100%. 
  •	Brush along the edges of the subject to soften those edges. 
  •	If some unwanted artifacts become visible on the top layer when 
  you make the blurred Background layer visible, select the top 
  layer in the Layers panel, then use the Eraser tool to erase the 
  artifacts.
  
  2 :  s i m p l e  p r o j e c t s
  38
  Remove something from a photo
  The success of this technique varies with the complexity of the shot, especially 
  the background, and whether the subject is isolated or not. In this example, 
  the subject is isolated, making the task easier. 
  1 Open an image that has something you want to remove.
  2 Select the Lasso tool. In the Options bar, set “Feather” to 4 pixels. 
  Draw a path around the subject you want removed, as shown below. 
  3 From the Edit menu, choose “Fill….”  
  Make sure “Content-Aware” is selected in the “Use” menu, then 
  click ok. The Fill command replaces the subject with background 
  that matches the rest of the image. 
  4 From the Select menu, choose “Deselect” to delete the selection. 
   
   If a seam is visible on the edge of the fill area, use the Spot Healing 
  Brush tool to fix it, as explained on page 15. See pages 55–57 for 
  another technique for removing something from a photo and 
  page 58 for using the Clone Stamp tool, if appropriate for the photo.
  
  2 :  s i m p l e  p r o j e c t s
  39
  Lose some weight
  To lose weight, you need to commit to at least two or three minutes of an 
  easy workout. Here are several quick ways to melt those pounds away without 
  giving up whatever’s in the pot. The camera adds at least ten pounds to us, 
  so actually all we’re doing is making ourselves look like we do in person.
  Transform distorts   
  the image slightly,   
  but would you notice?
  To crop the excess 
  white space from the 
  sides of the image, select 
  the image with the 
  Rectangular Marquee 
  tool, then go to the Image 
  menu and choose “Crop.” 
  Use a simple Transform operation  
  1 Open an image file. Press Command A (PC: Control A)  
  to select all of the image.
  2 From the Edit menu, choose “Free Transform.” This makes the 
  transform bounding box appear with control handles on the edges.
  3 Drag each of the side control handles in toward the center of the 
  image just a bit (see below).
  4 When you are satisfied with the image, hit the Enter key.  
  Press Command D (PC: Control D) to make the bounding box 
  disappear.
  —continued
  
  2 :  s i m p l e  p r o j e c t s
  40
  Or use Content-Aware Scale
  There are several techniques using Content-Aware scaling in this chapter. 
  This is an alternative to the technique on the previous page.  
  1 Open an image file. 
  2 From the Select menu, choose “All.”
  3 From the Edit menu, choose “Content-Aware Scale.” This puts  
  a bounding box around the image with handles on the corners  
  and sides.
  4 Drag the side control handles in toward the center of the image.
   
   When you like the result, hit the Enter key to commit it.
  5 You’ll probably want to crop the image when you’re done:  
  select the image with the Rectangular Marquee tool, then go to the 
  Image menu and choose “Crop” (also see pages 82–85). 
  Content-Aware Scaling distorts the entire image, but a little 
  differently from Free Transform (on the previous page).
  
  2 :  s i m p l e  p r o j e c t s
  41
  Or use the Liquify filter  
  1 Open an image file. 
  2 From the Filter menu, choose “Liquify….” The image opens in  
  the “Liquify” window, shown below. 
  3 Select the Forward Warp tool (the top tool in the toolbox). Set the  
  brush Size, Density, and Pressure on the right. Experiment.
  4 The brush outline appears in the preview window. Drag the brush 
  toward an edge of an object you want to move. To make an object 
  thinner, such as an arm, gently work both sides of the arm, pushing 
  pixels toward each other.
  5 To protect an area from being distorted, such as the bowl in this 
  image, first paint it with the Freeze Mask tool (see the callout 
  below). When you drag the Liquify brush near a red “frozen” area, 
  the pixels under the red mask are protected, as shown below.
  This exaggerated 
  brush stroke shows 
  the Liquify effect. 
  Here is the final result of 
  five minutes with the Liquify 
  filter. Learn more about 
  Liquify on page 202.
  
  2 :  s i m p l e  p r o j e c t s
  42
  Modify brush 
  settings here.
  Choose tools 
  here.
  Liquify text
  The Liquify filter shown on the previous page is not just for images. Try it 
  on text. (There is lots more about text in Chapter 6.)
  1 Open a new, blank document. 
  2 Select the Type tool in the Tools panel. Click on the bottom-left side   
  of the document; this sets a flashing insertion point for typing  
  and also creates a new text layer in the Layers panel.
  3 From the Window menu, choose “Character” to open the  
  Character panel (shown below). 
   
   Choose a font and font size, then type some text in the document 
  window.
  4 Make sure the text layer is selected in the Layers panel. Then from 
  the Filter menu, choose “Liquify….” You will be asked to rasterize 
  the text; click ok.
   
   Experiment with the tools and settings to brush or click on the text, 
  shown below. Click ok when you’re finished.
  
  2 :  s i m p l e  p r o j e c t s
  43
  Create unique images with the Filter Gallery 
  The Filter Gallery contains a large collection of filters, and each filter has 
  adjustable settings that multiply the number of effects you can apply by 
  hundreds. Or maybe millions (we’re not finished counting).
  Drag the effect 
  layers up or 
  down to reorder 
  them in the list.
  Adjustments 
  pane.
  Filter thumbnails pane.
  Hide/show filter  thumbnails pane.
  Change the preview size.
  Click to create a 
  new effect layer.
  Click to delete the 
  selected effect layer.
  1 Open an image.
  2 From the Filter menu, choose 
  “Filter Gallery….” This opens 
  the image in the “Filter Gallery” 
  window, shown below.
  3 Click any of the right-pointing  
  triangles in the middle section to  
  display the filters for that category, as shown below. Choose a filter, 
  then experiment with the adjustments on the right.
  	
  4	 To	apply	multiple	filters, click the new effect layer icon in the bottom-
  right corner. 
  To hide or show the effects, click the eyeball in the Effect Layer list 
  (bottom-right corner).
  	
  	 To	change	the	existing	effects	slightly, drag the layers up or down to 
  reorder them in the list.
  5 When you’re satisfied with the effect, click ok.
  
  2 :  s i m p l e  p r o j e c t s
  44
  3 Open an image that you want to place inside the text. The two 
  windows will probably appear as two tabs in the same window. 
  To separate them, drag one of the tabs off to the side until it pulls 
  away so you have the two files, type and image, next to each other. 
  4 Single-click in the image file window to select it.  
  Select the image layer in the Layers panel—single-click on it.  
  Drag its thumbnail layer from its Layers panel over to the text file 
  and drop it in the window. (You can now close the image file.)
  5 In the file with the text, make sure the image layer is above the text 
  layer in the Layers panel, as shown below. If not, drag the image 
  layer above the text layer so it appears as shown below.
  Every time you click 
  with the Text tool, 
  Photoshop creates a 
  new layer, a text layer.
  Just drag a layer up or down 
  to move its position.
  Place an image inside text
  Putting an image inside of text is a popular design technique. It requires 
  creating a clipping mask, which may sound scary, but it’s so easy to do.  
  1 Create a text layer: Select the Text tool and click in the document 
  window; click on the lower left side so you have room to set the type. 
  2 Use the Character panel (as shown on page 42) to choose the font 
  and size. Type some large text, as below. After you type the text, 
  choose the Rectangular Marquee tool so you don’t accidentally 
  make more text layers every time you click.
  
  2 :  s i m p l e  p r o j e c t s
  45
  6 From the Layer menu, choose “Create Clipping Mask.” 
   
   Or hover the cursor between the two layers, then Option-click  
  (PC: Alt-click). The top layer becomes a clipping path that clips  
  the image visibility except in the text area from the layer beneath.
   
   The image layer thumbnail is now indented, a visual clue that a mask 
  has been created. The bent arrow points down to the layer that is 
  being used to clip the image. The name of the text layer is now 
  underlined, indicating that it is part of the masked layer above.
  	
  7	 To	reposition	the	image	inside	the	text, select the Move tool from  
  the Tools panel (it’s the tool at the very top). Make sure the image 
  layer is selected, then drag the image to reposition it within the text.
   
   The text is actually still editable. See Chapter 6 for details on 
  working with text.
  8 To create a dramatic black background for the type, create a new layer: 
  From the Layer menu, choose New > Layer…. Click ok.
   
   Drag that layer to the bottom of the Layers panel, as shown below.  
   
   Fill that layer with black: First, select the layer. Then, to make sure 
  the Foreground color is black, tap the D key. From the Edit menu, 
  choose Fill > Foreground Color. Ta da!
  
  2 :  s i m p l e  p r o j e c t s
  46
  Add Layer Styles for special effects 
  When you attach a Layer Style to a layer, it affects everything on that layer. 
  A layer style can be a drop shadow, bevel and emboss, a glow, or any other 
  effect. You can create a text layer and add a style to it, or create a shape into 
  which you will insert something later, an object on a transparent layer (see 
  Chapter 9 about transparency), or even a graphic from Illustrator or an eps 
  file. In this example, we’re using a small Illustrator drawing. See more about 
  Layer Styles on pages 102–105.
  1 The document shown below has a sunset image as a background layer. 
  I created the Cupid layer by dragging the Cupid graphic straight 
  from an open Adobe Illustrator document into this Photoshop 
  window of the sunset. You can also use the “Place…” command in 
  the File menu to place something like an Illustrator file or an eps. 
   
   If the file appears with an X through it, you must hit the Enter key 
  before you can do anything else.
  2 To add one or more Layer Styles,
  double-click the layer to which 
  you want the styles to apply. 
  The Layer Style dialog opens. 
   
   Select a style from the Styles 
  pane: Click its checkbox, and 
  then single-click its name so  
  you can set the controls for 
  that style in the center pane. 
  Click ok when done.
  We’ve added four different styles to the Cupid layer.
  
  2 :  s i m p l e  p r o j e c t s
  47
  3 As you can see in the image and in the Layers panel, below, we added 
  a drop shadow, an inner glow, bevel and emboss, and a color stroke.
  When a layer has a layer style attached, an fx icon appears on the 
  right side of the layer. 
  To copy a layer style to another layer, hold down the Option key (PC: 
  Alt key) and drag the fx icon from the layer it’s on and drop  
  it on the other layer.
  To turn all styles off on a layer, click the eyeball icon next to “Effects.”
  To turn off just certain styles, click the eyeball icon next to a specific 
  style name.
  To hide/show the list of layer styles, click the small, black disclosure 
  triangle on the right side of the layer.
  Tip: here is the easiest way to 
  position a drop shadow.   
  While the Layer style dialog is 
  open and the Drop Shadow style is 
  selected in the styles list, move   
  your cursor to the image window 
  and drag the shadow to the position 
  you want, right on the image. 
  To move the image, make sure 
  its layer is selected. Then tap the 
  V key and drag the image.
  
  2 :  s i m p l e  p r o j e c t s
  48
  3 Select the new layer, if it isn’t already. 
  To make it easier to see the shapes,  
  set the layer Opacity to 50% or lower. 
   
   From the Edit menu, choose 
  Transform > Distort (this particular 
  transformation enables you to drag 
  the corners individually and distort 
  the image as necessary). 
   
   Drag each corner handle and match 
  the corners up with the corners of the existing image. 
  Replace the picture on a wall
  Eventually you’ll want to replace a painting on a gallery wall to show how 
  your work would look in that space. Or you’ll want to replace the framed 
  photo of your ex that’s in the background of your children’s photo. There’s 
  more than one way to do it, but this way is quick, easy, and straightforward. 
  1 Open an image to modify.
  2 Find the file you want to use as a replacement. You can drag it from 
  your Desktop right into the document window, or open a second file, 
  separate the two tabs, and drag the image layer from one file into 
  the other. The new element is automatically placed on a new layer. 
  Drag an image file icon from your computer into a Photoshop window  
  to create a new layer containing that image file.
  
  2 :  s i m p l e  p r o j e c t s
  49
  4 When the new image looks the same size and shape as the original, 
  hit Enter to commit the transformation. 
   
   Change the layer Opacity back to 100%. 
  Drag the 
  corners to 
  distort the 
  image.
  Note: After you commit the transformation, the layer thumbnail 
  displays a small icon in its bottom-right corner to indicate the 
  layer is a Smart Object. That’s not important in this example, but 
  a very useful thing for many projects. Learn about Smart Objects 
  on pages 111–113. 
  
  2 :  s i m p l e  p r o j e c t s
  50
  Colorize a photo
  You’ll often want to adjust the color of an image, either for color accuracy 
  or for effect. Here are some simple and easy techniques for several different 
  types of colorization. (Also see page 66 for hand-tinting a photograph.)
   
   Open an image that you want to experiment on by colorizing.  
  It can be anything from vegetables to old family photos to the 
  moon. Then follow the steps for one of the three techniques  
  on the following pages.
  Modify color using a Hue/Saturation Adjustment Layer
  1 Select the layer you want to colorize (if you just opened a new file,  
  it is probably the Background layer).  
  2 At the bottom of the Layers panel, click the new Adjustment Layer  
  icon (shown left and below), then choose “Hue/Saturation…”  
  from the menu that pops up. Or from the Layer menu, choose  
  New Adjustment Layer > Hue/Saturation. 
  
  2 :  s i m p l e  p r o j e c t s
  51
  3 A new Adjustment Layer appears in the 
  Layers panel and the Adjustments panel 
  opens. The color range menu, circled to 
  the right, is set by default to “Master” 
  (all colors). 
   
   Drag the Hue slider left or right to change 
  the overall color palette of the image. 
   
   Drag the Saturation slider to the left to 
  desaturate all colors (all the way to the 
  left removes all color) and to the right  
  to saturate the colors more.
  	
  4	 To	make	changes	to	specific	color	ranges, 
  change the “Master” color range to one 
  of the other colors in the pop-up menu, such as Greens. Now when 
  you drag a slider, it affects that specific color range. 
   
   AdvAnced Tip: Experiment with the color 
  spectrum graph at the bottom of the panel.   
  The spectrum sliders show the color range 
  selected. 
   
   For instance, choose a color from the 
  “Master” menu (circled, left). 
   
   Drag the sliders in the middle of the 
  spectrum to expand or contract the  
  color range. 
   
   Drag the outside sliders to increase  
  or decrease the amount of falloff (how 
  gradually the changes affect nearby colors). 
   
   You can judge the effect by watching the  
  live preview in the image window.    
  Get very specific with the color 
  changes using the spectrum sliders. 
  
  2 :  s i m p l e  p r o j e c t s
  52
  Paint with the Color Replacement tool
  This is another way to colorize a photo. As on page 50, open an image you 
  want to experiment on. In this example, we’re going to turn some of the 
  zucchini gold.
  1 In our example, we want to first exaggerate the highlights so the light 
  gold color will show effectively and dramatically. If you want to do 
  this to your own photo, follow along with us:
   
   Select the Dodge tool in the Tools panel, shown on the left— 
  this tool lightens areas as you brush with it.
   
   In the Options bar, set the “Range” pop-up menu to Highlights,  
  then set the “Exposure” setting to around 15%.
   
   From the Brush Preset picker in the Options bar, assign the  
  Dodge tool a very soft edge: Drag the Hardness slider all the  
  way to the left, to zero. 
   
   Brush gently in the highlight areas of your image. Now you’re ready 
  to colorize. (Of course, you could skip all of that if you don’t need 
  more highlight areas.)
  2 Set the Foreground color to the color of your choice: Single-click  
  the Foreground color swatch in the Tools panel (in the illustration 
  on the left, it’s yellow; yours might be black or some other color).
   
   Select the color from the color picker that opens. We chose a yellow 
  gold for the zucchini. Click ok.
  3 Select the Color Replacement tool in the Tools panel. It resides under 
  the regular Brush tool, so either press on the Brush tool or right-
  click on it to reveal the other brushes in a pop-out menu.
  4 In the Options bar, settings for color replacement appear. Set the 
  “Mode” pop-up menu to Color, set the “Limits” pop-up menu to 
  Find Edges, and set the “Tolerance” to 30%. The Tolerance setting 
  determines to what degree similar-colored pixels will be replaced.
  5 The three eyedropper tools in the Options bar determine how pixel 
  colors are sampled, or read, for color replacement, as explained on 
  the next page. 
  Sampling options.
  
  2 :  s i m p l e  p r o j e c t s
  53
   
   The first eyedropper icon selects continuous sampling: As you  
  drag the Color Replacement tool across the image, it continuously 
  resamples pixels underneath the brush and replaces them with 
  the Foreground color. (Enlarge or reduce the size of your brush by 
  tapping the [ or ] keys.)
   
   The second eyedropper icon samples once per click: Whatever  
  color is under the tool when you single-click on the image is 
  the only color that gets replaced with the Foreground color (the 
  Tolerance setting affects how many similar colors also get replaced).
   
   The third eyedropper icon replaces only areas that contain the 
  Background box color. If you want to use this option, which is 
  pretty amazing, first select the Eyedropper tool from the Tools 
  panel and Option-click* on a color in your image that you want 
  to use as the background color, which will be replaced; you should 
  see the Background swatch color change. Now single-click* on the 
  Foreground swatch and choose a color; click ok (or single-click the 
  Eyedropper on a color in the image). Now you’re ready to choose 
  the Color Replacement brush and paint with it. Experiment with 
  changing, say, the color of a shadow using this option.
  6 To continue this experiment, select the first Sampling option, 
  Continuous. Start brushing in the areas where you want to 
  replace color. As long as the crosshair in the middle of the Color 
  Replacement tool doesn’t cross over into the background (where it 
  will immediately sample a new color and replace it), the tool will 
  do a good job of detecting edges and stopping there.  
  *
  Tip: if the option-click chooses a Foreground color instead of a Background color, it’s 
  because in your Colors panel the Background swatch is selected (see pages 188–189) and 
  that messes up this keyboard shortcut. Tap the d key to select the Foreground color box in 
  both the Tools panel and the Color panel at the same time, then try the technique again.
  
  2 :  s i m p l e  p r o j e c t s
  54
  Use “Colorize” in the Hue/Saturation Adjustment panel
  Here is yet another way to colorize a photo. In this example, we’re going 
  to make the zucchini looks as if it is printed with an expensive but fake 
  (and very quick) duotone effect. A duotone is a print made with (usually) 
  a black-and-white photo with another color layered into it, creating very 
  rich images. There are more complicated ways to make gorgeous duotones 
  in Photoshop, but here is a quick and simple version.
  As on the previous pages, open an image you want to experiment on. 
  1 Select the layer you want to colorize (if you just opened a new file,  
  it is probably the Background layer). 
  2 At the bottom of the Layers panel, click the New Adjustment Layer
  icon (shown to the left), then choose “Hue/Saturation…” from 
  the menu that pops up. Or from the Layer menu, choose New 
  Adjustment Layer > Hue/Saturation. 
  3 In the Adjustments panel that opens, check the Colorize box.
  4 Drag the Hue and Saturation sliders until you’re satisfied with the 
  results.  
  Colorize simulates a duotone effect in any color you choose.
  
  2 :  s i m p l e  p r o j e c t s
  55
  Remove a subject from a photo
  The difficulty of this varies with the complexity of the shot, especially the 
  background, and whether the subject is isolated or not. When the background 
  is a smooth gradation or a solid color, the task is easier. (Also see pages 38 
  and 58 for other techniques to do something similar.)
  1 Open an image from which you want to remove someone.
  2 Single-click the Quick Mask Mode icon at the bottom of the Tools 
  panel (shown to the left).
  3 Select the Brush tool. Use the Brush Preset picker in the Options bar 
  to choose a brush Size; set the Hardness to 100% so it has a hard edge. 
   
   In the Options bar, set the Opacity and the Flow both to 100%.
  4 Paint the subjects you plan to keep in the photo. Remember, you can 
  tap the right and left bracket keys to change the brush size. The red 
  color is the default mask color. 
   
   To paint strands of hair, enlarge the image (Command +) (PC: 
  Control +) and use a very small brush size (a pressure-sensitive 
  tablet makes a world of difference when doing this sort of thing).
  Tip: occasionally it’s helpful to temporarily rotate the canvas as you paint.  
  To do so, tap the r key to activate the rotate tool; drag on the image with the 
  rotate tool. switch back to the Brush tool (B) to continue painting. 
  To straighten the image, tap r, then drag to straighten it. hold down the shift 
  key to force the image to snap to 90° increments. Tap B to get the brush back.
  — continued
  
  2 :  s i m p l e  p r o j e c t s
  56
  5 Click the Quick Mask Mode icon again to turn off the red color  
  and convert the selection to a marching-ants border. 
   
   Everything in the image except the masked area is selected, but  
  we need just the opposite. So from the Select menu, choose 
  “Inverse” to invert the selection. Now our subjects are selected.
  6 In the Layers panel, make sure the image layer is selected.  
  Then from the Layer menu, choose New > Layer via Copy.  
  A new layer is created that contains the subjects on a  
  transparent background. 
  7 Create another new layer: In the Layers panel, single-click the  
  New layer icon at the bottom of the panel (circled, above).
   
   Drag this new, empty layer below the transparent layer of your 
  subject/s. 
  
  2 :  s i m p l e  p r o j e c t s
  57
  8 We plan to fill this layer with a gradient that will simulate the 
  original background, so we first need to select a Foreground and  
  a Background color, as follows. 
    
  Set the Foreground color: Choose the Eyedropper tool and click  
  on the left side of the background in the image. 
    
  Set the Background color: Option-click (PC: Alt-click) the other side 
  of the background image.
   
   Your Foreground/Background swatches at the almost-bottom of the 
  Tools panel should be displaying your colors. 
  9 Select the Gradient tool in the Tools panel.
   
   In the Options bar, single-click the Gradient picker (shown below). 
  From the dialog box that appears, select the “Foreground to 
  Background” swatch from the pop-up menu (it’s the one in the 
  upper-left corner of the Presets). Click ok.
   
   In the Options bar, single-click the Linear Gradient option, shown 
  below.
  Gradient picker.
  Linear Gradient.
  	 10	 Position the Gradient tool in the new, empty layer and drag horizon-
  tally from far left to far right, across the background. The layer is 
  filled with the gradient, magically behind your subject/s. Wow.
  11 To add a bit of realism, try adding some film grain or noise to the 
  background blend: 
   
   From the Filter menu, choose Artistic > Film Grain,  
  or choose Noise > Add Noise and play with the options.
  
  2 :  s i m p l e  p r o j e c t s
  58
  Clone something out of a photo
  The Clone Stamp is a brush that paints with an image instead of paint. You 
  sample (load the tool with) something from one area of a photo and paint 
  it into another, as shown below. The Clone Stamp is hugely useful to clean 
  up scratches, acne, wrinkles, litter, phone lines, or even to remove unwanted 
  people from your image (or add someone from another photo; see pages 
  179–181 for more details about this tool and how to use it).
  1 Open an image, then create a new, blank layer to work on: From the 
  Layer menu, choose New > Layer…. Or click the Create a new layer
  icon at the bottom of the Layers panel. 
  2 Select the Clone Stamp tool in the Tools panel.
  3 In the Options bar, click the Brush Preset picker to set a brush size 
  and hardness (choose a brush toward the soft end). Set the opacity 
  to 100%. Click “Aligned Sample” to paint in relation to the source.
  4 Set a clone source, which is an area that you want to load into  
  the Clone Stamp and repeat somewhere else: Option-click  
  (pc: Alt-click) on a spot in the image.  
  5 Move the Clone Stamp to the area of the image where you want to 
  paint a clone (a clone of grass in this example), then drag the brush 
  on the object you want to remove/replace.    
  I Option-clicked on a spot of grass above 
  the bottle to set the clone source.
  For something like this, I created a new 
  layer and cloned a sheep onto that layer. 
  I cloned another sheep on another layer, 
  resized that layer, and positioned the 
  animal to appear in the distance. 
  With the clone source set, I painted 
  over the bottle with the Clone Stamp.
  Brush preset picker.
  Clone source
  
  2 :  s i m p l e  p r o j e c t s
  59
  Correct the dreaded red eye
  Flash photography often produces an effect known as red eye. Getting rid 
  of the red-eye effect is easy.
  1 Open an image in which you want to remove the subject’s red eye 
  color (even if, as below, it wasn’t caused by a camera flash).
  2 Select the Red Eye tool from the Tools 
  panel. It’s hidden under the Spot Healing 
  Brush tool (shown to the right).
  3 Click in the red area of the eye. If some of 
  the eye is still red after you click, click 
  again in the remaining red area. Some extreme cases of red eye, 
  such as the one below, may require three or four clicks to remove  
  all of the red. 
  The Red Eye tool is also available in the Camera Raw panel, but behaves a 
  little differently. In Camera Raw you have a couple of adjustment sliders 
  you can adjust, and you have to drag a rectangle around the subject’s eye 
  area. See Chapter 13 for information about Camera Raw.
  Click in the red part 
  of the eye with the 
  Red Eye tool.
  Any lingering doubts that 
  the Red Eye tool can fix 
  your red eye photos?
  
  2 :  s i m p l e  p r o j e c t s
  60
  Make a sky more dramatic
  There are many ways to enhance the sky in a photo to make it look as vivid 
  you remember seeing it. Some techniques are more complex than others, 
  but also provide more control. In this chapter we want to keep it quick 
  and simple.
  1 Open an image with an average-looking sky.  
  2 Create a copy of the Background layer: From the Layer menu,  
  choose New > Layer via Copy. 
   
   Or drag the Background layer and drop it on top of the New layer
  icon (circled, below). Working on a duplicate layer like this ensures 
  that you can always get back to the original version. Turn off the 
  visibility of the Background layer—just click its eyeball icon.
  
  2 :  s i m p l e  p r o j e c t s
  61
  3 Choose the Quick Selection tool in the Tools panel. This tool detects 
  edges and selects up to them. With that tool, drag in the sky area to 
  make an automatic selection. If the entire sky is not selected, drag 
  in the unselected area to add it to the selection. 
   
   If you need to deselect something, hold down the Option key  
  (PC: Alt key) and drag over the unwanted part of the selection.  
  Use the right and left bracket keys to change your brush size as 
  necessary.
  4 From the Image menu, choose Adjustments > Shadows/Highlights…. 
  (If you only see two sliders in this panel, check the box to “Show 
  More Options.”)
   
   Set the “Highlights” Amount slider to 75% (or whatever looks best for 
  your particular image). 
   
   To get rid of the glow that might appear around the selection edge, 
  drag the “Highlights” Radius slider to 0 pixels. Click ok.
  
  2 :  s i m p l e  p r o j e c t s
  62
  Create a panorama with Photomerge
  The Photomerge™ option combines multiple photos into one panorama 
  image (you can also merge photos vertically if you so choose). Photoshop 
  analyzes the images and determines how best to align, merge, and blend 
  the images together.
  1 From the File menu, choose Automate > Photomerge.
  2 In the Photomerge panel that opens 
  (right), set the “Use” pop-up 
  menu to Files or Folders, then click 
  “Browse” to locate the files (or 
  folder of files) to merge.
  •	To remove a file from the list, 
  select it, then click “Remove.”
  •	If the files you want are already 
  open, click “Add Open Files.”
  •	Select “Blend Images Together” for automatic blending of colors.
  3 From the “Layout” column on the left, select a layout. The “Auto” 
  option usually works best. Try another option if necessary.
  4 Click ok.
  This is how Photomerge put the image together. 
  Cropped and brightened a bit, some cloning in the corners, and ready  
  for framing. 
  
  2 :  s i m p l e  p r o j e c t s
  63
  Quickly juice up the color in spots
  Some Photoshop users are squeamish about altering color in photos, afraid 
  that enhancing the color or contrast is “cheating.” Actually, every photo 
  usually needs some enhancement to make it even come close to the real-
  world fidelity our eyes are capable of seeing. Most digital photos are far from 
  perfect, so don’t be reluctant to juice them up a bit.
  When you want to quickly and easily enhance an image by saturating color 
  in specific areas, use the Saturation tool and paint more saturation (or less) 
  into the image. 
  1 Open an image in Photoshop.
  2 From the Tools panel, select the Sponge tool.
  3 In the Options bar (below), choose the following settings:
  •	Click the Brush Preset picker to choose a brush size and hardness.
  •	Set the “Mode” pop-up menu to “Saturate.” 
  •	Click the “Flow” button to set a rate of saturation change. 100% 
  adds a maximum amount of color saturation, lower percentages 
  saturate colors less.
  Original image.
  Items in the front of the basket are saturated; 
  items in the back are desaturated.
  4 Use the Sponge tool to paint areas where you want the color to be 
  stronger. If you have the Flow set too strong, or if you paint over 
  the same area too many times, the effect can look unrealistic. 
   
   To desaturate areas of the image, set the “Mode” pop-up menu to 
  Desaturate, and set the “Flow” amount to a rate at which you want 
  to apply desaturation.
  
  2 :  s i m p l e  p r o j e c t s
  64
  Colorize line art
  Use Layers and Layer Blending Modes to colorize the background of line 
  art or to colorize the line art itself. 
  1 Open an image of line art, such as a woodcut or line drawing.
  2 From the Image menu, choose Mode > rgb (or you could use cmyk, 
  but not Grayscale).
  3 Create a new layer: From the Layer menu, choose New > Layer….” 
  Click ok. 
  4 Change the Blending Mode of the new layer to “Multiply” (below).
  5 Click the Foreground color box in the Tools panel to select a color. 
  Click ok.
  6 Fill the new layer with the color: Make sure the new layer is  
  selected, then from the Edit menu, choose “Fill….”
   
   In the Fill dialog that opens, set the “Use” pop-up menu  
  to “Foreground Color.”
  7 If appropriate, select the Eraser tool and erase parts of the fill color 
  on the new layer, as shown below. Because the fill is on a different 
  layer from the line art, you don’t have to be really careful about 
  erasing between the lines. 
  This is the new layer. 
  Photoshop automatically 
  placed it above the 
  Background image layer.
  Blending Mode.
  To change all the dark lines to the 
  fill color, follow the steps above 
  but use the Blending Mode called 
  “Screen” instead of “Multiply.”
  
  2 :  s i m p l e  p r o j e c t s
  65
  Create a new layer.
  Click here to lock   
  the transparent 
  pixels.
  Colorize the lines instead of the background
  You might want to colorize the lines in a piece of line art, instead of filling 
  in the background. It’s easy to do.  
  1 Open an image of line art, such as a woodcut or line drawing.
  2 Create a new layer to paint on (either from the Layer menu, as in 
  Step 3 on the opposite page, or click the Create a new layer icon at 
  the bottom of the Layers panel). 
  3 Select that layer and change its Blending Mode to “Screen.” 
  4 Choose the Brush tool from the Tools panel.
   
   Use the Brush Preset picker to choose a size and hardness.
   
   Click the Foreground color box in the Tools panel to select a color. 
  Click ok.
  5 Paint over the lines that you want in that color.
  Create a new layer for each color you paint (change each layer’s 
  Blending Mode to “Screen”). This makes it easier to correct 
  mistakes with the Eraser tool or to change colors later. 
  	
  6	 To	change	a	layer	color	after	you’ve	painted	it, click the  
  Lock Transparent pixels button above the layers (shown below). 
   
   Select a new color in the Foreground color box.
   
   Press Option Delete (PC: Alt Backspace). This automatically colors 
  all pixels that are not transparent (and locked) with the new 
  Foreground color.
  
  2 :  s i m p l e  p r o j e c t s
  66
  Hand-tint a photo
  Hand-tinted photos have an appealing quality, especially when the technique 
  is applied to vintage photos. The example shown here starts with a scan 
  of an old sepia-colored print. You can work on top of the original color 
  or first convert the image to grayscale (from the  Image menu, choose 
  Adjustments > Desaturate). 
  1 Open an image to hand tint.
  2 Create a new blank layer: From the 
  Layer menu, choose New > Layer.
  3 Change the layer Blending Mode  
  to Multiply. 
   
   note: After painting (Step 5), you 
  may decide to experiment and 
  change the Blending Mode to 
  something else, such as Soft Light, 
  Overlay, or Hue. Depending on the color you use and the part of 
  the image it’s on, some Blending Modes work better than others.
  4 Set the new layer’s opacity to a low percentage for now, such as 30%.
  5 Select the Brush tool.
   
   Set the Brush opacity to 100%
   
   Choose a Foreground color.
   
   Paint on the new layer, on top of 
  an element in the image. The 
  30% percent layer opacity setting 
  allows you to see through the 
  paint color to the image below 
  as you paint. You can adjust the 
  layer opacity until you achieve 
  the look you want. Remember, hand-tinted photos 
  usually have very subtle coloring. Even though the 
  Brush has an opacity of 100%, you can use a very low 
  opacity percentage to create a subtle color effect. 
  6 Repeat Steps 2–5 for each hand-tinted color you use. 
  By painting each color on its own layer, it’s easier  
  to adjust blending modes and opacity settings for 
  each color.
  Each color is on its own layer.
  
  Basic  
  Technical Stuff
  WTRGB! “What The Red Green Blue” is this chapter 
  talking about? We know you’re anxious to get to the fun 
  stuff, so we’ve condensed our technical Photoshop infor-
  mation into a painless four pages. Take a few minutes 
  to read about the geeky stuff and you’ll have a better 
  understanding of everything you do in Photoshop.           
  Without getting too technical, this short chapter provides 
  information that’s helpful to know about raster and 
  vector images, color modes (cmyk vs. rgb), image bit 
  depth (8, 16, or 32-bit images), and image resolution (72 
  pixels per inch, for example).    
  Resolution: 300 pixels per inch. 
  Preferred for print projects.
  Resolution: 72 pixels per inch.  
  This actually looks perfect when 
  viewed on a screen.
  67
  
  68
  3 :  b a s i c  t e c h n i c a l  s t u f f
  Bitmap images
  Bitmap images, also referred to as raster images, are made of a specific 
  number of pixels in a grid. All photographs are raster images. When you 
  use many of Photoshop’s painting tools, such as a brush, airbrush, blur 
  tool, etc., you’re creating pixels in a grid. Due to the inflexible nature of a 
  fixed grid of pixels, bitmapped images lose quality if enlarged beyond the 
  original size—if your image prints as bitmappy or pixelated, that means 
  the resolution is too low for the size of the graphic. The image resolution 
  of your file, such as 72 pixels per inch for web graphics, or 300 pixels per 
  inch for high-quality color printing, affects not only how large the file is, 
  but also the image quality at different sizes. 
  If your Photoshop project is going to be viewed only on a screen, such as 
  on a web site, photos attached to email, a digital presentation, etc., a low 
  resolution of 72 ppi (pixels per inch) is adequate, as well as easier to edit since 
  low-resolution images require less processing power than high-res images. 
  However, one issue you will discover when working in low resolution is that 
  filter effects act differently on low-res and high-res images. A filter that looks 
  great on a high-res image can look clunky and heavy-handed on the same 
  image in a low-res version.
  For most projects, it’s better to work at actual size, in a resolution that’s 
  appropriate for the image’s final destination (printed or onscreen). 
  Vector graphics
  Vector graphics are shapes that exist as mathematical descriptions, even 
  though they look like ordinary images on the screen. Some of Photoshop’s 
  drawing tools create vector objects. Since vector objects are mathematical 
  descriptions, they can be enlarged to any size without any degradation of 
  quality. When you open an Illustrator file and place it in Photoshop, it’s 
  brought in as a vector file. Text also is a vector file that can be resized up 
  and down many times without affecting its quality. You’ll notice that some 
  operations in Photoshop will present you with a message saying that the 
  command you requested requires rasterizing the object or layer—this means 
  Photoshop must convert the mathematical description into pixels in a grid.
  
  3 :  b a s i c  t e c h n i c a l  s t u f f
  69
  Color modes and file formats
  rgb (red, green, blue) is the  color mode used for images viewed on a screen, 
  such as on web pages and presentations. Many home and office printers 
  also print files that use the rgb color space. Some Photoshop filters work 
  only in rgb mode. 
  cmyk (cyan, magenta, yellow, black) is the color mode for documents printed 
  on expensive color laser printers or in full color by commercial printers. 
  •	 To	set	the	color	mode	for	a	document, go to the Image menu,  
  choose “Mode,” then select rgb Color or cmyk Color. Other 
  common choices are “Grayscale” for images that don’t require  
  color, and “Indexed Color” for web files such as gif images.
  Some rgb colors cannot be duplicated by printing presses. An image with 
  wild rgb colors will undergo a drastic color shift when you convert the file 
  to cmyk. If you plan to send an image to press, avoid shocking surprises: 
  To have Photoshop simulate cmyk	colors,	even	as	you	work	in	rgb mode, go 
  to the View menu and choose Proof Setup > Working cmyk.
  Save your document in the proper file	format for its intended use:
  •	 Save in the tiff file	format for professional printing.
  •	 Save as jpeg or jpg	file	format for any document that will be 
  viewed on a monitor or video screen of any sort.
  •	 Save as the native	file	format,	psd, to retain all layer and 
  image editing capabilities so you can work on it again.  
  Bit depth
  Bit depth is how much color information can potentially be stored in each 
  pixel of an image. Higher bit depth values mean more color information and 
  more accurate color. An 8-bpc (bits per channel) rgb file is called a 24-bit 
  file because rgb files have three color channels, and if each channel is 8-bpc, 
  that equals 24 bits of color information data for each pixel. 
  Photoshop can work with 8, 16, and 32-bpc images. A 32-bpc image is referred 
  to as High Dynamic Range (hdr). Unless you’re a professional photographer, 
  you probably are working mostly with 8-bpc images.
  Many, but not all, Photoshop features and filters work on 16-bpc images. If 
  you encounter a situation in which you need to apply a problematical filter 
  to a 16-bit image, convert the file to an 8-bpc (go to Image > Mode > 8 Bits/
  Channel), apply the filter, then save as a copy, to preserve the original 16-bpc file.
  
  70
  3 :  b a s i c  t e c h n i c a l  s t u f f
  Image resolution
  To set the image resolution, from the Image menu, choose “Image Size….” 
  In the “Image Size” dialog that opens (below, left), enter a value in the 
  “Resolution” field. For high quality printing, set the resolution to 300 ppi 
  (pixels per inch); for onscreen images, set it to 72 ppi (see the example in 
  the bottom area of the page). 
  If the resolution is cut in half, to 150 pixels, the “Width” and “Height” pixel 
  values shown at the top of the dialog are also cut by half (above right). But 
  the “Document Size” dimensions are still the same, 8 inches by 5 inches. 
  This means that the document stays the same measurable size, but there are 
  half as many pixels to render the image.  
  To	size	this	image	for	the	web, set the resolution to 72 ppi (as shown above). 
  The pixel dimensions of the image are now very small, compared to the 300 
  ppi version or the 150 ppi versions at the top of the page. This low resolution 
  works great for viewing on a computer screen. A higher resolution would 
  mean a much larger file (larger as in more megabytes), without better quality 
  on the screen.
  The image file size (circled) gets 
  smaller as the Resolution value gets 
  smaller. This file, originally 10.3 
  megabytes, is now 607.5 kilobytes.
  
  71
  Select & 
  Transform
  In Photoshop, you’ll find yourself doing two things over 
  and over again. The first is selecting elements to modify 
  them. Photoshop provides many different ways to select 
  images or parts of images, and how you select an item 
  can determine what you can do with it. The second is 
  transforming elements. The transform commands in 
  Photoshop—scale, rotate, skew, distort, perspective, 
  warp, and flip—enable you to modify images in almost 
  unlimited ways. 
  Experiment	with	selecting	and	cropping	in this chapter. 
  Photoshop can only undo that very last thing you did, so 
  work on a photo you don’t care about. If you don’t save 
  your changes to the image, you can always “Revert” to 
  the original image from the File menu. Or, to preserve 
  the original, you can also make a copy of the file you 
  want to work on (and in Chapter 7 you’ll learn how the 
  History panel provides the equivalent of multiple undos). 
  What light 
  through yonder 
  Photoshop 
  window breaks?
  Almost Famous Quotes 
  from Non-Designer
  Shakespeare
  
  4 :  s e l e c t  &  t r a n s f o r m
  72
  The Lasso tools
  The Quick Selection tools
  The Marquee tools
  Selection tools
  Shown below are the four main selection tools (and their variants) in the 
  Tools panel: the Marquee tools, the Lasso tools, and the Quick Selection
  tools. To display the pop-up menus of the hidden tools, press (don’t click) or 
  right-click on tool icons that have a small triangle in the bottom-right corner. 
  We include the Crop tool as a selection tool because it selects parts of an 
  image, then transforms it. (The Slice tools hidden beneath the Crop tool 
  are used to slice images apart for web pages, a specialized feature we don’t 
  cover in this book.) 
  The Pen tool is an important selection tool because you can use it to draw 
  paths around elements, then convert those paths to selections that you can 
  save and edit endlessly. See pages 80–81.
  Tip: To deselect your entire selection at any point, use the keyboard shortcut 
  Command d (PC: Control d), or go to the select menu and choose “deselect.”
  
  4 :  s e l e c t  &  t r a n s f o r m
  73
  The Rectangular Marquee tool
  Select the Rectangular	Marquee tool. Drag to draw a marquee around an 
  area that you want to select. As with any rectangular tool, drag diagonally 
  to create the shape. 
  With the selection made, you can modify just the selection in any way. For 
  instance, you can crop the image: From the Image menu, choose “Crop.” 
  The Elliptical Marquee tool
  The Elliptical	Marquee tool acts the same as above, except that it draws 
  circles and ovals. As above, any modifications you make will apply to just 
  the selected shape. For instance, you can desaturate the selection: From the 
  Image menu, choose Adjustments > Desaturate.
  Tip: To make a selection outward from the center of any marquee tool, 
  hold down the option key (PC: Alt key) as you drag. 
  Tip: To constrain the shape to a perfect square or circle, hold down the 
  shift key.
  
  4 :  s e l e c t  &  t r a n s f o r m
  74
  The Lasso tool
  Use the Lasso tool to draw freehand shapes around a selection when pinpoint 
  accuracy is not critical. This is a useful tool for selecting elements that don’t 
  fit nicely inside a circular or rectangular selection.
  1 Select the Lasso tool in the Tools panel.
  2 Draw a path around a part of the image.
  Single Row or Single Column Marquee tool
  Click in an image with the Single	Row	Marquee or Single	Column	Marquee
  tool to select a row or column one-pixel wide (below-left). This is useful when 
  you need to trim just a tiny wee bit from the edge of an image—instead of 
  selecting the rest of the image and cropping that wee edge, use one of these 
  tools to select just the edge. Or use it to add or subtract from an existing 
  selection (see page 78). To create graphic design effects, fill the selection with 
  color, add a stroke of color to the selection, or do both, as shown below.
  Multiple Single Row selections.
  When a marquee tool is selected, these 
  buttons in the Options bar let you (from 
  the left) make a new selection, add to 
  selection, subtract from selection, and 
  intersect with selection (see page 78).
  To stroke or fill a selection with color,
  right-click it, then select “Fill” or “Stroke” 
  and choose your options. (You must right-
  click while the selection is active.)
  Selection.
  Selection with 
  two strokes 
  applied.
  Selection with 
  stroke and fill 
  applied.
  
  4 :  s e l e c t  &  t r a n s f o r m
  75
  The Polygonal Lasso tool
  The regular Lasso tool can be difficult to control with a mouse, but the 
  Polygonal Lasso tool is another easy way to draw a complicated path. It only 
  draws straight lines between clicks of the mouse. 
  1 Select the Polygonal Lasso tool.
  2 Click once in the image.
  3 Click a second time and a selection line appears between the two 
  clicks. Every time you click, another straight line connects that 
  point to the previous point. 
  4 To close the path and make the selection, click on the original first-
  click point. Or double-click—wherever you double-click, that line 
  will snap to the beginning point. 
  The Magnetic Lasso tool
  The Magnetic	Lasso	tool is hidden under the Lasso tool. Select it, then 
  trace along an edge. The path it draws snaps to the edge like a magnet. This 
  tool is not very accurate unless the image is a very high contrast image, so 
  experiment with it, for instance, on hard-edge brush strokes you’ve made 
  or on elements in an image that show a strong contrast between its colors 
  and the background. 
  When you are close enough to 
  the beginning point, this tiny 
  little open dot will appear next 
  to the lasso. That is your visual 
  clue that you can now click and 
  the path will close. 
  
  4 :  s e l e c t  &  t r a n s f o r m
  76
  This selection has a Feather 
  setting of 40 pixels. Edges this 
  soft almost disappear when 
  overlayed on another image.
  When you copy and paste a feathered 
  selection into another image (above), 
  the two images blend together 
  seamlessly. 
  Feather the edge (make it soft and fuzzy)
  A soft-edged or feathered selection is useful for special effects and for subtly 
  blending a foreground image into a background. Feathered edges also enable 
  you to create a montage of different images that blend seamlessly together.
  Add a feather after you’ve made a selection
  If you need to feather a selection after you’ve drawn it, do this:
  1 From the Select menu, choose Modify > Feather. 
  2 In the little dialog that appears, enter the amount of feathering  
  you want to apply. There’s no preview, so you have to guess how 
  much “Feather Radius” to use. 
  To make a feathered selection, choose your selection tool, then set an amount 
  in the “Feather” field in the Options bar. Experiment with a 5 px feather, 
  and then with a 20 px feather. You’ll notice that the selection has rounded 
  corners, your visual clue that a feather is being used.
  
  4 :  s e l e c t  &  t r a n s f o r m
  77
  Click here  
  to see the list 
  of viewing 
  options.
  Click anywhere 
  else on the 
  dialog to hide 
  that list so you 
  can adjust the 
  options.
  77
  This is a “Marching 
  Ants” preview, where 
  the selection boundary 
  looks like ants marching 
  around the page. 
  To see an actual 
  preview of the soft 
  edge, choose the 
  “Overlay” preview mode.
  Adjust a feather after you’ve made a selection
  Not only can you add a feather after you’ve made the selection, this dialog 
  lets you adjust the settings and preview them before committing.
  1 In the Options bar, click the “Refine Edge…” button (circled below), 
  which brings up a dialog. 
  2 In the Refine Edge dialog (below, left), set a Feather amount.
  3 Choose how you want to preview the results: Single-click the View 
  well in the “View Mode” section of the dialog (below, right).  
  4 Make your adjustments and click ok.
  
  4 :  s e l e c t  &  t r a n s f o r m
  78
  To make this selection,  
  I first used the Rectangular 
  Marquee tool to drag the top-
  right rectangular shape.
  Then I dragged the lower-left 
  overlapping rectangular shape. 
  Then I switched to the Elliptical 
  Marquee tool, clicked the  
  Add to selection button, then 
  added two other shapes (the 
  second rectangle and the circle). 
  A			B			C			D
  A New selection. This option is chosen by default.  
  When you drag to select, existing selections are released.  
  To add to a selection, hold down the Shift key as you drag 
  multiple selections.
  To subtract from a selection, hold down the Option key 
  (PC: Alt key) as you drag.
  Tip: if your selection isn’t acting as you think it should,  
  check to see which button is highlighted.
  B Add to selection. Select this icon, then drag to select 
  something. Each dragged selection is added to existing 
  selections. You can make two or more separate selections this 
  way, or you can overlap an existing selection to add to it.
  Modify your selection
  In the Options bar, you have some great settings for modifying the selection. 
  Experiment with these! They are hugely useful. 
  C Subtract from selection. Select this icon, then drag a shape 
  to deselect part of an existing selection. 
  D	 Intersect	the	selection. This selects only where the new 
  selection intersects with the original selection.
  Tip: To	deselect	everything, use the keyboard shortcut: Command d (PC: Control d).
  
  4 :  s e l e c t  &  t r a n s f o r m
  79
  The Quick Selection tool
  With the Quick Selection tool, brush on the image and the tool automatically 
  detects and selects up to the edges of the element you brush on. If the image 
  has well-defined edges, this works great.
  1 Choose the Quick Selection tool.
  2 In the Brush Preset picker in the Options bar (shown below),  
  choose a brush size and hardness (closer to zero is softer).
  3 Brush inside an area to select it. To add to the selection, pick up  
  the mouse and drag again in an unselected area (by default, the  
  Add to selection option stays selected after the first brush stroke). 
  4 To subtract from the selection, select the Subtract from selection icon  
  in the Options bar, then brush across unwanted areas.
  5 If it’s necessary to refine the selection, use the options in the “Refine 
  Edge…” dialog from the Options bar (see page 77). 
  Brush Preset 
  picker.
  Brush variations:   
  New selection,   
  Add to selection, and 
  Subtract from selection.
  The Magic Wand tool
  The Magic	Wand	tool is very similar to the Quick Selection tool, above, 
  except you can refine the selection before you begin. Choose the Magic 
  Wand, then in the Options bar: 
  •	Set the “Tolerance” level to a low number to limit the color 
  selection close to the first color on which you click; set a higher 
  number to grab more colors outside that original range.
  •	Check “Anti-alias” for a smoother edge.
  •	To	select all similar colors in the image with one click, uncheck 
  “Contiguous” (if “Contiguous” is checked, only similar colors 
  that are touching are selected). 
  Just single-click to select an area; click in another area to select more.
    Tip: To select all similar colors, go to the select menu and choose “similar.”
  
  4 :  s e l e c t  &  t r a n s f o r m
  80
  The Pen tool
  To learn to use the Pen tool, see pages 160–163. The Pen tool is very different 
  from any other tool. If you use a Pen tool in InDesign or Illustrator, you’ll 
  find this one similar. 
  When you draw with the Pen tool, Photoshop automatically stores a path
  in the Paths panel. If you don’t see the Paths panel on your screen, choose 
  “Paths” from the Window menu.  
  You can have many paths on an individual Paths layer (although if they are 
  unrelated to each other, make separate layers for each one). You can apply 
  a fill and stroke to any path, but the fill and stroke do not stick to the path 
  itself—they appear on another layer as raster images.
  We often draw a path around irregular objects (or people) that we want to 
  separate from a background. The path we draw can be made into a selection, 
  then we can use that selection to delete the background. For instance, in 
  the example below, we want to put the stones on a layer by themselves, so 
  we can add whatever background we want. I’ve drawn a path around each 
  stone. All three paths are on one path layer in the Paths panel. 
  1 Open an image, then open the Paths panel (as mentioned above). 
  2 Click the Create new path button at the bottom of the Paths panel.
  3 With the new path layer selected, select the Pen tool in the  
  Tools panel and draw a path around each stone.
  Panel menu. Click here to see 
  more options.
  To change a Path name,
  double-click directly on the 
  current name in the Paths panel.
  Create new path.
  Load path as a selection.
  In this example, we’re going to delete 
  the background. But with the selection  
  made, you can copy either the selection 
  or its inverse, apply effects and filters 
  to the selected area, change the colors, 
  and so on.  
  
  4 :  s e l e c t  &  t r a n s f o r m
  81
  Using the Pen tool and the 
  Paths palette, I separated the 
  image of the woman 
  from the background. 
  InDesign is able to 
  wrap text around the 
  path that I created 
  in Photoshop.  
  Too amazing.
  4 Click the Load path as a selection button (bottom of the Paths panel). 
  The path turns into a marching ants selection. 
  5 The stones are selected, but we want to inverse the selection so  
  we can delete the image background: From the Select menu,  
  choose “Inverse” (below, left).
  6 Press Delete to erase the image background. 
    
  If the stones are on a Background layer, the background is replaced by 
  the current Background color. 
    
  If the stones are on a regular layer, the background is replaced by 
  transparency (shown below, right). We can now create another 
  layer below the stones layer, and fill it with a new background 
  color or image. 
  7 To add drop shadows, double-click the stones layer and select the 
  “Drop Shadow” option in the Layer Style dialog (see pages 102–103).   
  Background selected.
  An example of how to use a path in Photoshop to wrap a caption (above) in InDesign. 
  Background deleted.
  
  4 :  s e l e c t  &  t r a n s f o r m
  82
  The Crop tool
  The Crop tool is not a selection tool, but it is one you will use very often in 
  combination with selecting. 
  You can crop an image in two quick steps without the Crop tool if all you want 
  to do is get rid of an unnecessary part of an image:
  1 With the Rectangular Marquee tool, select an area that contains  
  the element you want to keep (make sure there is no feather on the 
  selection; see page 76).
  2 From the Image menu, choose “Crop.” Ta da. 
  For more specific cropping, the Crop tool provides much more control. You 
  can set the specific dimensions and resolution of the cropped area, and you 
  can see a preview of the results.
  1 Choose the Crop tool from the Tools panel. 
  2 In the Options bar, set the “Width” and “Height” that you want the 
  finished image to be (or see the tip below). 
   
    For a measurement in inches, type “in” after the number.  
  For a measurement in pixels, type “px” after the number. 
  3 You can set the “Resolution” if you understand clearly how it might 
  affect the image. If not, leave it blank.  
   
    Set 300 pixels/inch if the image is to be printed in high-quality;  
  set 72 pixels/inch for screen viewing.
  Click to clear all the fields 
  in the Options bar.
  Tip: if you leave the fields blank, Photoshop will maintain  
  the current resolution of the image and resize according  
  to the crop area that you draw with the tool.
  
  4 :  s e l e c t  &  t r a n s f o r m
  83
  4 Drag a rectangle around the area you want to crop, as shown below. 
  If you have set a width and height, your rectangle will be limited to 
  proportions matching that shape. 
  5 Once the crop area is drawn, the Options bar changes, as shown. 
   
   If you are on a regular layer, not a Background layer, you can choose 
  to Delete or Hide. The Hide option allows you to later reposition the 
  image within the cropped area: just move the image with the Move 
  tool. (To convert a Background layer to a regular layer before you 
  crop, double-click “Background” in the Layers panel, then click ok.) 
  6 Set the “Crop Guide Overlay” pop-up menu to None, Rule of Thirds, 
  or Grid. The Rule of Thirds, a design theory that says compositional 
  elements should fall within a grid of thirds, visually divides the crop 
  area into thirds.
  7 Check “Shield” if you want to shade the part of the image that will be 
  deleted or hidden, as you can see above. Set a shield Color (default 
  black works best), and set the Opacity of the shield to your taste.
  8 To commit the current crop operation, hit the Enter key (or click  
  the checkmark icon you see farther to the right in the Options bar). 
  To cancel, hit the Esc key (or click the Cancel icon next to the 
  checkmark, as mentioned above). 
  To make the selection marquee disappear, click anywhere.
  Press in the middle 
  to move the crop 
  area to another part 
  of the image. 
  Resize it by 
  dragging a corner 
  handle; hold down 
  the Shift key to keep 
  the same proportion.
  
  4 :  s e l e c t  &  t r a n s f o r m
  84
  Crop based on another image
  This is very useful when you have a number of photographs in a project 
  that all need to be the same size. For instance, perhaps you have a number 
  of staff member photos, and you want all their heads to be positioned in 
  approximately the same area of the photo and about the same size.
  1 Select the Crop tool in the Tools panel, then crop and size an image 
  as you want.
  2 Single-click the “Front Image” button in the Options bar.
  3 Open another image, then drag the Crop tool, which is now 
  constrained to the previous image’s dimensions and resolution,  
  to encompass the part of the image you want to preserve. It’s up 
  to you to position the cropping box to set someone’s head, for 
  instance, in the same position as the first image.
  4 To commit the operation, click the Commit button in the Options 
  bar (the checkmark), or press Return (PC: Enter). 
   
   To cancel the operation, click the Cancel icon in the Options bar 
  (shown on the left), or hit the Escape key.
  Lydia Alice 
  Beeson Catt
  riley Adkins Catt
  solomon Catt
  After cropping.
  serena  
  Pickering Catt
  Before cropping.
  
  4 :  s e l e c t  &  t r a n s f o r m
  85
  Crop in perspective
  The “Perspective” checkbox used with the Crop tool not only allows you to 
  crop the image, but make lens corrections at the same time. This is useful, 
  for instance, when an image is distorted in the camera or because it was 
  shot at an extreme angle. We often ignore lens distortion, especially when 
  it occurs in personal photos, but occasionally you may want to fix it. If 
  you don’t adjust the lens distortion as you crop the image, you can adjust 
  it later using one of the Transform tools, Distort or Perspective (see page 
  89). The Transform tools are a better choice for some images, because the 
  Perspective Crop tool may crop away more of the image than you want (as 
  shown below-right).
  1 Open an image in which there is lens distortion.
  2 Select the Crop tool.
  3 Drag a rectangle around the image.
  4 Check the “Perspective” box in the Options bar. 
   
   Drag the corners of the cropping area to align with the image 
  perspective, as shown below-left.
  5 To commit the crop operation, click the Commit button (the 
  checkmark) in the Options bar, or hit Return (PC: Enter). 
   
   To cancel the operation, click the Cancel icon in the Options bar 
  (shown on the left), or hit the Escape key.
  
  4 :  s e l e c t  &  t r a n s f o r m
  86
  Transform commands
  As you can see in the Edit menu, there are two main Transform items, “Free 
  Transform,” which applies to a selected layer, and “Transform” with a submenu 
  of options, all of which apply to individually selected items. 
  Before you can transform a layer or part of an image, you must make a 
  selection with one of the selection tools. To select a layer, single-click on it 
  in the Layers panel (details on working with layers are in Chapter 5).
  Transform commands in the Edit menu.
  Commit or Cancel transform tasks: 
  •	To	commit	the	transformation, hit the Enter key,  
  or double-click inside the bounding box, 
  or click the Commit checkmark icon in the Options bar. 
  •	To	cancel, hit the Esc key,  
  or single-click the Cancel icon in the Options bar.
  •	To	get	rid	of	the	selection marquee, click anywhere, 
  or press Command D (PC: Control D), 
  or go to the Select menu and choose “Deselect.”
  
  4 :  s e l e c t  &  t r a n s f o r m
  87
  Free Transform 
  “Free Transform” lets you do basic transforms, such as resize (scale) and rotate. 
  Also see page 34–35 for another technique using this command.
  1 Select a portion or all of the image. If you select it all, open the 
  window wide enough that you can see the corners.
  2 From the  Edit menu, choose “Free Transform.” 
   
   The Transform bounding box appears around the edges of the image. 
  If you can’t see the corner handles, make the window a little larger.
  	
  3	 To	resize	the	selection	proportionately (to maintain its aspect ratio), 
  hold down the Shift key as you drag a corner handle (shown above).
  	
  	 To	resize	in	any	way, just drag any handle. Side handles resize in just 
  one direction; corner handles resize both sides at once.
  4 To rotate the selection,
  position the cursor a few 
  pixels away from any corner 
  handle (you definitely 
  have to open your window 
  larger for this). When the 
  cursor changes to a curved 
  double-arrow, press-and-
  drag the cursor. 
   
   See page 86 for commit/
  cancel options.
  
  4 :  s e l e c t  &  t r a n s f o r m
  88
  Transform menu options 
  From the Edit menu, choose “Transform” to access the other transform 
  options, shown below.  
  Skew a selection
  Skewing an image slants it vertically or horizontally. You just never know 
  when this might come in handy.
  1 Select a portion or all of the image. If you select it all, open the 
  window wide enough that you can see the corners.
  2 From the Edit menu, choose Transform > Skew. Drag the middle 
  handles to skew the image.
   
   See page 86 for commit/cancel options.
  The Scale and Rotate operations  
  are exactly the same as using  
  “Free Transform” described on  
  the previous page.
  The items of interest here are Skew, 
  Distort, Perspective, and Warp.
  The Rotate and the Flip options at 
  the bottom of the menu are useful 
  and self-explanatory. 
  Just remember that you must 
  select	first,	then operate.
  
  4 :  s e l e c t  &  t r a n s f o r m
  89
  Transform a selection in perspective
  The Perspective option moves two opposite control handles equally, giving 
  the illusion of perspective.
  1 Select a portion or all of the image. If you select it all, open the 
  window wide enough that you can see the corners.
  2 From the Edit menu, choose Transform > Perspective. 
  3 Drag a top or bottom corner 
  handle in toward the center; 
  the opposite handle moves 
  the same amount. Also 
  experiment with dragging a 
  corner handle downward.
   
   See page 86 for commit/cancel  
  options.
  Distort a selection
  Distorting an image lets you drag each corner to any position, useful when 
  you need to paste a photo into a shape in another image.
  1 Select a portion or all of the image. If you select it all, open the 
  window wide enough that you can see the corners.
  2 From the Edit menu, choose Transform > Distort. Drag any corner 
  handle to any position. 
   
   If you are matching a shape 
  that is on another layer below 
  this one, reduce the Opacity 
  of this distortion layer to 
  make it easy to align the two 
  images. (See Chapter 5 for 
  details about layers.)
   
   See page 86 for commit/ 
  cancel options.
  
  4 :  s e l e c t  &  t r a n s f o r m
  90
  Warp a selection
  The Warp option overlays a mesh on the image that you can manipulate. 
  (For an advanced version, see Puppet Warp in Chapter 14.)
  1 Select a portion or all of the image. If you select it all, open the 
  window wide enough that you can see the corners.
  2 From the Edit menu, choose Transform > Warp. 
   
   Or click the “Custom” pop-up menu in the Options bar to choose 
  from a list of preset warp options; customize the preset warp with 
  the fields you see to the right of the “Custom” menu.
   
   Or drag the mesh 
  intersections in the 
  image interior.
  3 Drag any corner point 
  or control handle to 
  distort the mesh that 
  overlays the image  
  (see pages 161–163 
  about working with 
  control handles). 
  4 See page 86 for commit/cancel options.
  
  91
  All-Powerful 
  Layers
  Layers might be the most useful and powerful feature in 
  Photoshop’s extensive list of awesome features. Layers are like 
  sheets of transparent plastic stacked on top of each other, and 
  because layers are transparent (except where you’ve placed image 
  elements or text), many layers can combine visually to create one 
  seamless image. 
  You can send elements behind or in front of other elements and 
  still change your mind later. You can hide parts of an image 
  without harming the original, or retouch elements on a separate 
  layer from the original, making those elements easy to delete or 
  modify later. You can hide individual layers so they don’t appear in 
  the final piece, yet they are still in the document so you have them 
  if necessary. You can create many versions of a single document 
  and switch between versions effortlessly. 
  For example, the original Photshop file for the cover 
  of this book puts every element on its own layer, 
  which enables the overlapping and placement of 
  elements such as the floating photos. Other layers in 
  the document have their visibility turned off because 
  they contain images that we decided not to use, 
  including other experimental background colors. 
  There are what Robin calls magic layers (Photoshop 
  calls them Adjustment Layers) that actually have 
  nothing on them that you can see, but they impact 
  the look of the layer beneath without changing the 
  pixels of the underneath layer. 
  While the list of layer features and techniques is longer than 
  we can completely cover here, this chapter will give you a basic 
  understanding of what layers can do and how to work with them.  
  
  5 :  a l l - p o w e r f u l  l a y e r s
  92
  The Layers panel
  To open the Layers panel (if it isn’t already), go to the Window menu and 
  choose “Layers.” Or click the Layers icon in the vertical Panels dock on 
  the right side of the screen (shown below). See pages 4–6 about working 
  with panels.
  Layer Group, 
  collapsed.
  Layers panel 
  menu.
  Layer Group, 
  expanded.
  One of many 
  Layers.
  Hide/show Layer 
  effects (Layer Styles).
  Layer effect.
  Background layer; 
  see page 94.
  Layer thumbnail.
  Visibility icon/
  eyeball icon; hide 
  or show the layer.
  Shortcut buttons; see opposite page.
  An image might have just one layer, or it can have many layers, as shown 
  below. It depends on how you want to work. Browse through the following 
  layer goodies for an overview of how you might use them in your projects. 
  When you experiment with techniques in other chapters that reference 
  layers, come back to this chapter for the details. 
  Single-click this pane to make the 
  panel pop out temporarily while you 
  use it; single-click this again to hide it. 
  Single-click the tiny arrows (circled) to 
  make the panel open and stay on the 
  screen until you choose to put it away. 
  The Layers panel 
  for this book cover 
  includes many 
  layers, organized 
  into folders.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  93
  The Layers panel menu 
  Because it’s so tiny, you might not even notice the Layers panel menu, in 
  the top-right corner of the Layers panel (circled, below-right). Click it to 
  reveal lots of commands and options that are very useful, some of which 
  are also represented as buttons at the bottom of the panel. 
  Blending Modes. 
  Some of the menu options 
  are also accessible through 
  the buttons at the bottom of 
  the Layers panel.
  Hover over any icon to 
  display the tool tip that 
  describes it.
  In the top-right corner of the Layers 
  panel (below the tiny double arrows),   
  single-click to see this menu   
  of options and commands.
  Create a new layer.
  Delete a layer.
  Create a new group.
  Create new fill or Adjustment Layer.
  Add Layer Mask.
  Add a Layer Style.
  Link layers.
  Opacity field and slider.   
  It adjusts the opacity of any 
  selected regular layer.
  The default Blending Mode is Normal, 
  but many other options are useful   
  for almost every project.   
  See Blending Modes on page 98.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  94
  The lock icon locks either  
  transparent pixels, image pixels,  
  or the position of the pixels on the 
  layer. Throwing away the lock icon  
  unlocks those elements. 
  To delete the whole layer,  
  drag anywhere else in the layer  
  and drop it in the Trash.
  Create and organize layers
  You never run out of reasons to create another layer or two. And with all 
  those layers stacking up, literally, you need to organize them so you can find 
  certain layers in what can become quite a challenging mess.
  The Background layer
  When you create a new Photoshop document, it automatically has a layer 
  called Background and you’ll always find it at the bottom of any stack of 
  layers you might create later. 
  When you open a new, blank document (as opposed to opening a photograph), 
  the “New” dialog allows you to make the “Background Contents” either 
  White, Background Color, or Transparent. The default is white, which obviously 
  is not transparent, nor is any background color considered transparent. The 
  odd thing is that a Background layer cannot be transparent, so if you choose 
  Transparent in the New dialog, you get what’s called a regular layer instead 
  of one labeled “Background.”
  The Background layer cannot be moved from its position on the bottom, 
  nor can you apply many of Photoshop’s features. So if you try choose a 
  command from a menu, and the command is gray (unavailable), it might 
  be because you are trying to apply it to a Background layer.  
  To change the Background layer to a regular layer (a document is not required 
  to have a Background layer) so it is more flexible, do one of the following:
  •	Double-click the Background layer, name it if you like  
  (or not), and click ok.
  •	Drag the Lock icon on the Background layer to the Trash icon  
  in the bottom-right corner of the Layers panel, shown below.  
  The layer will remain, but will be renamed Layer.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  95
  Smart Object indicator.
  Drag-and-drop creates a Smart 
  Object on a new layer.
  Create new layers
  To create layers, do one of the following:
  •	From the Layer menu at the top of the screen, choose New > 
  Layer…. In the dialog that opens, name the layer; click ok.
  •	Or click the Create a new layer icon in the bottom-right corner  
  of the Layers panel, circled below. The new layer appears above  
  the currently selected layer. 
  Drag-and-drop to create a new layer
  Instead of using the “New Layer” dialog, you can drag and drop images into 
  a Photoshop document.
  1 Drag an image file from anywhere on your computer  
  and drop it on a Photoshop canvas window. 
  	
  	 To	center	the	new	image	in	the	canvas, hold down the  
  Shift key as you drop it into the document window. 
  2 The added image appears in the window with selection crosshairs 
  (shown below), indicating that it is a Smart Object. Smart Objects 
  allow you to modify a layer without changing the original image. 
  Learn about Smart Objects on pages 111–113. 
  3 Hit Enter to commit the new layer (which also makes the crosshairs 
  disappear). A small icon appears in the layer thumbnail, indicating 
  a Smart Object. 
  To create a new layer below the currently selected layer,  
  Command-click (PC: Control-click) the new layer icon. 
  You can drag layers up or down to reorder them at any time  
  (except the Background layer, which cannot move).
  
  5 :  a l l - p o w e r f u l  l a y e r s
  96
  Create a copy of the current layer
  When you want to apply experimental features to an image, such as various 
  filters and effects, it’s often best to create a copy of that image layer and work 
  on the copy. If a selection is active on the current layer, a copy of just the 
  selection from that layer is placed on the new layer, making this a shortcut 
  to isolating that element.
  1 Select a layer or make a selection on that layer. 
  2 From the Layer menu, choose New > Layer via Copy. 
  Duplicate a layer
  This operation is similar to creating a copy of an entire layer (not a selection) 
  as described above, but adds a significant option. You can name the layer, but 
  more importantly, you can save the duplicate layer in the existing document, 
  in any document that you have open on the screen, or in a new document 
  that you name here.
  1 Select a layer in the Layers panel. 
  2 From the Layer menu, choose “Duplicate Layer….”
  3 In the “Destination” pane, the “Document” menu lists all open 
  documents, plus “New.” Choose the document into which you 
  want to add this layer, or choose “New” and name a new document.
  Select the right layer
  When working on an image, you often need to switch between layers. If 
  your document contains many elements, each on its own layer, it can be 
  difficult to quickly find the right layer to select. Here’s a shortcut:
  1 Choose the Move tool (V).
  2 Command-click (PC: Control-click) an element in the document. 
  This selects the layer that contains the pixels you clicked (don’t drag
  with the Move tool or the image will move).
  Or click the “Auto-Select” item in the Options bar (circled below). Now 
  anywhere you click will choose the layer that contains the pixels you clicked. 
  Don’t forget to deselect this option while you’re working or you’ll find 
  yourself unintentionally selecting other layers constantly. 
  
  5 :  a l l - p o w e r f u l  l a y e r s
  97
  A link icon appears in each of the 
  selected layers. Now whenever  
  you select one of these layers,  
  the other layer is also selected, 
  even if it doesn’t appear highlighted.
  Link layers
  Placing each visual element on its own layer makes it easy to make changes 
  to those individual pieces, but when those multiple layers combine to create 
  one visual element, you want it to be just as easy to make changes to the 
  combined visual elements (such as repositioning multiple layers at once, or 
  changing the tranparency of multiple layers together). When you link layers
  together, in many ways they act as one layer.
  In the example below, each line of handwriting is on a separate layer. To 
  transform (move, scale, distort, or rotate) any combination of the handwritten 
  lines as one element, first select, then link the layers.
  1 Click a layer in the Layers panel to select it. 
  Shift-click other layers to add them to the selection.  
  This temporarily links the layers, until you select another layer.
  2 To keep the layers linked, click the Link layers icon in the bottom-left 
  corner of the Layers panel (circled below).
  To unlink the layers, select any one of them, then click the Link layers icon 
  again at the bottom of the Layers panel. Unlinking doesn’t affect any changes 
  you made while layers were linked.  
  
  5 :  a l l - p o w e r f u l  l a y e r s
  98
  Use layer Blending Modes 
  Blending Modes affect how the pixels in one layer interact with pixels in the 
  layers below. You can use Blending Modes in endless ways to enhance or 
  alter images since the interaction depends on what is on the various layers, 
  the opacity you choose for one or the other layers, the hues and colors, etc. 
  The file in the example below has two layers. The Background layer is a photo 
  and the layer above it contains text. Changing the Blending Mode of the 
  text layer alters the interaction of the text with the background image. (You 
  cannot change the Blending Mode of the Background layer; if you want to, 
  first make it a regular layer as explained on page 94.)
  1 Open a file or create a new one in which you have at least two layers.
  2 Select a layer that has a layer beneath it.
  3 From the Blending Mode pop-up menu (shown below), select one of 
  the options in the list. We chose Vivid Light for this example. 
  	
  	 To	preview	the	effect	of	different	Blending	Modes, hold down the 
  Shift key and tap + (the plus sign) repeatedly to toggle down
  through the list of modes. Use Shift – (minus) to cycle up the list.
  This is the original text without 
  the Blending Mode applied. 
  This is an example of what this 
  particular combination of layers 
  and Vivid Light creates.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  99
  Change the visibility of layers
  To toggle the visibility of layers between visible and hidden, 
  click the eyeball icon or its well to the left of the Layer name.
  When you apply preset Styles or Effects, you might see a 
  number of new Effects listed in the Layers panel. Keep in mind you can 
  turn individual Effects on or off for different results. Experiment! 
  Merge Visible
  You can turn off the visibility of certain layers, and then combine all of the 
  visible layers into one layer. Use the “Merge Visible” command.
  1 Make sure all the layers you want to merge are visible (the eyeball 
  icon appears on the left side of the layer) and the layers you do not
  want to include are not visible.
  2 From the Layers panel menu, choose “Merge Visible.”
  Merge Down
  You can merge two adjacent layers into one. 
  1 Make sure the layers you want to merge are visible (the eyeball icon 
  appears on the left side of the layer) and that they are next to each 
  other in the panel.
  2 Select the top layer of the two. 
  3 From the Layers panel menu, choose “Merge Down.” This will merge 
  the selected layer with the layer immediately beneath. 
  This is a vector Shape (see page 164) with a 
  preset Style applied. Photoshop created all 
  the Effects you see above. 
  You can see where we turned off the 
  visibility of certain effects.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  100
  This is the new layer created 
  from the three visible layers. 
  Now I can experiment with 
  applying a filter or effect 
  (below) to this combination 
  layer instead of applying it to 
  three separate layers. 
  The white Background layer 
  isn’t included in the newly 
  stamped layer because its 
  visibility (the eye icon) has 
  been turned off.
  Stamp Visible
  This command is similar to “Merge Visible” explained on the previous page, 
  but with a critical difference. It combines all visible layers into a single new
  layer, yet leaves all those original layers unchanged and still available as 
  individual layers. You’ll love this feature when you want to apply a filter to 
  a collection of multiple layers, or perhaps save the collection of layers as a 
  new file, while keeping the original layers unchanged and intact. 
  1 Make sure the layers you want to stamp together are visible,  
  and all others are not visible.
  2 Press Command Option Shift E (PC: Control Alt Shift E).  
  All visible layers are combined into one new layer.  
  The new layer is placed just above the currently selected layer.  
  The original layers remain unchanged. 
  Double-click the new layer to select effects. I applied 
  Drop Shadow, Bevel and Emboss, and Stroke.
  The Layers panel shows applied effects. 
  Click the eye icon to disable any effect.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  101
  Group layers to help organize
  When a file has a large number of layers, you can stay organized with Layer 
  Groups. It’s sort of like using folders on your Desktop to keep all your files 
  organized. Keep in mind that if a layer has a Blending Mode applied that is 
  affected by the layer beneath it, that effect will change if you move either layer. 
  To create a Group:
  1 Open or create a file with multiple layers.
  2 Open the Layers panel. 
  3 To create a new Group, click the folder icon at the bottom  
  of the panel (circled below). A new Group folder layer appears 
  above the currently selected layer. You can move it, of course.
  4 Drag layers and drop them into the folder.
  5 To change the name of the Group, double-click directly on  
  the layer name.
  The Blending Mode for Groups is automatically set to Pass Through. This 
  means the group has no blending properties of its own.  Layers inside a group 
  that have Adjustment Layers or Blending Modes applied still affect layers 
  below them. However, if you change the Blending Mode for the group, all 
  layers inside the group are treated as a single image and are blended with the 
  rest of the image using the chosen Group Blending Mode. To summarize, 
  most of the time you’ll be happy with Pass Through.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  102
  Label layers with color
  You might want to try organizing your layers with color. For instance, you 
  might want all your type layers one color, or all the layers with blend modes 
  applied another color, etc. 
  •	Right-click on a layer’s visibility icon (the eye icon). 
  From the menu that appears, choose a color.
  Layer Styles
  You can make changes to whole layer at once using a Layer Style, which gets 
  applied to everything on that layer—text, shapes, brush strokes, etc. If you 
  add something to the layer later, such as a brush stroke or more text, the 
  new element will display the same style effects. Because you’re applying the 
  changes to the layer and not the actual pixels, the changes are non-destructive; 
  that is, you can modify or hide these changes at any time without affecting 
  the original image.
  1 Double-click the layer to which you want to apply a Layer Style 
  (don’t double-click on the name of the layer because that just lets 
  you edit the name). 
  2 In the “Layer Style” dialog that opens, click on the name of a style in 
  the Styles list to show the settings for that style. Click the checkbox
  next to a style name to turn the style on or off.
  3 Layer Styles can include multiple settings—experiment with them! 
  When satisfied with the results, click ok. An “fx” symbol appears 
  on the layer to indicate that Layer Styles have been applied to the 
  layer. 
  
  5 :  a l l - p o w e r f u l  l a y e r s
  103
  The original text layer.
  A set of Layer Styles 
  applied to the text layer.
  A different set of 
  Layer Styles applied to 
  the text layer.
  We used these style settings on the example above, right.
  To hide or show the 
  styles, click the small 
  triangle (circled above). 
  To turn a style on or off,
  click the eye icon next to 
  the style. 
  To delete, drag the “fx”  
  to the Trash icon.
  Tip: To position a drop shadow, you don’t have to use the Angle and 
  Distance controls in the Layer style dialog, which can be tedious. instead, 
  place your cursor over the image in the canvas window and drag the drop 
  shadow to any position you want.
  See the following pages for more details about Layer Styles.
  Drag the drop shadow to any 
  position in the document. 
  
  5 :  a l l - p o w e r f u l  l a y e r s
  104
  Change a Layer Style’s default settings
  Each Layer Style has default settings. You can customize those default 
  settings for any Layer Style (Drop Shadow, Bevel and Emboss, etc.) to your 
  own settings. Simply choose your preferred settings, then click the “Make 
  Default” button in the “Layer Style” dialog.
  Copy a Layer Style from one layer to another
  After you’ve spent time fine-tuning the settings for a certain Layer Style, 
  you can apply those settings to any other layer. 
  1 Select the layer that has the Layer Styles  
  you want to apply to another layer. 
  2 Hold down the Option key (PC: Alt key)  
  and drag the “fx” symbol that appears on  
  a layer and drop it onto another layer.
  Apply a preset Style to a layer
  The Styles panel (not the Styles list in the “Layer Style” dialog) holds a 
  collection of preset Layer Styles that you can apply. These style collections, 
  called libraries, are categorized by function (buttons, image effects, etc.). 
  When you select one of the libraries, you have the choice of replacing the 
  current style library or appending the new library to the current styles, 
  which adds the collection to the panel instead of replacing the existing ones. 
  1 Open the Styles panel: From the Window menu, choose “Styles.” 
  2 To apply a style to the currently selected layer, single-click a swatch  
  in the Styles panel. Or drag a style swatch and drop it onto a layer 
  in the Layers panel. 
  3 Hold down the Shift key as you click a style or as you drag a style  
  to add that style to the layer (instead of replacing) when other styles 
  are already applied to the target layer. 
  The Styles panel.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  105
  Convert a Layer Style to image layers
  When you create a Layer Style, such as a drop shadow, the shadow can be 
  controlled to some degree by the controls provided in the “Layer Style” 
  dialog. For more control, you can actually separate out the styles applied 
  to an object and put them on individual layers to be modified. The steps 
  below explain how to convert text with a drop shadow Layer Style into a 
  text layer and a separate drop shadow layer.
  1 Select the layer that contains a Layer Style that you want to separate 
  out to individual layers (a simple drop shadow in this example).
  2 From the Layer menu, choose Layer Style > Create Layer.  
  New layers appear in the Layers panel that contain the individual 
  style elements, such as the drop shadow. 
  3 Now you can use the Transform controls to modify the drop 
  shadow, as explained below. 
  To transform the drop shadow:
  1 Make sure the new drop shadow layer is selected. 
  2 From the Edit menu, choose Transform > Skew. Transform control 
  points appear around the selection (the drop shadow).
  3 Drag the top-middle transform handle to the right to skew the 
  shadow (below). Hit the Enter key to commit the transformation.
  4 Now from the Edit menu, choose Transform > Scale. 
  Drag the top handle down, giving the drop shadow a perspective 
  appearance, as shown below. Hit the Enter key.
  For more details on 
  transforming, see 
  Chapter 4.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  106
  Clip to layer buttons.
  Click a disclosure 
  triangle to show 
  preset options.
  Adjustment Layers
  An Adjustment Layer is a special layer in the Layers panel that applies a 
  filter or effect to the layers below it (the layer itself looks like it has nothing 
  on it, which is how Robin knows it is a magic layer). 
  Adjustment Layers use the same filters that you can apply using menu 
  commands, but with one very important difference: they leave the original 
  image layer untouched, and you can go back at any time to change the 
  adjustment settings.    
  1 Open an image to adjust. 
  2 Open the Adjustments panel: From the Window menu,  
  choose “Adjustments.” 
  3 In the Adjustments panel (below, left), hover over an icon and its 
  function will appear at the top of the panel. 
   
   Single-click an icon to get the controls for that adjustment.  
  To return to the main Adjustments pane, single-click the arrow in 
  the bottom-left corner.
   
   Or you can choose a preset from the list of presets in the bottom half 
  of the panel—single-click the disclosure triangle to get the options. 
  4 As soon as you select an adjustment, a new layer appears in the 
  Layers panel, the Adjustment Layer, as shown on the opposite page. 
  It appears to have nothing on it, other than an adjustment icon 
  thumbnail and a white mask thumbnail. To modify the adjustment 
  settings, double-click the adjustment icon thumbnail. 
  
  5 :  a l l - p o w e r f u l  l a y e r s
  107
  To release the clipping so the adjustment affects all layers below,  
  Option-click (PC: Alt-click) the dividing line again.
  To disable clipping, click the button again. 
  To clip all future adjustment effects, click the Clip to layer button  
  in the bottom-right corner of the general Adjustments panel  
  (shown opposite, on the left). 
  To clip only the currently selected Adjustment Layer, click the  
  Clip to layer button at the bottom of a specific Adjustments panel  
  (shown opposite, on the right). 
  The arrow means the adjustment 
  is “clipped” to the layer beneath 
  and won’t affect other layers.
  	
  5	 Important: Ordinarily an Adjustment Layer affects all layers below it. 
  To force the Adjustment Layer to affect only the layer immediately
  below, click the Clip adjustment to layer button, located at the 
  bottom of the Adjustments panel. 
   
   The adjustment thumbnail in the Layers panel indents to the right, 
  and a small down-pointing arrow appears next to the thumbnail 
  (below-right), indicating that the adjustment affects only the 
  single layer beneath it. In the example below, the Hue/Saturation 
  adjustment removes the color from the subjects in the layer immedi-
  ately below, but ignores the landscape image in the next layer down. 
  Tip: As shown to the right, another way 
  to clip an adjustment to the layer below 
  the Adjustment Layer is to hold down the 
  option key (PC: Alt key) and click on the 
  dividing line between the Adjustment Layer 
  and the layer below it. When the cursor is 
  hovered over the dividing line, it changes to 
  a clipping icon (circled on the right). 
  
  5 :  a l l - p o w e r f u l  l a y e r s
  108
  Create a Layer Mask
  A Layer Mask hides areas of the current layer without harming the image, 
  and reveals the layers below. 
  This example shows an image of a car hood ornament with a text layer 
  on top. The goal is to make the text appear to go behind the wings of the 
  ornament, without harming the text and keeping it editable. 
  You can create something similar to experiment with—open an image that 
  has an object that text can appear to go behind. Create a new layer with 
  text on it (details about text are in Chapter 6).
  1 Make sure the text layer is above the image layer.  
  Select the text layer.
  2 From the Layer menu, choose Layer Mask > Reveal All.  
  The “Reveal All” part means the mask is filled with white,  
  which doesn’t hide any of the layer content.
  To hide (mask) some of the top layer content (the text) and allow the layer 
  below to show through where text is currently hiding it, you’re going to 
  paint black on the mask (but it won’t really look black). 
  3 Single-click on the text thumbnail and lower its Opacity so you can 
  see both the text and the ornament where they overlap.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  109
  4 Target the Layer Mask (click on its thumbnail, circled below).
   
   Set the Foreground color to black, if it isn’t already (you can use  
  the shortcut D).
   
   Use a small, hard-edged Brush tool to paint on the mask layer  
  with black, as shown at the bottom of the opposite page. You will 
  see the Brush tool appear to erase the text, and the black paint will 
  appear in the Layer Mask thumbnail, as shown above. 
   
   If your brush stroke accidentally masks more of the layer content 
  than you intended, change the foreground color to white, make 
  sure the Layer Mask thumbnail is selected (as above), then paint 
  over the accidental brush strokes. The white paint restores the 
  visibility of the layer content.
  5 When you think you’ve got it, restore the Opacity of the text layer  
  to 100 percent. Et voilà.
   
   If you think you did a crummy job, you can delete the Layer Mask 
  (drag its thumbnail to the Trash icon) and start over. Your text is 
  still all there and editable. 
  Lower the opacity of a  
  selected layer here. Either:  
  enter a value in the field,  
  or click on the blue button  
   to get a slider,  
  or press-and-drag back and forth  
   on the word “Opacity.”
  
  5 :  a l l - p o w e r f u l  l a y e r s
  110
  Each of the items in the  
  Layer Comps panel is a  
  different version of the document. 
  To save changes to a selected comp,
  click the “Refresh comp” button. 
  Create Layer Comps
  In the design process, you might create a number of design variations with 
  different elements (images or text) on separate layers. By selectively turning 
  the visibility of layers on or off, you can display this version or that version 
  of a design. These displays of document variations are called comps, or 
  comprehensive layouts (some consider comp to be short for composition).   
  In a Photoshop document with multiple layers, it can be difficult to remember 
  which layers to turn on or off for a particular design layout. That’s where 
  Layer Comps comes in—it takes snapshots of the current state of the file, 
  for viewing later.   
  1 Open or create a multi-layered file. 
  Turn on the visibility of the layers that you want to save as a comp. 
  2 From the Window menu, choose “Layer Comps” to open the  
  Layer Comps panel.
  3 Click the Create new layer comp icon on the panel (circled, above) to 
  open the “New Layer Comp” dialog (below). Name the comp, then 
  choose the options you want to capture: layer visibility, layer position, 
  and appearance (Layer Styles and Blending Mode). Click ok. 
  4 The current version of the document appears as an item in the  
  Layer Comps panel. 
  5 To choose which Layer Comp is displayed in the document, click 
  the well to the left of the Layer Comp name. The “Apply Layer 
  Comp” icon appears in the well to indicate the current comp being 
  displayed.    
  
  5 :  a l l - p o w e r f u l  l a y e r s
  111
  A Smart Object icon appears 
  in the bottom-right corner of 
  a Smart Object thumbnail.
  Smart Objects
  Smart Objects provide another way to edit a layer without harming the 
  original, which is call non-destructive editing. When you transform a Smart 
  Object, the original image data and quality is invisibly preserved somewhere 
  deep in Photoshop, even after you scale, rotate, skew, distort, transform the 
  perspective, or warp the layer. 
  Ordinarily, performing a transformation affects the image pixels and the 
  quality can’t be recovered. For instance, if you scale down a regular layer, 
  then decide to scale it back up, the quality is degraded because the image 
  has already been processed for the scaled-down version. However, if you 
  scale down a Smart Object, the original image data is untouched; the scaled-
  down version references the original. So when you scale the Smart Object 
  back up, the original full quality image data is used to create a full-quality, 
  enlarged version again.
  Smart Objects don’t let you alter pixel data, such as using Brush tools on 
  them, unless you first convert them to regular layers, and then they’re not 
  Smart anymore.
  Choose to use Smart Objects when you don’t want the original image on a 
  layer to be altered. When you apply filters to Smart Objects, they become 
  Smart Filters that do not affect the original image. This non-destructive 
  editing approach lets you experiment with effects as much as necessary 
  without ever losing the ability to return to the original at any time. 
  — continued
  
  5 :  a l l - p o w e r f u l  l a y e r s
  112
  Edit Smart Objects
  When you need to edit a Smart Object (as opposed to transforming it), the 
  original image is opened for you to modify.
  1 Select a Smart Object layer.
  2 Double-click the Smart Object thumbnail in the Layers panel.  
  Or from the Layer menu at the top of the screen, choose Smart Objects > 
  Edit Contents.
    
  If the original file is a raster image format (made of pixels, like  
  a photograph or brush strokes), it opens in Photoshop. 
    
  If the original file is a vector format (made of mathematical paths), 
  it opens in Adobe Illustrator.
  3 Make the edits you want to the original source file.
  4 Save the file into the original folder from which it came.  
  When you return to the Photoshop file, the changes will be visible.
   
   Photoshop has some very specific directions about editing the files. 
  Before you edit, you will see notes on the screen; just follow the 
  instructions. 
  Create Smart Objects
  There are many ways to create a Smart Object. These are the most common.
  •	From the File menu, choose “Open As Smart Object…,”  
  then select a file as usual and click “Open.”
  •	From the File menu, choose “Place” to bring in files as Smart Objects. 
  •	From the Layer menu, choose Smart Objects > Convert to Smart 
  Object (to convert a selected layer).
  •	Drag pdfs, Adobe Illustrator layers, or individual art elements 
  from your Desktop or from Illustrator or InDesign and drop them 
  onto a Photoshop document window.
  •	Copy art from Illustrator and paste into a Photoshop document 
  window. When the Paste dialog appears, choose “Smart Object.”
  All Smart Objects land on the page with an X through them. While this X, or 
  crosshair, is showing, you can’t do anything except use the Transform options. 
  So hit the Enter key to commit to the Smart Object and then carry on.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  113
  Duplicate a Smart Object
  You can make a duplicate of a Smart Object that is still linked to the original. 
  Changes you make to one, the original Smart Object or the duplicate, will 
  affect the other. Do one of the following:  
  •	From the Layer menu at the top of the screen, choose New > 
  Layer via Copy.
  •	Or drag a Smart Object to the Create a new layer icon at the 
  bottom of the Layers panel (the icon looks like a page with 
  the bottom corner turned up).
  Smart Filters for Smart Objects
  When a filter is applied to a Smart Object, that filter automatically becomes a 
  Smart Filter that you can edit at any time. Smart Filters appear as an indented 
  layer below the edited image layer. A white mask is included (the white 
  thumbnail), allowing you to selectively mask out areas of the filter effect. 
  I applied a Smart Filter 
  called Gaussian Blur to this 
  image. With the Smart 
  Filter mask thumbnail 
  selected in the Layers 
  panel (below), I used the 
  Brush tool to paint black 
  on the adobe wall, which 
  masks (hides) the blur 
  effect wherever black 
  appears on the mask.  
  This double-circle icon 
  indicates a Smart Filter 
  is applied.
  Smart Filter mask thumbnail.
  Hide or show the sublayers.
  Show or hide 
  filter effect.
  Double-click to adjust filter settings.
  Double-click to edit the  
  filter blending options.
  
  5 :  a l l - p o w e r f u l  l a y e r s
  114
  Flatten layers
  When you create a file with many layers, it increases the digital size of the 
  file. When you deliver a file to someone, they may want you to flatten the 
  file first so it’ll be faster to download and will take less storage space on their 
  computer. Flattening a Photoshop file takes all your layers and combines 
  them into one background layer. Layers that are not currently visible are 
  thrown away. If you do this, be sure to save a copy of the layered file so you 
  can use it for possible future changes.
  If your file includes overlapped elements on separate layers, the flattened 
  version of your file will eliminate any part of the image that was hidden by 
  overlapping elements on layers above.
  To	flatten	the	layers	in	a	file, open the Layers panel menu (click the tiny 
  menu icon in the upper-right corner of the panel), choose “Flatten Image.” 
  The Layers panel menu is shown on page 103.
  Make bigger layer thumbnails
  You can make the layer thumbnails in the Layers panel larger or smaller, 
  which can be very handy to easily identify the content of various layers, or 
  to economize on how much space the panel takes. 
  1 From the Layers panel menu, choose 
  “Panel Options.” 
  2 In the “Thumbnail Size” section (right), 
  choose one of the options. 
  3 Click ok. 
  No thumbnails.
  Small thumbnails.
  Medium thumbnails.
  Large thumbnails.
  
  Photoshop 
   Type
  Type in Photoshop is made from vector paths, which 
  are mathematical descriptions of the letterforms. Vector 
  paths let you resize type as much or as often as you want 
  without degrading the quality. All sorts of effects and 
  filters can be applied to type while preserving the ability 
  to edit, scale, rotate, and warp.
  Some changes you make to type require that you rasterize
  the type layer, which means Photoshop converts the text 
  to pixels and thus it is no longer editable as type. Once 
  you rasterize text, it becomes pixels on the screen, which 
  means you can treat it like any other image in Photoshop, 
  but not as text that you can edit again. If	you	need	to	
  rasterize	your	type,	make	a	copy	of	the	original	type	layer	
  before	rasterizing	it	so	you	can	edit	later	if	necessary.	
  Type is always placed on its own layer—a new type layer 
  is automatically created when you click in a document 
  window with the Type tool. As a side benefit, when you 
  forget the name of the font used, you can select the type 
  layer and find the font name in the Character panel.
  Type control in Photoshop is fairly robust, but it is 
  designed for special occasions, and is particularly for use 
  in combination with images. That is, if you need crisp, 
  clean typography directly on the paper (instead of on  
  an image) for a letterhead or business card or brochure,  
  a better tool would be either InDesign or Illustrator. 
  115
  
  6 :  p h o t o s h o p  t y p e
  116
  The click point. Text starts here and 
  continues to the right until you hit Return.
  This is the baseline. This line disappears 
  when you choose another tool.
  Flashing insertion point.  
  Type moves out from here. 
  Set type
  There are three ways to create type in Photoshop: 1) start at a point (below), 
  2) create a paragraph (opposite page), and 3) set along a path (see page 124). 
  Point type
  When you have just a few words to set, this is the best way to do it. This 
  method is called “point type” because the text starts at that point and 
  continues along a horizontal path until you hit Return or Enter. 
  When working with point type, there is no bounding box (see the opposite 
  page) to contain the type, so it will go right off the page! If that happens 
  to you, either move the type (see below) or just click in the text before the 
  point at which it went off the edge, then hit Return or Enter.
  1 Select the Horizontal Type tool from the Tools panel.
  2 In the Options bar, choose a font and size.
  3 Single-click in the canvas window. Photoshop automatically creates  
  a new layer, a type layer for this text.
   
   Be sure to click in an area that allows your type to move in the 
  proper direction. That is, for English, click on the left side of the 
  window, down far enough to allow the size of the type to appear 
  unobstructed. You can always move it later, but you might as well 
  set it in a position that makes it easy to work with.  
  Tip: Be careful with the Type tool! every time you click with the Type tool, 
  Photoshop makes another layer (guess how we know that). if you’re not careful, 
  you’ll end up with a dozen empty type layers. so as soon as you type your text, 
  choose another tool, a benign one, such as the rectangular Marquee tool (M). 
  While you’ve got the Type tool, you can’t use the keyboard shortcut to select 
  another tool—you must actually go to the Tools panel and click on it. 
  •	To	move	the	text, simply position the cursor outside the area of the 
  type. It automatically and temporarily turns into the Move tool. 
  Drag to move the text.
  •	To	edit	the	text	later,	choose the Type tool and single-click anywhere 
  in the text. (If the text has been rasterized, you cannot edit it.)
  
  6 :  p h o t o s h o p  t y p e
  117
  Text boundary line.
  If overflow text doesn’t 
  fit within the boundary, 
  a small plus symbol (+) 
  appears in the corner.
  Paragraph type
  Setting “paragraph type” is best for larger amounts of text, such as a paragraph 
  or more. It will be contained within a flexible bounding box. Don’t worry 
  about the limitations of the bounding box—you can always resize it later.
  1 Select the Horizontal Type tool from the Tools panel.
  2 Don’t click—press-and-drag the cursor in the document window  
  to create a boundary for the text; drag diagonally to create a 
  rectangle that’s about the size in which you want to contain the 
  text. Photoshop automatically creates a new type layer for this text.
  3 Type or paste copy into the boundary shape. If typing, do not hit 
  Return or Enter at the ends of the lines—just let them bump into 
  the bounding box edge and the text will continue on the next line. 
  ➊
  ➋
  ➋
  ➋
  ➌
  The	text	cursor	changes as you move it around a selected text box. The 
  example below shows the different cursors and explains what each does.
  ➊	To	move	the	type, simply move your cursor away from the text, and 
  it temporarily becomes the Move tool. Drag wherever you want.
  ➋	To	resize	the	bounding	box, position the cursor directly on top of a 
  handle. When it turns into a double-headed arrow, drag the text box 
  to resize it.
  ➌ To tilt the type, position 
  the cursor just outside 
  any handle until you see 
  the curved double-headed 
  arrow. Drag to tilt. 
  •	When you come back to 
  this text layer and want  
  to	edit	the	text, simply choose the Type tool and click in the text. 
  The bounding box will appear and you can edit as usual.
  •	To	deselect	the	text,	choose a different tool or a different layer.
  
  6 :  p h o t o s h o p  t y p e
  118
  Choose a font family and the specific font style within that family.
  Font size and leading value (leading is the amount of space between lines of text).
  Kerning and tracking. Kerning adjusts the space between a selected pair of characters. 
  Tracking adjusts the space between all characters in a selected range of text.  
  Adjust the vertical or horizontal scale of the type. This distorts the letterforms.
  Adjust the baseline shift and type color. Baseline shift refers to how far above or below 
  the baseline (the invisible line upon which type sits) the selected text will set.
  Apply type styles to selected text: Faux (fake) Bold, Faux (fake) Italic, All Caps, Small 
  Caps, Superscript, Subscript, Underline, Strikethrough. (It is always best to choose the 
  family bold or italic style rather than the faux version.) 
  Tip: instead of typing numbers in the value fields, position the cursor 
  over the symbol next to the field. When the cursor changes to a hand 
  symbol, drag left or right to change the value in the field. 
  The Character panel
  The Character panel gives you more type options than the Options bar.   
  To open the Character panel, go to the Window menu and choose “Character.” 
  The options you choose will apply to whatever is selected: 
  •	Click in a document with the Text tool 
  to start setting text, and the options 
  you choose in the Character panel will 
  apply to what you now type (because the 
  flashing insertion point was selected).
  •	Select a text layer; the options you choose 
  will apply to all the text on that layer.
  •	With the Text tool, drag over specific  
  text. The options you now choose will 
  apply to the selected characters only. 
  The fields	of	the	Character	panel	are described below. 
  Press Enter to apply a value. 
  
  6 :  p h o t o s h o p  t y p e
  119
  Alignment options.  
  Hover the cursor over an item 
  to see a tool tip description.
  Indent right margin.
  Indent left margin.
  Indent first line.
  Add space before paragraph.
  Add space after paragraph.
  The Paragraph panel
  Paragraph formatting applies to entire paragraphs, as opposed to character 
  formatting that applies to individually selected characters. Paragraph format-
  ting includes things like indents, margins, alignments (left, right, centered), 
  space above or below paragraphs, and tabs.
  The Paragraph panel provides more controls for paragraph formatting than 
  you’ll find in the Options bar. 
  •	To	open	the	Paragraph	panel, go to the Window menu and choose 
  “Paragraph.”
  •	To	select	a	paragraph	for	formatting, all you need to do is single-
  click in it with the Text tool, since the options will apply to the 
  whole paragraph whether you like it or not.
  •	To	select	more	than	one	paragraph	for	formatting, press-and-drag to 
  select any portion of contiguous (touching) paragraphs. 
  The Options bar
  Or use the Options bar to format text. Make sure the type layer and the Type 
  tool are selected, and then you’ll see these items in the Options bar.
  Toggle between vertical 
  and horizontal type.
  Set anti-aliasing 
  method.
  Create 
  warped text.
  Commit and 
  Cancel. 
  Font family.
  Font style.
  Font size.
  Type 
  color.
  Paragraph 
  alignment.
  Toggle Character 
  and Paragraph 
  formatting.
  The anti-aliasing menu lets you choose how 
  smooth or hard the edges of type appear. 
  “None” creates hard, jaggy edges. Experiment 
  to see how the various options reaction with 
  your particular design.
  
  6 :  p h o t o s h o p  t y p e
  120
  Change type color
  By default, type you create uses the current Foreground color as displayed at 
  the bottom of the Tools panel. You can choose that color before you create 
  new type (click in the Foreground color box), or select characters and change 
  the color after you type. (See Chapter 11 for more on color.)
  To change the color	of	all	text	on	a	certain	layer:
  1 Select the text layer you want to color. 
  2 Select the Move tool in the Tools panel. 
  3 Click the “Color” swatch in the Character panel, then choose a color 
  from the “Select Text Color” dialog that opens. The text updates 
  immediately with the new selected color.
  To	change	the	color	of	a	specific	selection	of	text:
  Select the Text tool in the Tools panel and drag to select the specific range 
  of text that you want to color. Then do one of the following:
  •	From the Window menu, open the Swatches panel or the  
  Color panel and choose (or create) a color.
  •	Click the Foreground color box at the bottom of the Tools panel, 
  then choose a color from the Adobe Color Picker.
  •	Click the Color selection box 
  in the Options bar or Character 
  panel. In the “Select text color” 
  dialog that opens, select a color.
  In this example, I applied different colors 
  to individual characters, then chose a layer 
  Blending Mode of “Hard Light.” This makes 
  the colors react differently against dark and 
  light backgrounds and allows the image below 
  the text layer to show through.
  Vertical text
  You’ve probably noticed there is a Vertical Type tool as well as the horizontal 
  one. This tool stacks your text in a vertical line. Try it. All the formatting 
  features that apply to horizontal text also apply to vertical text. 
  g
  o
  s
  o
  f
  t
  l
  y
  o
  n
  
  6 :  p h o t o s h o p  t y p e
  121
  Specify Smart Quotes
  Professional designers use typographer’s quotes (“ ”), also known as curly 
  quotes or smart quotes, instead of straight or typewriter quotes (" ") which 
  look more like inch and foot marks. 
  1 From the Photoshop menu, choose Preferences > Type. 
  PC: from the Edit menu, choose Preferences > Type.
  2 In the Type pane, check the box to “Use Smart Quotes.”  
  Click ok.
  Please do not use typographer’s quotation marks if you are specifying feet and 
  inches. We’ve seen plenty of bridges with warning signs that say something 
  like Max. Height 12” 6’. That’s just silly.
  Hang the punctuation
  Professional typographers and designers always “hang” the punctuation, 
  which forces the punctuation beyond the boundary of the text to create 
  a more consistent margin appearance. If the quotation marks in the first 
  line of a quotation, for instance, make the text appear to be indented, you 
  need to hang it.
  1 Select the text layer or the paragraphs you want to affect.
  2 From the Paragraph panel menu (single-click the tiny lines in 
  the upper-right corner of the panel), choose “Roman Hanging 
  Punctuation.”
  Before hanging punctuation.
  After hanging punctuation.
  
  6 :  p h o t o s h o p  t y p e
  122
  Warped text.
  Apply effects and styles to text
  Photoshop sets type in vector form, as explained on the first page of this 
  chapter, which makes it always editable. As vectors, you can set type on a 
  path or in a shape (see the following pages), adjust its transparency (use 
  the Opacity field in the Layers panel for that layer), apply many transform 
  operations such as scale, skew, and rotate (see Chapter 4). You can even 
  warp text and apply Layer Styles (below).
  Warp text
  1 Create or select a text layer.
  2 Select the Text tool. 
  3 In the Options bar, single-click the Create warped text button.
  4 From the Style pop-up menu, choose one of the warp options.  
  Select options and adjust sliders to get an effect you like.
  5 Click ok. 
  To	remove	a	warp	effect, follows Steps 1 – 3, above. In Step 4, choose “None.” 
  Click ok. 
  Once you rasterize the text, you will not be able to remove the warp!
  
  6 :  p h o t o s h o p  t y p e
  123
  We added the Layer Styles 
  called Drop Shadow, Inner 
  Shadow, and Color Overlay  
  to a warped text layer.
  Apply Layer Styles to text
  If you read about Layer Styles in Chapter 5, you might be excited to know 
  that you can apply Layer Styles to text while still maintaining the ability 
  to edit the text later.
  1 Select a text layer.
  2 From the Layer menu, choose “Layer Style,” then choose an effect 
  from the submenu that appears. This opens the “Layer Style” dialog. 
   
   Or double-click in the blue area of a text layer (not on the name  
  of the layer) to open the “Layer Style” dialog.
  3 Select from the many styles in the Styles list. 
  Don’t just click the little checkbox—single-click the name of the 
  style to open its settings. See pages 102–105 for more details about 
  Layer Styles.
  Rasterize the type
  There are times when you must rasterize the type. For instance, some 
  commands, effects, and tools (such as Vanishing Point, filter effects, and 
  painting tools) will not work on text layers unless the layer is rasterized. 
  If you try to use a command or apply a filter that requires the type layer to be 
  rasterized, a warning message appears on the screen. The message sometimes 
  includes an ok button you can click to rasterize the layer. If such a button 
  is not provided, go to the Layer menu and choose Rasterize > Type.
  
  6 :  p h o t o s h o p  t y p e
  124
  Set text on a hand-drawn path
  There are times when you want to run type along a curved (but invisible) 
  line. Perhaps you want to follow a curve in a photo or create an arc over 
  a graphic object. Create any path and place text on it. Mmm, that’s fun.  
  1 Draw a path with the Pen tool (below-left). See pages 160–163  
  if  you’re not familiar with how the Pen tool works.
  2 Select the Text tool in the Tools panel. 
  3 In the Options bar (below), choose options such as font and 
  alignment before you type. You can always change options settings 
  after you’ve typed the text (to change the font, font size, or font 
  color of existing text, first use the Text tool to select the text, then
  change the settings).
  4 If you chose a left text alignment, click near the left side of the path 
  with the Text tool, then type. If you chose a centered text alignment, 
  click near the center of the path with the Text tool, then type.
  5 In the Options bar, click the checkmark icon to commit the text  
  (or any changes you made) and to deselect the text.
  Alignment.
  Cancel.
  Font.
  Commit.
  Font style.
  Font color.
  Font size.
  Use the Pen tool to draw a path.
  Click the path with the Text tool, 
  then type some text. 
  Style the text however you want. 
  In the top two examples I lowered 
  the opacity of the image layer to 
  make the path more visible. 
  
  6 :  p h o t o s h o p  t y p e
  125
  Shape handle.
  Work path.
  Reposition text on a path
  To	reposition	text	on	a	path, use the Path Selection tool.  
  1 Select the layer with text on a path. 
  Choose the Path Selection tool.
  2 Hover the cursor near the beginning of 
  the text. When the cursor changes to an 
  I-beam-and-triangle as shown above-
  right, drag the text along the path. 
  Place text inside or around a shape
  You can also put text around or inside shapes created with one of the selection 
  tools or Shape tools. 
  1 Draw a shape with a selection tool or a Shape tool (see 
  Chapter 10 (we used the Elliptical Marquee tool). 
  2 Open the Paths panel (right), then click the Make work 
  path from selection button at the bottom of the panel.
  3 Select the Text tool; click on the path to set text along the path but 
  outside of the shape, or inside the path to set the type inside the shape.
  4 Enter the text you want inside (or outside) the shape.
  5 To adjust any of the settings in the Character panel and have it apply 
  to the entire text layer, make sure the Move tool is selected in the 
  Tools panel, open the Character panel, and make adjustments. 
   
   To adjust a specific range of text, select the text with the Text tool, then 
  make adjustments in the Character panel.
   
   If necessary, open the Paragraph panel to adjust the paragraph settings.
  6 To hide the path, select any other layer. To edit the text later, select the 
  text layer, then select the Text tool and click the text. Drag one of 
  the shape’s handles to modify the shape. 
  
  6 :  p h o t o s h o p  t y p e
  126
  Force type to the inside of a shape
  1 Select a layer with text on the edge of a shape. We used a circle drawn 
  with the Elliptical Marquee tool (below left).
  2 Drag the Text tool across the text to select it. 
  3 Open the Character panel and enter a negative number in the 
  Baseline Shift field (left). Lower the Baseline Shift number until the 
  text moves down, across the path, and is aligned with the inside of 
  the shape (below, middle and right). If necessary, in the Character 
  panel, adjust the tracking (the space between letters).
  Move text to the inside bottom of a circle shape
  1 Select a layer with text on the outside of a circle (or other shape).
  2 Select the Path Selection tool in the Tools panel and position the 
  cursor over the text. 
  3 When the cursor changes to an I-beam with double arrows (below 
  left), press-and-drag the text downward until it flips upside down 
  with its baseline aligned with the inside of the circle’s path (below 
  middle). Of course that’s not what you want, so . . . 
  4 Continue to drag the text down the side of the shape, all the way to the 
  bottom of the circle, until the text appears upright (below right).
  Text around a shape.
  Baseline shift applied to 
  selected text.
  Deselected text inside 
  of the shape.
  Drag text downward.
  Drag text to bottom.
  Position text at bottom.
  
  127
  Photoshop 
  with a History
  Photoshop is infamous for having one level of Undo. 
  That sounds very limiting (and it is) until you realize the 
  amazing flexibility and forgiveness of the History panel.
  The History panel keeps track of every operation you do 
  so you can wander back and forth through your recent 
  Photoshop actions, just like going back in time—and 
  forward again if necessary.
  You also have access to the History Brush, which paints 
  on an image using a former image state instead of color. 
  It’s kind of freaky. 
  And, of course, the standard Undo, Redo, and Revert 
  commands, though limited, are very useful in any project.
  Go back in time . . .
  
  7 :  p h o t o s h o p  w i t h  a  h i s t o r y
  128
  The History panel
  The History panel automatically keeps track of everything you do and lets 
  you jump back to previous states of the document. The history states are 
  represented by a list of operations in the History panel, shown on the following 
  page. Click an item in the list and the document changes to how it was at the 
  time of that operation, called its state. Use the History panel as a powerful 
  “Undo” and “Redo” tool, to replace the ordinary “Undo” command (Edit > 
  Undo) that can take you back only one step (state) in the document history. 
  The number of history states that the History panel stores in memory is 
  determined by your Preferences settings. To change settings, go to the 
  Photoshop menu, choose Preferences > Performance (PC: Edit > Preferences > 
  Performance), then use the “History & Cache” pane. 
  The default number of history states is 20; you can change it to up to 1000, but 
  keep in mind that all of this information is held in memory. When memory 
  gets clogged, it can affect the performance of your entire machine. Unless 
  you have a terabyte of memory installed, keep it to a reasonable number.
  •	 To	preserve	different	document	states	while	working, make a 
  snapshot of a selected state. Snapshots are temporary and are 
  deleted when you close the document. Open the History panel 
  menu, then choose “New Snapshot…” (below). Snapshots 
  appear above the automatically generated list of states in the 
  panel. You can select a snapshot to revert to that state and 
  continue working from there. 
  By default, if you revert back to a previous state and then make 
  changes, or if you delete a state, all states after that are deleted. 
  •	 To	avoid	deletion	of	states, open the History panel menu (below). 
  From “History Options,” check the box to 
  Allow Non-Linear History.
  •	 To	create	a	new	document	from	a	particular	
  state, select a history state, open the 
  History panel menu, then select “New 
  Document" (shown on the right).
  •	 To	clear	all	history	states from the list 
  without changing the image, click the History 
  panel menu, then choose “Clear History.” 
  •	 To	delete	selected	history	states, click the 
  History panel menu, then choose “Delete.”   
  
  7 :  p h o t o s h o p  w i t h  a  h i s t o r y
  129
  Click in a well to set the 
  source for the History Brush 
  (see next page).
  Initial  
  document state.
  History Brush source   
  (see the next page).
  History panel 
  menu.
  Snapshot thumbnails.
  Select an item in this list 
  to return to that state.
  Click here to take a 
  snapshot of a history state. 
  Click here to create a new document 
  from the selected history state. 
  To specify how many states to show in the History panel, open the History 
  panel menu and choose “History Options….” Select any of these options.
  Automatically Create First Snapshot  
  Automatically creates a snapshot of the image state  
  when the document is opened.
  	 Automatically	Create	New	Snapshot	When	Saving  
  Makes a snapshot every time you Save.
  	 Allow	Non-Linear	History  
  Make changes to a selected state or 
  delete a state without deleting the 
  states that come after. 
  	 Show	New	Snapshot	Dialog  
  Opens a dialog that prompts you  
  to name your snapshots.
  	 Make	Layer	Visibility	Changes	Undoable
  Includes layer visibility changes as a 
  recorded step in the history states that 
  appear in the History panel list.
  
  7 :  p h o t o s h o p  w i t h  a  h i s t o r y
  130
  The History Brush tool
  The History Brush tool (from the Tools panel) works with the History panel 
  (pages 128–129) to achieve certain effects and restore image elements from 
  previous document history states. The History Brush looks at the History 
  panel to see which document state displays the History Brush icon next 
  to it (shown, left), which designates that state as the History Brush source. 
  The History Brush uses the designated source (in the History panel) to paint 
  with. You can change the source as many times as you want and paint with 
  various previous states of the document. 
  The example below explains one way to use the History Brush.
  1 Open a document and make several adjustments to it, such as change 
  the hue or brightness, or apply a filter. We opened a cloud scene, 
  duplicated the layer, and changed the hue to blue. 
  2 From the Window menu, choose “History” to open the History panel 
  (shown below). The number of history states will vary, depending 
  on how much you experimented with filters and other adjustments. 
  The history states shown here indicate we opened the document, 
  duplicated a layer, then made a Hue/Saturation adjustment. 
  3  In the History panel, select the document 
  state you want to modify (your selection 
  is highlighted in blue). 
  4 Designate one of the document states as the 
  History Brush source: click the well to the 
  left of the state. In this example, the “Open” 
  history state is designated as the source (the 
  image as it looked when it was opened, orange and yellow clouds).
  The Layers panel above shows the 
  two layers, each with a different hue.
  Original image.
  Duplicated 
  layer with hue 
  adjustment 
  applied. 
  
  7 :  p h o t o s h o p  w i t h  a  h i s t o r y
  131
  Brush Preset picker. Click to set brush size and hardness.
  5 Select the History Brush in the Tools panel.
  6 Go to the Options bar (below) to specify the brush size, hardness, 
  opacity, and blending mode.
  7 Drag the History Brush across the image where you want to paint 
  with the image as it exists in the selected source state.   
  The History Brush paints with the designated source  
  (the document state that used orange and yellow clouds) 
  on top of the selected state (the document state that uses 
  the dark blue Hue/Saturation adjustment).
  The History Brush is also useful for restoring parts of an image that contain 
  unwanted modifications caused by certain filters or retouching. For example, 
  the image below was distorted using the Liquify filter. The area surrounding 
  the Liquified effect shows unwanted distortion. The History Brush enables 
  you to select a document state before the Liquify filter was used, then paint 
  with that state to restore the area around the distorted element. 
  The Liquify filter distorted this 
  image, including unwanted 
  background distortion.
  The History Brush paints 
  out the distortion by using a 
  previous history state for paint.
  
  7 :  p h o t o s h o p  w i t h  a  h i s t o r y
  132
  Undo, Redo, and Revert
  The Undo or Redo commands affect only the most recent actions. If you 
  make a mistake and start clicking around to fix things, all you will Undo 
  is the last click. Try to remember to Undo the very instant you realize you 
  made a boo-boo.  
  •	 To undo the last thing you did, from the Edit menu, choose 
  “Undo.” The menu gives you a hint as to what you are going 
  to Undo, such as “Undo Typing.”
  •	 If you decide that was a mistake, you can undo the Undo 
  command: From the Edit menu, choose “Redo.” It will give 
  you a hint as to what you are going to Redo, such as “Redo 
  Typing.”
  You can always revert	to	the	last	time	you	saved	the	file: From the File menu, 
  choose “Revert.” A “Revert” state is added to the History panel, enabling 
  you to return to states before the Revert command was applied, if necessary.
  The Revert command is disabled if text is selected or if any element is 
  prepared for transformation; that is, if an element is selected and surrounded 
  by a transformation border with handles, as shown below. First commit or 
  cancel the transformation, then try Revert again.
  
  133
  Adjustment 
  Layers
  As you know, Photoshop can do amazing things. And 
  chances are, even if you’re a Photoshop user, there are 
  some features that you haven’t used yet, because you 
  haven’t stumbled across them and don’t realize how 
  powerful, easy, and convenient they are. 
  You’ll find Adjustment Layers to be invaluable when you 
  want to modify the tonal ranges and color balance of an 
  image (or just part of an image). You’ll love how these 
  special layers allow you to make adjustments to an image 
  in a flexible (editable) and non-destructive way; that is, 
  any adjustments you make can be modified or disabled at 
  any time, and they do not affect the original image file. 
  Get in the habit of using an Adjustment Layer to make 
  changes rather than making them to the image itself—
  you’ll find it comes in handy much more often than you 
  think it might!
  
  8 :  a d j u s t m e n t  l a y e r s
  134
  Adjustments panel
  To open the Adjustments panel:
  1 Select the layer to which you want to apply adjustments.  
  This is your target layer.
  2 Open the Adjustments panel:  
  If the Adjustments panel is already in the panels dock 
  on the right side of the screen, single-click its icon. 
  If it’s not already on the screen, go to the Window menu  
  and choose “Adjustments.”
  3 Open the Adjustment controls: Single-click an adjustment  
  icon, as shown at the top of the opposite page. This creates  
  an Adjustment Layer in the Layers panel.
   
   The Adjustment Layer will appear to be blank, but it’s actually  
  filled with magic that affects the layer directly beneath. See the 
  following pages for examples.
  iMporTAnT: This process automatically creates a new layer directly above the layer that 
  you want to affect. so before you create the Adjustment Layer, make sure to select the 
  layer to which you want the effects to apply.
  in fact, the Adjustment Layer applies to all the layers beneath it. if you want the 
  adjustments to apply to only the layer immediately below, click the Clip to layer button, 
  located at the bottom of the specific control panel (opposite page, bottom-right).
  Important Adjustment differences
  There are two basic ways to access Adjustments—through the Image menu 
  (choose “Adjustments”), and through the Adjustment panels. There is an 
  important difference between the two.
  •	 When you go to the	Image	menu at the top of the screen and use 
  “Adjustments” from there, you permanently alter the image. 
  •	 When you use the Adjustment panels to create new Adjustment
  Layers, the effects are non-destructive to the original layer (meaning 
  they do not permanently alter the image), plus the adjustment 
  settings can be changed at any time in the future.
  
  8 :  a d j u s t m e n t  l a y e r s
  135
  Return to controls for 
  current Adjustment Layer.
  Return to 
  adjustment list   
  (on the left).
  Open an Expanded view.
  Clip to layer.
  Adjustment list and presets.
  Levels adjustment panel.
  Adjustment 
  icons.
  Click the disclosure triangle next to any 
  preset collection to reveal its presets. 
  Click a preset to apply it. 
  Toggle between New adjustments affect all layers
  and New adjustments clip layer (affects only the 
  layer below; see pages 106–107).
  Brightness/Contrast, Levels, Curves, Exposure.  
  Vibrance, Hue/Saturation, Color Balance,  
  Black & White, Photo Filter, Channel Mixer.
  Invert, Posterize, Threshold,  
  Gradient Map, Selective Color.  
  The icons in the main Adjustments panel (shown below) represent 
  all of the adjustments available as non-destructive Adjustment 
  Layers. Hover over an icon (it turns into a color icon) to display a 
  tool tip that tells you what it is.
  When you click one of the adjustment icons (below, left), the 
  settings for that adjustment appear (below, right). To go back to the 
  Adjustments main panel, click the arrow in the bottom-left corner.
  
  8 :  a d j u s t m e n t  l a y e r s
  136
  Mask thumbnail; 
  see page 148.
  Adjustment Layer.
  Adjustment thumbnail.
  Target layer.
  The Adjustment Layer
  The new Adjustment Layer is created just above the target layer (below, 
  left); the target layer is the layer you select to affect. The Adjustment Layer 
  contains an adjustment thumbnail that identifies the type of Adjustment 
  Layer it is, and a mask thumbnail (a rectangle) filled with white. 
  Once you create the layer (as explained on the previous two pages) and 
  make the adjustments you like (as explained on the following pages), you 
  can always go back and readjust the settings.
  •	To	modify	the	existing	settings	in	an	Adjustment	Layer, click the 
  adjustment thumbnail in the layer. The Adjustment panel opens  
  to show the current settings. Modify to your heart’s content.
  •	To	delete	all	those	adjustments, throw away the entire layer— 
  select it in the Layers panel, then click the Trash can icon.  
  Or drag the layer to the Trash.
  •	To	hide	the	effects	of	the	adjustments, single-click the eyeball icon  
  to hide the layer and hence its affect on the layer(s) below.
  • To attach (or clip) the adjustments to only the layer immediately 
  below the adjustments layer (as opposed to applying to all layers 
  beneath), click the Clip to layer button at the bottom of the 
  Adjustment Layer, shown on the following page.
  
  8 :  a d j u s t m e n t  l a y e r s
  137
  Choose a Levels 
  preset from this 
  pop-up menu.
  Clip the adjustment 
  to the layer below.
  The Histogram.
  The Levels panel
  Levels adjusts the balance of highlight, midtone, and shadow values in an 
  image. Do one or more of the following:
  •	Choose a preset from the uppermost pop-up menu (shown below)
  •	Click the “Auto” button. 
  •	Adjust the levels manually by sliding the controls under the 
  Histogram.
  •	The black triangle in the bottom-left of the Histogram represents 
  shadows, the darker tones. Drag it to the right to darken dark tones.
  •	The white triangle in the bottom-right of the Histogram represents 
  highlights, the lighter tones. Drag it to the left to lighten the 
  highlights.
  •	The gray triangle in the middle of the Histogram represents 
  midtones. Drag it left or right to lighten or darken midtones.
  •	Use the eyedropper tools to adjust the levels: 
  Select the black eyedropper tool and click on the darkest area  
  of the image. This is called “setting the black point.” 
  Select the white eyedropper tool and click on the lightest part  
  of the image (called “setting the white point”). 
  This should automatically set the midtone values, but you can 
  manually adjust the midtones if necessary: select the gray eyedropper 
  and click a midtone area of the image.
  
  8 :  a d j u s t m e n t  l a y e r s
  138
  The Brightness/Contrast panel
  Brightness/Contrast adjusts brightness and contrast, but because it applies 
  to all pixels arbitrarily, it provides less control than using Levels (previous 
  page) or Curves adjustments (below).
  The Curves panel
  Curves can be used to adjust highlights, midtones, and shadows of the entire 
  image or of individual color channels. Choose a preset from the uppermost 
  pop-up menu, or click the “Auto” button. For more control, choose “rgb” 
  (or a specific color channel) in the pop-up menu, then do the following:
  Select the Target Adjustment Tool (circled, right), then press-and-
  drag up or down in areas where you want to adust the tonal values. 
  The Curves graph reacts as you drag the cursor around the image.  
  The Exposure panel
  Exposure adjusts tonality, primarily for hdr images 
  (High Dynamic Range). An hdr image combines 
  several exposures of the same image and uses the best 
  parts of each exposure. The Exposure adjustments can 
  be used with both regular images from your camera 
  and those that were originally shot in hdr. 
  Drag the sliders to adjust the image. Or use the 
  Eyedropper tools to set black and white points: 
  click on a dark tone in the image with the black 
  Eyedropper tool to set the darks, click a light tone 
  with the white eyedropper tool to set the white point. 
  All tones between are adjusted automatically.  
  
  8 :  a d j u s t m e n t  l a y e r s
  139
  The Color Balance panel
  Color Balance adjusts the overall balance of the color in an image. Adustments 
  can be made for shadows, midtones, and highlights. 
  1 Select a tonal range to adjust: Shadows, Midtones, or Highlights.
  2 Drag the color sliders to experiment with settings.
  3 Check the Preserve Luminosity option to prevent the adjustment  
  from darkening the image.
  The Vibrance panel
  “Saturation” refers to how soaked with color a hue is, how intense it is. The 
  Vibrance slider adjusts the saturation of less saturated colors more than 
  colors that are already saturated. It also protect skintones from being over 
  saturated. The Saturation slider saturates all colors equally.  
  The Vibrance slider adds color saturation without over-saturating colors 
  that are already highly saturated. The +100 Vibrance setting above 
  saturates the color in the white flower petals. 
  In the image above, we adjusted the color 
  balance of the highlights to have a yellow cast.
  
  8 :  a d j u s t m e n t  l a y e r s
  140
  The original image.
  Saturation adjusted.
  The Hue/Saturation 
  Adjustment Layer 
  desaturates the image 
  below it. The black 
  paint on the image 
  layer mask hides the 
  desaturation in the 
  lamp area.   
  The Hue/Saturation panel
  Hue/Saturation adjusts hue (color), saturation (intensity), and lightness of 
  an image. The “Colorize” option creates sepia tone and duotone effects. 
  To globally change the hue or saturation of an image:
  •	Choose a preset from the uppermost pop-up menu in the panel, the 
  one currently set to “Default.” 
  •	Or drag the Hue and Saturation sliders left or right.
  Choose a Hue/Saturation preset.
  Create a sepia tone or duotone effect.
  To	change	the	hue	or	saturation	of	a	specific	color	range within the image:
  •	Select a preset color range from the pop-up menu that is usually set 
  to “Master” (shown at the top of the page), then drag the Hue and 
  Saturation sliders.
  
  8 :  a d j u s t m e n t  l a y e r s
  141
  The original image.
  Command-drag (PC: Control-drag)  
  the Targeted Adjustment tool to modify 
  the hue of the sampled color range.
  Reset adjustment.
  To	make	Hue/Saturation	adjustments	that	are	specific	to	the	colors in the 
  current image:
  1 Select the Targeted Adjustment tool icon in the Hue/Saturation panel 
  (circled, below right). 
  2 Move the tool over colors in the image you want to adjust—the 
  cursor changes to an eyedropper. Click to sample (select) the color 
  range you want to effect.
  3 Now press-and-drag left or right in the image to adjust the saturation
  of the sampled color range (the cursor changes to the Targeted 
  Adjustment tool icon, shown below). 
   
  To adjust the hue of the sampled color range, hold down the 
  Command key (PC: Control key) as you drag left or right. 
  —continued
  
  8 :  a d j u s t m e n t  l a y e r s
  142
  You can also use the Eyedropper tools (shown below) in the Hue/Saturation
  panel to select a color range to adjust.
  1 To activate the Eyedropper tools, choose any color from the pop-up 
  menu shown as “Master” (below, right).
  2 Select the first of the three Eyedropper tools. The other two 
  Eyedropper tools can be used to add to the selected color range, or 
  subtract from it.
  3 Single-click on a color in the image you want to adjust  
  (yellow, in this example).
  4 Drag the Hue and/or Saturation sliders.  
  Before the Hue adjustment.
  After the Hue adjustment.
  
  8 :  a d j u s t m e n t  l a y e r s
  143
  The Channel Mixer panel
  Channel Mixer creates grayscale or tinted images. 
  To create a grayscale	conversion: 
  1 Select one of the grayscale presets from the uppermost pop-up menu, 
  next to “Channel Mixer.”
  2 Experiment, if you want, with the color sliders to affect the grayscale 
  values in the image. 
  3 Adjust the “Constant” slider to lighten or darken the image.
  To create a tinted effect:
  1 Select one of the grayscale presets from the uppermost pop-up menu, 
  next to “Channel Mixer.”
  2 Deselect the “Monochrome” checkbox.
  3 Drag the color sliders to add a color tint to the image. 
   
  Also, experiment with changing the “Output Channel” pop-up menu 
  to red, blue, or green, then adjusting the sliders. Although it can 
  be baffling to adjust colors using the rgb (Red Green Blue) color 
  space, you’ll get used to it, and will probably stumble across some 
  effects you wouldn’t have imagined.
  
  8 :  a d j u s t m e n t  l a y e r s
  144
  The Posterize panel
  Posterize converts an image to a limited number of flat colors for a silkscreened 
  poster effect. Drag the Levels slider to set the number of colors to use.
  The Photo Filter panel
  Photo Filter adds casts of color to an image, similar to the effect of using a 
  color filter on a camera. 
  •	Choose a filter color from the Filter pop-up menu, or select  
  the Color button and click the well to choose a custom color. 
  •	Adjust the Density slider to adjust the strength of the color. 
  •	Select Preserve Luminosity to prevent the effect from darkening 
  the image.
  
  8 :  a d j u s t m e n t  l a y e r s
  145
  The Invert panel
  Invert reverses the colors in an image, without providing any control other 
  than the flexibility to turn the effect on or off in the Layers panel, as you 
  can with any Adjustment Layer.
  The Black & White panel
  Black & White is another way to convert a color image to grayscale, with 
  more control than the automatic black-and-white conversion that results 
  from going to the Image menu and choosing Mode > Grayscale. 
  •	The uppermost pop-up menu provides preset options that you can 
  choose, or you can select the “Auto” button. 
  •	For more control, single-click the Targeted Selection Tool icon 
  (circled below), then press-and-drag in areas of the image that you 
  want to adjust. The color sliders react as you drag inside the image.
  •	To tint the image with control, check the Tint checkbox and adjust 
  the sliders. Everything is a matter of experimentation!
  
  8 :  a d j u s t m e n t  l a y e r s
  146
  The Gradient Map panel
  Gradient Map maps the grayscale range of an image to the colors of a selected 
  gradient. You might want to experiment with this adjustment to create a 
  special effect using different gradients.
  •	Click the Gradient Fill pop-up to choose a preset gradient.
  •	Single-click the gradient bar to make endless adjustments to the 
  current gradient, to add more gradients, to name them, etc.
  •	Select the Dither option if you want to add noise and reduce  
  color banding. 
  •	Select the Reverse option if you want to reverse the effect  
  of the gradient.
  The Threshold panel
  Threshold converts grayscale or color images to high-contrast black-and-white 
  images. Drag the slider under the graph to set a Threshold level.
  Not for every project, but 
  interesting.
  
  8 :  a d j u s t m e n t  l a y e r s
  147
  The Selective Color panel
  Designers love to tinker with images. We assume any photo can be improved 
  or made more interesting. That includes making all sorts of color adjustments. 
  Selective Color adjusts the amount of process color (cmyk, the color mode 
  used for high-quality printing) in a specified primary color without affecting 
  other primary colors. You can adjust various colors, all differently, and each 
  will have its own layer for readjusting or eliminating. 
  From the “Colors” pop-up menu, choose the color range you want to adjust. 
  Experiment with the “Relative” or “Absolute” options, which give slightly 
  different results depending on the colors in the image.
  Auto Adjustments
  Even though non-destructive 
  techniques such as Adjustment 
  Layers are a good practice, you don’t 
  have to use them. If it’s okay with 
  you that the original image is altered 
  forever, go to the Image menu, 
  choose “Adjustments,” then from 
  the submenu (right) choose the type 
  of adjustment you want to make. Or 
  choose one of the Auto adjustments 
  in the Image menu: Auto Tone, 
  Auto Contrast, or Auto Color. These 
  automatic adjustments don’t provide 
  any controls, but often they are all 
  you need to improve an image.   
  We adjusted the reds in this 
  image (the bricks and pot).
  
  8 :  a d j u s t m e n t  l a y e r s
  148
  Layer Mask thumbnail.
  Levels 
  adjustment icon.
  Adjustment masks
  When you create an Adjustment Layer, the layer contains a thumbnail icon 
  that represents the type of adjustment you chose, and also a Layer	Mask	
  thumbnail filled with white. When the mask is filled with white, any layer 
  adjustments you make are fully visible on the layer below. In most cases, 
  you will probably ignore the mask altogether, but it can be very useful if 
  you want to hide (mask) the effects of the adjustment in different parts of 
  the image. In the example below, we’ve added a lot of contrast to the image 
  by darkening it (using a Levels Adjustment Layer), then masking/hiding 
  the dark effect in selected parts of the image. 
  1 Open an image that appears flat and needs more contrast.
  2 Add a Levels Adjustment Layer: From the Window menu, choose 
  “Adjustments.” Click the Levels icon in the Adjustments panel. 
   
   A new Adjustment Layer appears in the Layers panel (below, left).  
  In the Levels panel, drag the left triangle under the histogram to 
  the right to darken the image.
  3 Set default colors for the Foreground (black) and Background 
  (white): press D.
  4 Click the mask thumbnail in the Adjustment Layer to select it. 
  5 Select the Brush tool from the Tools panel. 
  6 In the Options bar, click the Brush Preset picker to choose a large 
  brush size and low hardness setting. Paint on the main image 
  (not in the tiny thumbnail) in areas where you want to hide the 
  darkened adjustment effect. Where you paint with black, the 
  lightness of the original image shows; these black strokes are visible 
  in the mask thumbnail, but not on the image! Shades of gray in the 
  mask thumbnail indicate a partially masked area, as seen in the soft 
  transition from light to dark, created by a soft brush edge.
  You can also adjust 
  the opacity of the 
  Adjustment Layer.
  
  149
  Working with 
  Transparency
  All layers, except Background layers, are transparent. 
  Even if a layer is filled with pixels, such as an image, a 
  fill color, or both, the layer itself retains transparency 
  capabilities, allowing other layers below it to show 
  through when pixels on the top layer are erased or 
  masked.
  You can give any layer a degree of transparency 
  by adjusting its opacity. Whenever necessary, the 
  Background layer can be converted from a non- 
  transparent layer to a regular transparent layer. 
  Transparent layers are what provide the remarkable 
  flexibility and creative potential of Photoshop—it’s 
  important to understand how they’re working for you!
  The checkerboard area indicates 
  where this image is transparent.
  The transparent area allows the 
  image on another layer to show 
  through onto this layer.
  
  9 :  w o r k i n g  w i t h  t r a n s p a r e n c y
  150
  Transparency preferences
  Photoshop’s preferences allow you to decide how you want to be reminded 
  that a layer is transparent, via a checkerboard grid (or not).  
  1 From the Photoshop menu, choose Preferences > Transparency & 
  Gamut… (PC: Edit > Preferences > Transparency & Gamut…).
  2 From the pop-up menu, choose a preset Grid Size and Grid Colors for 
  the transparency checkerboard. To create custom grid colors, click 
  the color swatches (shown below). 
  To hide the transparency checkerboard, choose “None” for Grid Size.
  3 Click ok.
  These two colors make the 
  transparency checkerboard. 
  Click a color to change it.
  A partially erased layer 
  that does not have 
  another layer below it.
  A layer’s background 
  erased to reveal the 
  layer below it.
  The Layers panel shows the 
  transparency of both layers.
  What is transparency?
  With the exception of “Background” layers (which are not transparent), 
  image layers consist of opaque pixels against a transparent background. The 
  transparent areas of a layer are represented by a gray and white checkerboard 
  pattern. In the example below, the layer of Jimmy and Scarlett is above a 
  layer that contains an image of flower blooms. Where the background of 
  the top layer is erased (where you see the checkerboard), the flower bloom 
  layer can show through. In addition, layer opacity can be adjusted to any 
  degree of transparency, which opens up all sorts of visual effects possibilities.   
  
  9 :  w o r k i n g  w i t h  t r a n s p a r e n c y
  151
  I wrote the word Giza with a brush 
  on a transparent layer. Then I 
  locked the transparent area and 
  brushed with abandon over the 
  word. The new color did not affect 
  the locked transparent area.
  For the final version, I added 
  a drop shadow layer style and 
  turned on the bottom layer 
  visibility.
  Visibility for this 
  layer is turned off.   
  Lock transparent 
  pixels.
  Lock the transparent pixels
  When a layer contains both an image and areas of transparency, you can 
  protect the transparent areas while you edit the image. For example, you 
  might have an element on a layer, such as handlettering (shown below) that 
  you want to add brush strokes to, without letting the brush strokes touch 
  the background area. Locking the transparency enables you to do that. 
  Photoshop refers to transparent areas as “transparent pixels,” so when we 
  say “Lock transparent pixels,” we mean lock the transparency so that it’s 
  protected and preserved.    
  1 Create a new layer: click the Create new layer icon at the bottom of 
  the Layers panel. Or from the Layer menu, choose New > Layer….
  2 Select the Brush tool and paint a word on the layer, as shown below. 
  3 Click the Lock transparent pixels icon (called-out above).
  4 Choose a darker paint color, then brush across the layer to add 
  brush strokes on top of the word. Because the transparent pixels 
  are locked, the new color you paint does not affect the transparent 
  areas, just the visible ones. 
  
  9 :  w o r k i n g  w i t h  t r a n s p a r e n c y
  152
  Lock image pixels and position
  There are four “Lock” icons in the Layers panel; the first one is explained 
  on the previous page. The other three Lock icons affect layer transparency 
  in these ways:
  •	Lock Image Pixels prevents visible pixels on the layer from 
  being altered in any way.
  •	Lock Position prevents visible pixels from being moved.
  •	Lock All locks transparent pixels and pixel position (the 
  visible image pixels can’t be moved or altered in any way). 
  Layer is partially locked.
  When a layer is partially locked (when just one or two of the “Lock” items 
  are selected), a white lock icon is shown on the layer (below-left). 
  When a layer is fully locked (when the “Lock All” icon is selected), a black 
  lock icon is shown on the layer (below-right).
  You can unlock the transparent pixels of a selected layer at any time in 
  order to work in the transparent areas of the layer.
  Layer is fully locked.
  ▲
  ▲
  ▲
  
  9 :  w o r k i n g  w i t h  t r a n s p a r e n c y
  153
  With the layer fill set to 0%, everything on the layer is transparent 
  except the layer style, a drop shadow. 
  Fill image pixels with color
  To color	the	image	pixels on a transparent layer with 
  the current Foreground color, without locking the 
  transparency: Select the layer, then press Option Shift 
  Delete (PC: Alt Shift Backspace).
  To	color	the	image	pixels on a transparent background 
  with the current Background color: Select the layer, 
  then press Command Shift Delete (PC: Control 
  Shift Backspace). This is similar to “Lock transparent 
  pixels” on page 151.
  Use the Fill setting for special effects
  While the Opacity setting in the Layers panel determines how transparent 
  everything on the layer is, the Fill setting, also in the Layers panel, affects 
  only pixels, shapes, or text. It does not affect the opacity of layer effects that 
  you’ve applied, such as drop shadows, bevel & emboss, stroke, etc.    
  This layer fill is set to 30%.
  
  9 :  w o r k i n g  w i t h  t r a n s p a r e n c y
  154
  Robin stored some of her DNA in Cheops,  
  the Great Pyramid of Giza, Egypt. 
  A transparent background provides 
  the design option to overlap one 
  image file on top of another in an 
  InDesign project, as shown above. 
  Change Background layer opacity
  The opacity of a Background layer cannot be changed; you must convert 
  the Background to a regular (transparent) layer. Do one of the following:
  •	Double-click the Background layer; click ok.
  •	Drag the Background layer’s lock icon to the Trash icon.
  •	From the Layer menu, choose New > Layer From 
  Background…; click ok. 
  Save as tiff with transparency
  You can save an image as a file that preserves its transparency to maximize 
  design choices when it’s placed in a page layout application such as InDesign.
  1 From the File menu, choose Save As….
  2 In the “Save As” dialog, set “Format” as tiff.
  3 Deselect the “Layers” option, to make the file smaller.
  4 Choose a name and location for the file, then click “Save.”
  5 In the tiff Options dialog (below), check “Save Transparency.”
  6 Place the tiff file in InDesign and enjoy the design freedom of 
  working with a transparent background image. 
  
  155
  Draw &  
   Paint
  Photoshop is not just an image editing application— 
  it’s also an image creation tool. With the draw and  
  paint tools, you can create just about anything  
  you can imagine.
  Learn how to create vector shapes (mathematically 
  based), or rasterized shapes (pixel based), depending on 
  the mode you choose. Photoshop provides customizable 
  libraries of individual shapes to play with and a large 
  variety of customizable brushes to paint with.  
  Use a pressure-sensitive digital tablet, if possible. 
  Photoshop brushes can react to pen pressure, angle, and 
  rotation as you draw with them. 
  The versatile drawing and painting tools presented in this 
  chapter will provide new solutions and creative opportu-
  nities for your projects.  
  Customize any paint brush and 
  modify its settings, or choose 
  from a large collection of preset 
  brushes. 
  Draw with shapes from shape 
  libraries, or create your own 
  custom shape libraries.
  
  1 0 :  d r a w  &  p a i n t
  156
  Create “elbows” (LBOs: lines, boxes, ovals)
  Photoshop is such a sophisticated program that it can be difficult to figure 
  out how to draw simple shapes, such as lines, boxes, and ovals (affectionately 
  called elbows). If you’re accustomed to InDesign or Illustrator, you’ll be 
  looking for the rectangle or ellipse tool, but there isn’t one in Photoshop. 
  Here is the quick and easy way to draw boxes and ovals. But remember 
  that these are raster images, pixel based, which means you can erase pieces 
  of them with the Eraser tool, but you can’t click on the shapes as objects 
  to change their fill colors or borders. (To create vector shapes, see pages 158 
  and 164–169.)
  To draw a rectangle, square,	oval,	or	random	shape	and	fill	it	with	color:
  1 Choose one of the selection marquee tools, such as the Rectangle 
  Marquee, Elliptical Marquee, any of the Lasso tools, or even the 
  Quick Selection tool or Magic Wand. 
  2 Create a shape with the tool. 
  3 While the “marching ants” are visible (the moving border),  
  fill the shape:
  	 	
  To	fill	the	shape	with	the	Foreground	color, press Option Delete 
  (PC: Alt Backspace).
  	 	
  To	fill	the	shape	with	the	Background	color, press Command Delete 
  (PC: Control Backspace)
  To add a color border (called a stroke) around a raster shape:
  1 Follow Steps 1 and 2, above, to create the shape.
  2 While the “marching ants” are visible, create the border:  
  Go to the Edit menu and choose “Stroke….”
  3 Enter a pixel width. 
  Click the color well to choose a color. 
  Choose where you want the border located. 
  If you want a blending mode applied or a lower opacity, choose it. 
  Click ok. 
  To turn off the selection marquee:
   
   Press Command D (PC: Control D).
  
  1 0 :  d r a w  &  p a i n t
  157
  To	draw	a	single	pixel	line	across	the	entire	document:
  1 Choose the Single Row Marquee tool or the Single Column  
  Marquee tool.
  2 Single-click where you want the line to appear, and drag the mouse  
  to move the line. 
  3 Fill the line with color and/or stroke it as explained on the opposite 
  page. See an example on page 74.
  To draw a line in any direction, use the Line Tool, found in the Custom Shapes 
  Option bar (shown at the bottom of page 158). See pages 164–169 about vector 
  shapes. You can also use the Pen tool to create a path; see pages 160–163. 
  Change the colors with the Paint Bucket tool
  You can use any of the techniques throughout this book to change the colors 
  just as you would adjust the colors in a photograph. Or use the Paint Bucket 
  tool, one of Robin’s favorites because it reminds her of SuperPaint. The paint 
  pours from the one tiny pixel at the end of the spilling paint in the icon.
  1 Get the Paint Bucket (it’s usually hiding under the Gradient tool).
  2 In the Options bar, choose whether you want the fill to be the 
  foreground color or a pattern. If foreground, choose your color in 
  the Foreground swatch at the bottom of the Tools panel; if pattern, 
  choose a pattern from the Pattern well in the Options bar (add more 
  patterns by clicking the tiny triangle in the corner of that panel). 
  3 Also in the Options bar, choose a blending mode, if you like,  
  and the opacity.  
   
  The “Tolerance” tells the Paint Bucket whether to replace only the 
  colored pixels that match and are touching the pixel you click on 
  (tolerance of 0), or to spread out to similar colors (higher tolerance).
   
  Check “Contiguous” if you want the paint to apply only to pixels 
  that are touching the one you pour into. 
   
  Uncheck “Contiguous” if you want to replace all items of the pixel 
  color the tool touches, even if the elements are not touching. 
   
  Check “All layers” if you want the Paint Bucket to replace all 
  matching colors on all visible layers. 
  4 Then pour into any contained shape, even if it’s already a color.
  
  1 0 :  d r a w  &  p a i n t
  158
  Shape layers.
  Fill pixels.
  Geometry 
  options.
  Line tool.
  Paths.
  Create new 
  Shape layer.
  Set color for new layer.
  Drawing modes.
  Pen tools and 
  Shape tools.
  Custom shapes  
  panel.
  Apply style.
  Drawing with shapes and pens
  In Photoshop’s drawing tools, you have a choice between drawing lines of 
  varying widths and colors, drawing geometric shapes that you can customize, 
  and using pre-made custom shapes from a library. With these drawing 
  tools, you can choose to create	pixel-based	shapes	using	the	Fill pixels mode 
  (opposite page) or vector-based	shapes	that	are	eternally	editable	using	the	
  Shape layers mode (see pages 164–169). Be sure you choose the mode that 
  is appropriate for what you want to accomplish.  
  You can also use the Pen tool and the Freeform Pen tool; with the Pen tools 
  you can create custom shapes (in the form of paths). You can fill these paths 
  and change the fill at any time (you can stroke the shape, but you have to 
  rasterize the shape first, which means you cannot adjust it later).
  Before you draw:
  1 Select a Shape tool or a pen tool. 
   
  The Shape tools are in the pop-out menu along with the  
  Rectangle tool, as shown below, left. 
   
  The Pen tools (the regular Pen tool and the Freeform Pen tool)  
  are grouped together, as shown below, right.
  2 When you select a tool, the Options bar displays new options, as 
  shown below. Choose one of three drawing modes: Shape layers, 
  Paths, or Fill pixels, depending on what you want to do. Each mode 
  is explained on the following pages.
  Shape tools
  Pen tools (and accessories)
  
  1 0 :  d r a w  &  p a i n t
  159
  Draw a shape in Fill pixels mode
  The Fill pixels mode creates raster images, not vector graphics. That means 
  you cannot enlarge the shapes later without loss of quality, and the editing 
  changes you can make are limited.  
  1 Create a new layer, or select an existing layer (not the Background) 
  that is not vector-based.
  2 Select a Shape tool, as shown on the opposite page.  
  3 Select the Fill pixels icon in the Options bar.
  4 Select a foreground color.
  5 Shapes are pixel-based and behave like other raster images, so set 
  the options in the Options bar before you draw (because you 
  can’t change these after you’ve drawn the shapes, as you can with 
  vectors). The options change depending on which tool you choose:
  Shape: If you choose the Custom Shape tool, you can click here 
  to choose a shape from the library.
  Mode: Controls how the shape color interacts with other colors.
  Opacity: Determines how transparent the shape will be. 
  Anti-alias: Smooths the pixels on the edges and blends them 
  with surrounding pixels. 
   
  Set additional tool-specific options, such as the number of sides  
  for the Polygon tool, the radius on the corner of the Rectangle 
  Shape tool, or the weight (width in pixels) for the Line tool.
  6 Now you can draw a shape on the currently selected layer. You 
  can draw multiple shapes on the same layer, but remember that 
  once they overlap each other, changes are difficult and sometimes 
  impossible. (You’ll have more flexibility if you draw each shape on  
  a separate layer.) 
  These three speech balloons (from the Shape 
  library using the Custom Shape tool; see pages 
  164–165) are drawn on the same layer. I chose the 
  color, opacity, and mode before drawing each one. 
  Because they are pixel-based, I cannot change the 
  shapes at all, and changing the colors will be tricky. 
  I can, however, erase pixels or paint over them or 
  select pieces and move them. Anything you can do 
  to a photograph, you can do to these drawn pixels.
  
  1 0 :  d r a w  &  p a i n t
  160
  When you hover over the first point,  
  a small circle appears that indicates 
  the path will be closed (completed) 
  when you click on that point.
  Draw a shape with the Pen tool
  Use the Pen tool to manually draw a shape and fill it. Choose the Pen tool, 
  and in the Options bar, click the Shape layers button. 
  If you know how to use the Pen tool in Illustrator and InDesign, you’ll find 
  this one in Photoshop to be very similar. If you’ve never used a Pen tool 
  before (it is really different from any other tool), follow the simple directions 
  below. If you want to learn more about the Pen tool, experiment with the 
  directions on the next three pages. 
  To	experiment	with	the	Pen	tool, first draw a random shape with straight lines.
  1 Open a blank document so it’s easy to see the path you draw.
  2 For now, choose white for the foreground color (shortcut: tap the 
  letter D, then tap the letter X to choose white as the foreground). 
  3 Select the Pen tool from the Tools panel.
  4 Single-click anywhere—a point appears (shown below). 
   
  Single-click somewhere else—a path connects the two click points. 
   
  Continue to single-click. You’re creating a path made of straight lines 
  with tiny squares at the corners. The squares are called corner points.
  5 To complete the shape, single-click directly on the first point.
   
  Photoshop created a new Shape layer in the Layers panel for you  
  that includes Color Fill and Vector Mask thumbnails (see page 164).
  	
  	 To	change	the	fill	color, double-click the Color Fill thumbnail in the 
  Layers panel. This opens a color picker; choose a color. Click ok.
  To stroke (border) this shape, you have to rasterize the layer first 
  (which means you won’t be able to adjust the path anymore): 
  Right-click on the layer and choose “Rasterize Layer” from the 
  menu that pops up. From the Edit menu, choose “Stroke….” 
  Choose the width and a color. Click ok. 
  
  1 0 :  d r a w  &  p a i n t
  161
  These are the control 
  handles dragged out from 
  the press-and-drag   
  smooth point.
  The curve created.
  These are straight lines 
  and corner points made 
  from a click.
  Press-and-drag smooth point.
  Once you learn to control the Pen tool and its points and handles, you’ll 
  find it extremely useful.
  To	make	a	curved	path	using	a	smooth	point:	
  1 Curved lines come out of smooth points (although the tiny squares 
  look the same whether they are smooth points or corner points).
   
  Don’t click with the Pen tool, but press-and-drag. You’ll see a control 
  handle pull out of the point where you started. The length and 
  direction of these control handles determine the path’s curve. 
  2 Press-and-drag the next several points to experiment. Control the 
  curves by how far and in which direction you stretch the control 
  handles before you let go.
   
  (As you draw a curved path with smooth points, you can switch 
  to creating a corner point: Single-click the next point instead of 
  dragging a handle out of it.) 
  3 To complete the path, single-click the first point in the path.
  I used smooth 
  points to create 
  the path on the 
  left side of the star.
  —continued
  Tip: if you prefer freeform drawing instead of setting specific points, 
  use the Freeform Pen tool. draw on the screen as if it’s a regular 
  pen; points and control handles are created automatically. Ultimately, 
  however, the regular Pen tool provides more precise control.
  
  1 0 :  d r a w  &  p a i n t
  162
  Press-and-drag to create 
  smooth points, then 
  Option-click (PC: Alt-click) 
  the last-drawn point to 
  change it to a corner point. 
   
  As mentioned on the previous page, you can switch back and forth 
  from creating corner points to smooth points as you draw.
   
  You can also change the type of point you just created. For example, if 
  you dragged a handle out of a point to create a curve, but now you 
  want the path to change directions abruptly from that smooth point 
  to the next point, do this: 
    
  Hold down the Option key (PC: Alt key) and single-click the existing 
  point that has handles coming from it (circled below).  
   
  This changes the identity of the point from a smooth point to a hybrid 
  point. The path still curves gracefully into that point, but the 
  control handle exiting out of the point to control the next segment 
  is gone. The next point you click makes the path come straight out 
  of that point, instead of curving out. This means you can adjust 
  the control handles on the curved segment without affecting the 
  line coming out from that point. (That sounds confusing, but 
  experiment with it and you’ll get used to it.)
  The next click sends the 
  path straight out of the 
  point, instead of curving 
  out. You won’t have a 
  control handle on that 
  side of the point.
  A good exercise:  On one layer, type a 120-point letter D with low opacity. 
  On a layer above this D, use the Pen tool to recreate that shape, directly on 
  top of the letter. Once you get that down, try the letters S and G. By then 
  you’ll be an expert. 
  
  1 0 :  d r a w  &  p a i n t
  163
  To	move	or	modify	points	in	a	path	after	the	path	is	completed, use the path 
  Selection tools. Use the white arrow, the Direct Selection tool, to select and 
  manipulate individual points and lines. Use the Path Selection tool, the black 
  arrow, to select, manipulate, move, and delete the entire group of points as 
  an object. Experiment with paths and points until you feel comfortable.
  •	 To	display	all	the	points if 
  they’re not showing, get 
  the Direct Selection tool 
  (the white arrow) and click 
  anywhere on a line.
  •	To	select	a	specific	point	in	a	path, single-click the point with the  
  Direct Selection tool (the white arrow).
  •	To	move	an	existing	point, get the Direct Selection tool (the white 
  arrow). Drag any point to a new position.
  •	To	change	a	curve, with the Direct Selection tool (white arrow),  
  single-click on a point so it shows its handles. Drag one of the  
  handles coming out of the point.
  •	To	select	multiple	points,	use the Direct Selection tool (white arrow). 
  Hold down the Shift key after selecting the first point, then click on 
  additional points, or press-and-drag around the line to select points. 
  •	To	deselect	a	point, hold down the Shift key and single-click on it  
  with the Direct Selection tool (white arrow).
  •	To	select	an	entire	path, click it with the Path Selection tool  
  (the black arrow). This lets you move the entire path as an object,  
  apply transformations, delete the entire path all at once, etc. 
  •	To	change	a	point	from	a	corner	point	to	a	smooth	point, get the  
  Convert Point tool (it’s under the Pen tool). Press-and-drag a point.
  •	To	toggle between the Path Selection tool (black arrow) and the  
  Direct Selection tool (white arrow), hold down the Command key 
  (PC: Control key). Let go to keep the current tool.
  •	To	fill	a	shape	with	color	and	add	a	stroke	(outline), see page 160.
  —continued
  
  1 0 :  d r a w  &  p a i n t
  164
  Here, the Vector Mask 
  thumbnail is selected
  (you can tell by the broken 
  line around it).
  The “Effects” are layer 
  styles I chose.
  This is the new layer. 
  The red square is the 
  Color Fill thumbnail.
  Draw shapes in Shape layers mode
  When you create a shape in Shape layers mode, Photoshop automatically 
  creates a new layer that includes a Color Fill thumbnail and a Vector Mask 
  thumbnail on the same layer: 
  You can change the fill (inside) color, or you can fill the shape with a gradient 
  or a pattern, edit the shape’s vector mask to modify the shape, or apply layer 
  styles to the layer. You can come back next year and make all these changes 
  because it is a vector object (as opposed to a raster object).
  To experiment, use the Custom Shape tool to create a Shape layer.   
  1 Select the Custom Shape tool from the Tools panel. As soon as  
  you select the tool, the Options bar displays the Shape options,  
  as shown below.
  2 In the Options bar, single-click the Shape layers drawing mode.
  3 In the Options bar, single-click the Create new shape layer icon. 
  4 Single-click the Custom shapes icon to open its panel (next page). 
  Shape layers.
  Create new Shape layer.
  Custom Shape tool
  Custom shapes panel.
  “Style” offers hundreds of 
  looks to fill your shape.   
  5 Choose a custom shape to draw with. If you don’t see a shape you 
  want, click the small triangle in the top-right corner of the panel  
  to “append” (add) other Shape libraries to the panel. 
  6 From the Options bar, choose a “style” (if you want one) and “color.”
  
  1 0 :  d r a w  &  p a i n t
  165
  Shape layer.
  Color Fill thumbnail.
  Vector Mask thumbnail.
  Click to choose other 
  Shape libraries and append 
  them to this panel.
  Custom shapes.
  Click this tiny triangle 
  to set drawing behavior 
  specific to the selected tool.
  A new Shape	layer	is	created	for	every	shape	you	draw	unless you 
  choose one of the other options to the right of the Create new shape 
  layer icon. These include Add to shape area, Subtract from shape area,
  Intersect shape areas, and Exclude overlapping shape areas. Experiment 
  with how they interact as you create shapes on top of each other.
  	
  	 To	change	the	fill	color, single-click the vector mask thumbnail in 
  the layer (see the callout above) to select it. Now click the “Color” 
  swatch in the Options bar and select a color. You can also change 
  the “style.” To	deselect	the	vector	mask,	click its thumbnail again. 
  To reshape the object, select the vector mask. Choose the Direct 
  Selection tool (the white arrow). Click on the object to make the 
  points and handles appear, then drag them (see pages 161–163).
  	
  	 To	move	all	shapes	on	the	layer,	select the Move tool (V) and drag.
  	
  	 To	move	individual	shapes, choose the Path Selection tool (the black 
  arrow), single-click on the shape to select it, and drag.
  7 With a shape selected, press-and-drag in the document window  
  to draw the shape (shown below).
  
  1 0 :  d r a w  &  p a i n t
  166
  Double-click 
  the Color Fill 
  thumbnail to open 
  the Color Picker 
  (right).
  Change the Color Fill of a shape
  If you originally drew the shape with a “style” attached to it (see page 164), 
  you must first select the vector mask (single-click on it) and change the 
  “style” to “None.” Otherwise you won’t see the color fill change. For regular 
  vector shapes with no “style,” it’s very simple:  
  1 Double-click the Color Fill thumbnail in the Layers panel  
  (shown below, left). 
  2 In the Color Picker that opens (below, right), choose a different color. 
  Fill a shape with a gradient or pattern
  1 Draw a vector-based shape in the Shape layers mode (see pages 
  164–165). A Shape layer is added to the Layers panel.
  2 Select the Shape layer in the Layers panel. 
  3 From the Layer menu, choose Layer Style > Gradient Overlay….
  4 In the Layer Style dialog that opens (below left), click the “Gradient” 
  swatch to choose a gradient to fill the shape.
  5 Adjust the settings for other options in any way you wish. Click ok.
  Or make sure the vector mask thumbnail is selected (as shown on page 164), 
  then choose a “style” from the Options bar (also on page 164). Click the 
  tiny triangle in the Styles panel to add even more options.
  
  1 0 :  d r a w  &  p a i n t
  167
  Manually change the path of a shape
  You can change the outline of a vector shape at any time:
  1 Click the vector mask thumbnail in the Layers panel. 
  2 Use the Direct Selection tool (the white arrow tool) and the Pen tools 
  from the Tools panel to make changes to the shape’s vector path:  
  •	To	display	the	points	and	curve	handles,
  single-click the path with the Direct 
  Selection tool. Drag points to new 
  positions and drag curve handles to 
  modify curves.
  •	To	add additional points to the path, 
  click on the path with the Pen tool. 
  (When the Pen tool is positioned over  
  a segment of the path, it automatically 
  changes to the Add Anchor Point tool.)
  •	To	delete	a	point, click an existing point with the Pen tool.  
  (When the Pen tool is positioned over an existing point, it 
  automatically changes to the Delete Anchor Point tool.) 
  •	To	change	an existing point from a smooth point to a corner 
  point (or vice versa), click the point with the Convert Point tool.
  Transform a vector shape
  Apply any of the transform operations (see Chapter 4 for more details) to 
  a vector shape.
  1 Click the vector mask thumbnail in the Layers panel. 
  2 To transform the shape, do one of the following:
  •	From the Edit menu, choose “Free 
  Transform Path,” then drag the corner 
  handles to scale or distort the shape.
  •	From the Edit menu, choose 
  “Transform Path,” then choose one of 
  the options in the submenu; drag the 
  corners or handles. The example on 
  the right uses the Warp option.
  
  1 0 :  d r a w  &  p a i n t
  168
  Stroke a vector shape with a brush
  Although you can change the color fill of a vector shape over and over, a 
  stroke (a border) you add to a shape must be rasterized. This means the 
  stroke itself will not be attached to the vector shape, but will be automatically 
  rasterized to a separate layer, where you can move it and modify it separately 
  from the shape. You can also apply more than one type of stroke and each 
  will be on its own layer.
  1 Draw a vector shape: Choose the Custom Shape tool and select a 
  form from the Custom Shape picker, as explained on page 164. 
   
  The shape is added to the Layers panel as a Shape layer (below, left). 
  The layer consists of a color fill thumbnail and a vector mask 
  thumbnail.
  3 Still in the Paths panel, click the Make work path from selection button 
  (above). You’ll see a new path layer called “Work Path.”
  A vector shape filled 
  with color.
  2 Open the Paths panel. Click the Load path as a selection button (below, 
  left). The path in the main window turns into a marching ants selection 
  (as shown below, right).
  Shape layer.
  Load path as 
  a selection.
  Make work path 
  from selection.
  
  1 0 :  d r a w  &  p a i n t
  169
  As you can see above, the new brush stroke 
  is placed on the new layer as a rasterized 
  image. You can modify its color and 
  opacity just like any other pixel-based layer.
  Stroke path with brush.
  4 Back in the Layers panel, create a new layer below the selected Shape 
  layer: Command-click (PC: Control-click) the Create a new layer
  button at the bottom of the panel (circled, below). This layer is 
  where the raster stroke will be created. The vector object will thus be 
  on one layer, and the raster stroke will be on another.
  5 Select the Brush tool in the Tools panel. 
  6 Choose a brush type: Click the Brush Preset picker in the Options bar  
  to select a brush style and size. 
   
  In the Options bar, set the opacity and flow both to 100%. 
   
  Choose a foreground color. 
   
  (Or in the Options bar, click the Tool Preset picker [the extreme left 
  item in the Options bar], double-click one of the preset brushes to 
  select it, then choose brush size, color, etc., as above.)  
  7 Make sure the new layer in the Layers panel is selected. 
   
  Make sure the Work Path layer is selected in the Paths panel.
  8 At the bottom of the Paths panel, click the Stroke path with brush 
  button (below, left). 
  The final brush stroke effect. 
  
  1 0 :  d r a w  &  p a i n t
  170
  Paint with brushes
  You’ll use brushes to paint, retouch, alter colors, and basically do most of the 
  work in Photoshop. A variety of tools other than paintbrushes are considered 
  to be “brushes” in Photoshop: the Eraser, the Clone Stamp tool, the Blur, 
  Sharpen, and Sponge tools, etc. Many tools, even if they don’t apply paint, 
  have brush characteristics assigned to them, such as brush tip shapes, sizes, 
  hard or soft edges, opacity, etc. The following pages explain how to use and 
  customize brushes and save them as presets for future use. It’s important to 
  experiment with this!  Try different brush tips with the Blur tool when you 
  want to smooth areas or soften edges, or give the Eraser an odd brush shape 
  and create patterns with it. The possibilities are infinite (we’re pretty sure).
  The Brush Options bar
  When you select the Brush tool from the Tools panel, the Options bar 
  (below) changes to provide brush options and access to the Brush Presets 
  (customized brushes already made for you) and the Brush panel.
  Size and Hardness sliders.
  Append more brush tips or replace the existing ones.
  •	From the Brush Preset picker (shown below), adjust the size of the 
  brush and its hardness (a soft edge is feathery; a hard edge is solid).
  •	Check out the other brush tips you can choose from this panel. You 
  can paint grass, leaves, patterns, and much more. If you don’t see extra 
  brush tips, click the triangle in the upper-right corner and add more.
  Brush Preset picker.
  Painting mode.
  Let tablet pressure 
  control opacity.
  Airbrush mode.
  Let tablet pressure 
  control brush size.
  Open the Brush panel 
  (see page 173).
  To see previews of the kinds of brush strokes any brush  
  will make, use the Brush panel, shown on page 173.
  
  1 0 :  d r a w  &  p a i n t
  171
  Change the cursor
  In the Photoshop preferences, you can change the cursor according to your 
  working preference. This is an important thing to know about any brush 
  tip (Eraser, Clone, etc.), so spend a few minutes experimenting with the 
  different cursors. Then when you’re working with the various brush tools, 
  you’ll know what the options are for precise brush work.
  The “Normal Brush Tip” displays a cursor that is the size of the portion of 
  the brush stroke that has at least 50 percent opacity; this means if you have 
  a soft brush where the edges are feathered, your cursor will show you just 
  the center area of the brush stroke even though pixels are being affected 
  outside that area. The “Full Size Brush Tip” displays the entire area affected 
  by the brush stroke, so for a soft brush, it will be a large cursor. 
  •	 From the Photoshop menu, choose Preferences > Cursors.  
  (PC: Edit menu, choose Preferences > Cursors.)
  Select and use a brush
  When you’re ready to select and use a brush, follow these steps: 
  1 Select the Brush tool in the Tools panel.  
  2 Set a foreground color: Click the Foreground color swatch to choose 
  a color from the Color Picker, or select a color from the Swatches 
  panel. (See Chapter 11 for details about color.)
  3 In the Options bar, click the Brush Preset picker to choose a brush 
  tip, then set the brush size and hardness.
  4 In the Options bar set the brush opacity and flow.  
  Opacity determines how transparent the color is;  
  flow affects how much paint is applied to the image.
  5 Press-and-drag on your canvas. Voilà!
  
  1 0 :  d r a w  &  p a i n t
  172
  Resize brushes
  Because so many tasks in Photoshop require frequent adjustments of the 
  brush tools, it’s helpful to know several different ways to change the brush 
  size or hardness/feather on the fly.
  •	To	reduce	the	brush	size, tap the left bracket [ on the keyboard.
  •	To	enlarge	the	brush	size,	tap the right bracket ]. 
  •	To	give	the	brush	a	softer	edge, press Shift [. This softens the brush 
  by 25 percent with each tap of the bracket key.
  •	To	give	the	brush	a	harder	edge, press Shift ]. This hardens the brush 
  by 25 percent with each tap of the bracket key.
  •	To	interactively	change	brush	size	while	working	on	an	image,  
  press Control Option and drag horizontally  
  (PC: press Alt and right-click; drag horizontally).  
  The brush changes size as you drag so you can see how large  
  or small it is, but it doesn’t paint while you drag.  
  Drag right to enlarge the brush (below, left). 
  Drag left to reduce the brush size (below, left). 
  •	To	interactively	adjust the brush hardness setting,  
  press Control Option and drag vertically  
  (PC: press Alt and right-click; drag vertically).  
  The brush edge changes as you drag so you can see  
  how hard or fuzzy it is, but it doesn’t paint while you drag.
  Drag upward to create a softer edge (below, right).  
  Drag downward to create a harder edge (below, right).
  Drag horizontally to adjust 
  brush size (see details 
  above).
  Drag vertically to adjust the 
  hardness setting of the brush edges 
  (see details above). The brush 
  above has a very soft edge.
  
  1 0 :  d r a w  &  p a i n t
  173
  More customization with the Brush panel
  The Brush panel and Brush Presets panel, shown below, are expanded versions 
  of the Brush Preset picker (see page 170).
  1 Make sure the Brush tool is selected in the Tools panel, then click  
  the “Brush panel” button in the Options bar, or the panels Dock,  
  or from the Window menu, choose “Brush.” 
  2 In the Brush panel (below, left), choose a “Brush Tip Shape”;  
  a preview appears in the pane at the bottom of the panel (below, left). 
  3 To load other preset brush shapes, click the “Brush Presets” button  
  in the top-left corner of the Brush panel. 
   
  In the Brush Presets panel that opens (shown below, right), click 
  the panel menu icon in the top-right corner, then select another 
  collection of presets. You might need to scroll down to see the new 
  brushes if you append the new brushes instead of replace the existing 
  brushes. 
   
  Whatever you replace or append in the Brushes panel will appear in the 
  Brush Presets picker in the Options bar, and vice versa. 
  Toggle the Brush Presets panel 
  (right).
  Brush settings. 
  Be sure to click 
  the name 
  (not just the 
  checkbox) so the 
  settings for that 
  tip are displayed.
  Toggle the Bristle Brush 
  Preview, shown below.
  The Brush panel.
  Toggle the Brush panel 
  (left).
  The Brush Presets panel.
  When you choose a Bristle Brush (brushes whose icons are drawings of 
  brush tips), the Bristle Brush Preview shows the angle and orientation of the 
  stylus on a pressure-sensitive tablet, whether you have one attached or not.
  Panel 
  menu.
  
  1 0 :  d r a w  &  p a i n t
  174
  To access additional texture 
  and pattern collections,   
  click this small triangle.
  Click here to add your custom brush 
  to the Brush Presets panel.
  Paint with a textured brush
  Some of the brush presets already have a texture applied to them, but you 
  can add texture or a pattern to any brush to create interesting strokes.
  1 Select the Brush tool in the Tools panel. 
  2 In the Options bar, click the Brush panel icon: 
     
  This opens the Brush panel, as shown below.
  3 In the Brush panel, click “Texture” in the left column to display the 
  texture controls on the right side of the panel. (Don’t just check the 
  box—make sure you click on its name to display the options.)
  4 Click the texture/pattern swatch to reveal a pop-up panel of textures 
  or patterns. Click one of the swatches to select it, or click the small 
  triangle button to select from a list of other textures and patterns.
   
  As you experiment with various settings, the preview updates to show 
  the results of your brush modifications. 
  Secrets of a Monastery
  
  1 0 :  d r a w  &  p a i n t
  175
  More about brush settings
  The Brush panel provides more ways to modify a brush stroke than we’ll 
  ever need, but occasionally we find some obscure setting that is just exactly 
  what we want. The options on the right side of the Brush panel apply to the 
  brush characteristic or effect selected on the left side of the panel. Watch 
  the preview pane at the bottom to see what you created. 
  Shape	Dynamics are the dynamic elements of a brush that can be made 
  to change during a brush stoke, such as size, color, or opacity.
  Scattering sets the number and placement of marks 
  that combine to make a brush stroke.
  Texture uses patterns to add texture to a brush.
  Dual	Brush combines two brush tips to make one brush stroke. With 
  a brush tip selected, click “Dual Brush,” then select a second brush tip 
  from the presets that appear on the right side of the panel. 
  Color	Dynamics adjusts color variations of a stroke, based on current 
  foreground and background colors. The “Fade” option 
  sets the variation of colors as a specific number of steps.
  Transfer determines how paint changes during a brush stroke.  
  For instance, the “Fade” control looks at the paint opacity setting in 
  the Options bar and fades it from there down to 0. 
  Noise adds noise (speckles) to soft brush tips that contain gray values.
  Wet Edges simulates paint build-up along brush 
  stroke edges.
  Airbrush simulates soft, sprayed airbrush brush strokes.
  Smoothing creates smoother brush strokes.
  Protect	Texture applies the same pattern and scale to all brush presets 
  that have texture. To create a consistent texture, select this option 
  when you paint with multiple textured brush tips. 
  Spacing is an option that’s available on the right side of the Brush 
  panel when “Brush Tip Shape” is selected at the top of the left 
  column. Increase the Spacing value to add space 
  between the basic elements of a brush tip and  
  create “spacey” brush strokes.
  
  1 0 :  d r a w  &  p a i n t
  176
  The Mixer Brush
  The Mixer Brush is stored under the regular Brush tool in the Tools bar 
  (press on the Brush tool icon to reveal the panel of other brushes). 
  The Mixer Brush simulates the way a physical paint brush handles color and 
  reacts with color already on the paper. The Mixer Brush contains two paint 
  wells. The first, the reservoir well, is loaded with the foreground color; the 
  second, the pickup well, picks up paint from the canvas and mixes it with 
  the reservoir color. The settings you apply determine exactly how the brush 
  and canvas colors interact with each other.
  Load brush  
  after each stroke.
  Brush Preset 
  picker.
  Current brush load, 
  the reservoir well.
  Mixer Brush presets.
  Clean brush after 
  each stroke.
  Mixer Brush settings.
  •	 Load	or	clean	your	brush: The Load brush after each stroke button 
  loads the color that was under the brush tip at the end of the 
  previous stroke. The Clean brush after each stroke button loads the 
  color that is under the brush tip at the start of the next brush stroke.
  •	 Current	brush	load: Click the triangle next to the color swatch and 
  choose “Load Brush” to load the foreground color. If you want to keep 
  the foreground color loaded, click the Load brush after each stroke. 
  Or choose “Clean Brush” to clear the brush of color. 
  The Mixer Brush Options bar
  When the Mixer Brush is selected, the Options bar (as usual) changes to 
  show brush-specific settings.
  
  1 0 :  d r a w  &  p a i n t
  177
  Below are the Mixer Brush settings used for 
  this painting. I chose the Mixer Brush preset 
  called “Wet,” then modified the settings on 
  the right (Wet, Load, and Mix). 
  A photo customized  
  with the Mixer Brush. 
  Create a painterly effect with the Mixer Brush
  Choose a blank canvas, a color-filled layer, or an existing image to paint on, 
  as in the example below. Then do the following: 
  1 Select the Mixer Brush (under the Brush tool).
  2 Choose a brush from the Brush Presets picker.
  3 In the Options bar shown on the opposite page, set the Mixer Brush 
  options and settings. In most cases, click Clean the brush after each 
  stroke button to keep from contaminating colors too much.
  4 Drag the Mixer Brush in an image to paint.
  •	 Mixer	Brush	presets menu: Dry, Moist, Wet, Very Wet, etc. To 
  modify the chosen preset, use the controls to the right of that menu:
  Wet determines how much paint the Mixer Brush picks up from 
  the canvas. A higher number makes longer brush streaks.
  Load specifies how much paint is loaded in the reservoir well. A 
  lower number makes the brush stroke run out of paint more quickly.
  Mix determines how much foreground color is mixed in with the 
  brush stroke. A low percentage adds more foreground color; a 
  high percentage adds less foreground color and more canvas color.
  Flow determines how much paint is applied by the brush.
  If you choose to paint on an image, duplicate the image layer and work 
  on the duplicate to preserve the original. You can paint on the duplicate 
  and easily make new duplicates from the original as you experiment with 
  various brush settings. 
  
  1 0 :  d r a w  &  p a i n t
  178
  Brush Blending Modes
  When you paint with a brush, you can choose a brush blending mode to 
  alter how the brush color interacts with other colors in the image.
  These blending modes are exactly like the Layer Blending Modes explained 
  on page 98; instead of using a Brush blending mode, you can place brush 
  strokes on separate layers, then apply a Layer Blending Mode. 
  However, the Brush Blending Mode includes two options that aren’t available 
  on Layers: Behind and Clear. Behind paints only on transparent areas of a 
  layer, as shown below, giving the appearance of “painting behind” existing 
  pixels on the layer. Clear paints transparency (which means it erases, just 
  like the Eraser tool).
  1 Select the Brush tool in the Tools panel.
  2 In the Options bar, select a blending mode from the “Mode” pop-up 
  menu. The samples of various blending modes below shows how 
  different modes affect the brush stroke and the image. The effects 
  differ depending on the color and value of the brush stroke as well 
  as the underlying image.
  3 Select a foreground color and paint on a layer. 
  Normal.
  Screen.
  Difference.
  Divide.
  The Behind Brush Blending Mode 
  paints only on transparent pixels. This 
  black brush stroke is actually on the 
  same layer as the hand and wine glass. 
  (Keep in mind, though, that you have 
  more options if you paint the brush 
  stroke on another layer.) 
  
  1 0 :  d r a w  &  p a i n t
  179
  Original flower photo.
  Paint with the Clone Stamp tool
  The Clone Stamp tool can resolve many of your retouching challenges—it’s 
  more versatile than many users realize. At its most basic level, you simply 
  select a part of an image as a source, and then paint that source onto another 
  area of the image (see page 58). But you can also scale or rotate from the 
  source, and even paint part of an image from one document onto an image 
  in another document. You can set up to five separate sources and switch 
  between them as needed.
  To adjust the clone options in the Clone Source panel, open this panel from 
  the Window menu. 
  A simple clone project
  Paint elements from one photo into another photo using the Clone Stamp. 
  1 Open two photos (both photos must be in the same color mode, 
  either rgb or cmyk). Separate them so they are not in the single tab 
  (drag the title bar of one photo away from the tab until it separates). 
  —continued
  Save up to five clone sources.
  Set horizontal scale (width).        
  Set vertical scale (height).        
  Overlay is a preview 
  of the clone source. 
  Choose a blending mode.
  Set the clone opacity.
  Flip horizontal.
  Set vertical and 
  horizontal offsets.
  For video.
  Flip vertical.
  Clipped: constrain the Overlay 
  preview to the brush tip shape.
  Hide the Overlay as you paint.
  Maintain Aspect Ratio.
  Rotate the clone source.
  Reset scale and rotation.
  Original dog photo.
  
  1 0 :  d r a w  &  p a i n t
  180
  First, position the Clone Stamp 
  tool here and Option-click (or  
  Alt-click) to set a clone source. 
  Next, position the Clone 
  Stamp  tool somewhere else; 
  press-and-drag to paint. 
  2 Select the Clone Stamp tool.
  3 In the Options bar, click the Brush panel icon. In the Brush panel, 
  choose a brush tip, set opacity, flow, and blending mode.
  4 In the Options bar, click the Clone Source panel icon.  
  In the Clone Source panel (shown on the previous page),  
  choose from these behaviors for the cloned image you paint:
  •	Flip the cloned image horizontally or vertically.
  •	Adjust the scale of the cloned image.
  •	Rotate the cloned image as you paint.
  •	Adjust the opacity of the cloned image.
  •	Choose a blending mode for the cloned image.
  •	Choose to “Show Overlay” (so the brush displays what you’re 
  going to paint before you actually commit to it) and clip it to 
  the brush tip shape (select the “Clipped” option).
  5 In the Options bar (shown below):
  • From the “Sample” pop-up menu in the Options bar,  
  choose which layers to sample.
  •	Make sure the Mode is “Normal” (unless you choose otherwise).
  •	Select or deselect “Aligned” (see below).
  Select “Aligned” to make the Clone tool remember the brush tip position at the end of your 
  last stroke, and continue from there when you start the next brush stroke. When “Aligned” 
  is deselected, each brush stroke starts at the original position of the selected clone source. 
  6 Set a clone source: Position the Clone Stamp brush tool over a part  
  of the image you want to clone somewhere else, then Option-click  
  (PC: Alt-click). 
  
  1 0 :  d r a w  &  p a i n t
  181
  8 To use the other Photoshop document as a clone source, Option-click 
  (or Alt-click) in the document where you want to set a clone 
  source. In the example below, I opened a photo of Robin’s dog, 
  Rosetta, and Option-clicked in her face.
   
  Next, position the Clone tool in the window where you want to start 
  painting with the new clone source; press-and-drag to paint.
  To set additional clone sources, first select one of the other clone 
  source icons in the Clone Source pane, then Option-click or 
  Alt-click on the portion of the image you want to clone.
  7 With a clone source selected, position the Clone Stamp tool in the 
  image where you want to start painting, then drag to paint.
  With a black background 
  and the Clone brush 
  hardness set to 0%  
  (a very soft-edged brush), 
  painting near the edge of 
  existing flowers creates 
  the illusion of new flowers 
  disappearing into the 
  shadows of other flowers.
  A large, soft-edged Clone 
  Stamp brush creates a soft 
  transition between the 
  original flower image and the 
  clone source, which is Robin’s 
  dog from another open 
  Photoshop document.
  Tip: For some projects, you might want to make a selection of the area in which 
  you intend to work so the rest of the image is protected.
  
  1 0 :  d r a w  &  p a i n t
  182
  Paint with the Gradient tool
  The Gradient tool creates smooth blends between colors. You can use a 
  gradient to fill a layer or a selection. Apply different blending modes and 
  adjust gradient opacity to create unique effects. Choose from a collection of 
  preset gradients, create your own, or modify existing presets to fit your needs. 
  Fill a layer or a selection with a preset gradient
  1 Select the Gradient tool in the Tools panel.
  2 In the Options bar, click the triangle button (on the right side of the   
  Gradient swatch, shown below) to open the Gradient picker, then 
  choose one of the preset gradients.
  3 In the Options bar, select one of the gradient style buttons:
  Linear gradient: Blends colors in a straight line.
  Radial gradient: Blends colors in a circular shape.
  Angle gradient: Blends colors in a counter-clockwise sweep  
  around the starting point.
  Reflected	gradient: Creates a linear gradient on each side  
  of the starting point.
  Diamond	gradient: Blends colors in a diamond shape.  
  The starting point (the first click/press of the Gradient tool)  
  is the center of the diamond. The gradient ending point (the 
  release of the Gradient tool) sets the corner of the diamond shape.
  4 In the Options bar (below), make the following settings:
  •	 Choose a blending mode from the “Mode” pop-up menu, and 
  set the gradient opacity. 
  Click here to access other gradients. 
  You can choose to replace the 
  existing ones, or append them  
  to this pane.  
  
  1 0 :  d r a w  &  p a i n t
  183
  To cycle through the modes,   
  select the Move tool,   
  hold down the Shift key, and 
  press + (plus) or – (minus).
  The gradient, applied to a new layer.
  Starting point.
  Ending point.
  Or if you prefer (and we recommend), leave the Mode set 
  to “Normal” and opacity at 100%. Create a new layer for the 
  gradient and make sure the new layer is directly above the 
  photo. Keep in mind that the gradient layer will affect all layers 
  beneath it; if you want the gradient to affect just the one layer 
  below, clip the two together (see pages 106–107).  
  •	 Check “Reverse” if you want to reverse the color order. 
  •	 Check “Dither” if you want smoother blends and less color 
  banding (usually a good idea).
  •	 Check “Transparency” to preserve any transparency that’s 
  included in the gradient. Deselect for an opaque gradient.
  5 Paint the gradient: Position the Gradient tool where you want to 
  start, then press-and-drag to a point where you want to end the 
  gradient (below left). If you don’t like the result, Undo (choose Edit 
  > Undo) and try again.
   
   If you applied the gradient directly to the photo (instead of on a 
  separate layer), you cannot change the gradient—you must undo 
  and try again. 
   
   If the gradient is on its own layer (below right), adjust the opacity and 
  blending mode in the Layers panel for that selected layer. You can 
  always throw away the layer and start over.
  “Color Burn” layer blending mode results.
  
  1 0 :  d r a w  &  p a i n t
  184
  A layer beneath the Moon layer is 
  painted with the Pattern Stamp tool.
  Rasterized text painted with the 
  Pattern Stamp tool.
  Paint with a pattern
  The Pattern Stamp tool paints with a pattern. Select a pattern from the 
  pattern libraries or create your own.
  Below is one example—experiment with all the options!
  1 Select the Pattern Stamp tool.
  2 Choose a brush from the Brush Presets panel in the Options bar.  
  In the example above-left, I chose a round brush with 0% hardness.
  3 Set mode and opacity options in the Options bar. Above, the  
  mode is Divide and the opacity is 45%. 
  4 Select “Aligned” in the Options bar if you want to maintain the 
  continuity of the pattern, no matter where you start the brush.  
  Or deselect “Aligned” if you want to restart the pattern at a new 
  start point when you stop and start painting again.
  5 Click the Pattern swatch in the Options bar to select a pattern, as 
  shown below. To load additional patterns, click the small triangle 
  button (circled).
  6 Drag in the image to 
  paint with the pattern. 
  Experiment with different 
  modes, opacity levels, and 
  brush shapes.
  
  185
  Color 
  Tools
  Photoshop’s color creation and selection tools are enough 
  to make design survivors from the pre-digital world 
  weep with joy. When we first saw the Eyedropper tool in 
  Photoshop 1.0, we said, “Even if that’s all it does, I gotta 
  have it.” Now we can work with color in a variety of fun 
  and powerful ways.   
  Photoshop’s color tools enable you to select from color 
  swatches, create custom colors, select color from an 
  image, select a color library from an impressive list of 
  libraries, create your own custom color library, match 
  colors between images, and exchange color libraries with 
  InDesign and Illustrator. There’s even a special Kuler
  TM
  panel for downloading color libraries from the Internet 
  (see page 190).
  In this chapter we cover the basic tools and operations 
  you should know to create, select, and apply color in 
  your documents.    
  The HUD color picker is just one of the color selection tools you 
  can use. On the left is the Hue Strip version of the color picker; on 
  the right is the Hue Strip version (seep page 188). 
  
  1 1 :  c o l o r  t o o l s
  186
  Foreground color box.
  Color panel menu.
  Background color box.
  The Foreground color box is 
  selected here—notice the 
  thin dark line around it.
  The Background color box is 
  selected here—notice the 
  thin dark line around it.
  Pick a color
  Whether you want to fill a shape or layer, change the color of type, or fill a 
  brush with a specific hue, use one of these methods to pick a color.
  The Color panel
  Colors you create in the Color panel are temporary, as opposed to colors 
  in the Swatches palette (pages 190–191) that you can use again and again. 
  To open the Color panel, from the Window menu, choose “Color.”
  •	The Color panel has Foreground and Background boxes, just as in 
  the Tools panel. Often it is critical that you recognize which box is 
  chosen, so look carefully at the illustrations below.
  Color spectrum ramp.
  To create a color in the Color panel, do one of the following:
  Single-click in the color spectrum at the bottom of the panel.  
  Or drag the color sliders to set a value for each hue.  
  Or type a value in the text box for each hue.
  iMporTAnT: if the Background color box is selected, it can affect color 
  choices with other tools! if you ever use a keyboard shortcut expecting, say, the 
  Foreground color box in the Tools panel to change color, but it changes the 
  Background color box instead, that’s because the Background color box in this 
  Colors panel is selected. it’s really annoying. get in the habit of tapping the d
  key to make sure the Foreground color box in the Color panel is selected.
  
  1 1 :  c o l o r  t o o l s
  187
  The Adobe Color Picker
  The Adobe Color Picker is one of two main tools for color. 
  1 To open the Color Picker, click the Foreground or Background  
  color box in the Tools panel.
  2 Single-click in the vertical color spectrum to choose a hue and display 
  its variations in the large preview pane on the left. Then click in 
  the preview pane to choose a shade or tint of the hue; your chosen 
  color appears in the “new” preview box. 
  3 Click “Add to Swatches” to add that particular color to the Swatches 
  panel, where you can easily access it at any time.
  4 Click ok to place that color in the color box (Foreground or 
  Background) that you had selected. 
  This symbol means the new color is 
  not “web safe,” meaning the color 
  you’ve chosen might not display 
  exactly like this on old monitors.
  To change color modes and spectrum:
  To create cmyk colors or rgb colors, open the panel menu (shown 
  below) and choose the color sliders you need.
  To ensure that you don’t create colors out of the proper gamut,
  make sure the spectrum matches the slider mode, as shown below.
  This symbol indicates the color 
  selected is not in the proper gamut, 
  or scope, of that color mode. 
  In this example, this selected color 
  will not display properly when 
  printed on a press in CMYK colors. 
  To ensure you don’t create 
  colors out of gamut, choose 
  the spectrum that matches the 
  color mode sliders. Then when 
  you choose colors from the 
  ramp, they will always be in   
  the proper gamut.
  
  1 1 :  c o l o r  t o o l s
  188
  The HUD color picker
  You can use the hud (Heads-Up-Display) color picker to select a color on 
  the fly when any painting tool is selected.
  The hud color picker is available in two types: the Hue Wheel (below, left)
  and the Hue Strip (below, right). It is your own personal preference which 
  one to use. To change the type of hud color picker:
  1 From the Photoshop menu, choose Preferences > General  
  (PC: From the Edit menu, choose Preferences > Performance).
  2 From the “hud Color Picker” pop-up menu, choose one of the  
  Hue Wheel or Hue Strip options.
  Selected hue.
  Selected shade.
  Hue Wheel
  Hue Strip
  To use the hud color picker:
  1 Press Control Option Command (PC: Shift Alt right-click)  
  and hold down the cursor in the center of the image area.  
  The hud Color Picker appears. Let go of the modifier keys,  
  but continue to press down.
  2 Still pressing down, drag the circular selection shape to the outer  
  ring of the Hue Wheel or to the vertical bar in the Hue Strip;  
  drag around or up and down to select a color hue. 
  3 Still pressing down, drag the selection shape back to the square  
  and select a shade or tint of the color hue. The top-right corner 
  represents pure color.
  4 Release the cursor. The Hue Wheel or Strip disappears and the 
  selected color appears in the Foreground color box of the Tools 
  panel and in your brush.
  
  1 1 :  c o l o r  t o o l s
  189
  Sampling Ring.
  The Eyedropper tool
  Pick a color with the Eyedropper tool—it samples (picks up) the color from 
  the pixel in which you click. 
  •	To select a foreground color with the Eyedropper tool,  
  single-click a color in the image. 
  •	To select a background color with the Eyedropper tool,  
  Option-click (PC: Alt-click) a color in an image.
  You can choose whether or not to display a sampling ring (the large circle 
  shown in the image below) when you use the Eyedropper. This is a handy 
  way to see exactly which pixel color you will pick up. 
  1 Choose the Eyedropper tool; check “Show Sampling Ring”  
  in the Options bar.
  	
  2 In	the	Color	panel,	click the foreground or background color, 
  depending on which one you want to load color into.
  3 Press-and-drag the Eyedropper on the image and the sampling ring 
  appears. Inside the ring, the top half-ring of color is the current 
  color selection in the pixel sampled by the Eyedropper; as you move 
  the Eyedropper around the image, that color changes. The bottom 
  half-ring is the previous color selection. 
   
  When the top half displays a color you want, click and that color is 
  loaded into the foreground or background (whichever you chose). 
  Tip: You can invoke the eyedropper sampling ring on the fly while you’re painting 
  with a brush: Make sure the Foreground color swatch is selected in the Color 
  panel (not the Tool panel), and make sure “show sampling ring” is chosen as in 
  step 2, above. While painting, option-click (PC: Alt-click) on the image to get 
  the eyedropper sampling ring. Let go, and your brush is loaded with the new color.
  
  1 1 :  c o l o r  t o o l s
  190
  The Kuler
  TM panel
  When you open the Kuler panel, it connects via the Internet to collections 
  of color themes created by an online community of designers and artists. 
  If you’re not confident in your color sensibilities or in choosing color 
  combinations that go well together, you’ll find lots of different color themes 
  that professional designers have created for you. 
  1 Open the Kuler panel: From the Window menu, 
  choose Extensions > Kuler.
  2 Click the “Browse” button at the top of the panel 
  to display the color selections. 
   
  You can use the pop-up menus to select color 
  themes by category (Most Popular, Highest 
  Rated, etc.), or by date.
  3 To add a color theme to your Swatches panel, 
  select the theme, then click the Add selected 
  theme to swatches button at the bottom of the 
  panel (circled, right).   
  Swatches panel menu.
  Create new swatch of color.  
  The swatch will be the color of the 
  currently selected foreground or 
  background color in the Color panel. 
  Manage the Swatches panel
  The Swatches panel keeps project colors accessible and organized. You can 
  share swatches with other people and other applications.  
  To open the Swatches panel, from the Window menu, choose Swatches.
  
  1 1 :  c o l o r  t o o l s
  191
  Add a color to the Swatches panel
  In the Color panel (not the Tools panel), select a foreground color, then 
  click the “New Swatch” button at the bottom of the Swatches panel.   
  Or create a foreground color in the Color panel, click an empty space in 
  the Swatches panel, name the color, and click ok.
  Delete a color from the Swatches panel
  Drag a swatch to the panel’s Trash icon (you won’t see the grabber hand 
  until you actually press and drag the swatch).
  Save a custom set of swatches as a library
  From the Swatches panel menu, choose “Save Swatches…” then choose a 
  location. This creates a .aco file for Photoshop (an Adobe color file format 
  for color swatches). 
  Share swatches with InDesign and lllustrator
  1 In the Swatches panel, create color swatches you want  
  and delete swatches you don’t want to include.
  2 From the Swatches panel menu, choose “Save  
  Swatches For Exchange….” This creates a .ase file  
  (Adobe swatch exchange file format).
  3 Choose a location in which to save the swatches file— 
  you can save it anywhere.
  4 Load the file into the Swatches panel of InDesign or Illustrator:  
  From that application’s Swatches panel, choose “Load Swatches,” 
  then select the .ase file you created.
  Load or replace color libraries
  From the Swatches panel menu, choose “Load Swatches,” “Replace Swatches,” 
  or choose one of the color library names in the panel menu. You can choose 
  to append (add) the swatches, or replace the existing ones. 
  Reset the default swatches library
  From the Swatches panel menu, choose “Reset Swatches.”
  
  1 1 :  c o l o r  t o o l s
  192
  Match color
  You sometimes have to work with photos that have different color casts. If 
  the photos are supposed to look similar, the different casts can be distracting 
  or look amateurish. 
  Instead of experimenting with settings for Hue/Saturation and Color Balance, 
  try Photoshop’s Match Color feature.
  1 Open both images in Photoshop, then choose the target image,  
  the image you want to adjust (make it the active window).
  2 From the Images menu, choose Adjustments > Match Color.
  3 In the “Match Color” dialog, select  
  the other image, the one you want to 
  match to, in the “Source” pop-up menu.
  4 Check the “Preview” box to see the effect  
  on the target image.
  5 To reduce the effect, use the “Fade” slider.  
  If necessary, adjust the other sliders.
  6 Click ok.  
  •	In multilayered files, you can choose the layer you want to adjust.
  •	To base the color adjustment on specific color areas in the source 
  image, make a selection in the source image, then check “Use 
  Selection in Source to Calculate Colors.”
  •	To apply the color adjustment to only a part of the target image, 
  check “Use Selection in Target to Calculate Adjustment.”
  •	Choose “Save Statistics” to apply these adjustments to future images.
  •	You can “Load Statistics” from other sources (a friend or coworker).
  Source image.
  Target image.
  Modified target image.
  
  193
  Filters & 
   Effects
  Filters can alter an image’s appearance in many ways. 
  Using filters, you can transform your images with 
  textures, special effects, artistic effects, distortion, blurs 
  of various kinds, sharpness, lens corrections, lighting 
  effects, and much more. The possibilities are dizzying, 
  especially when you consider that most filters provide 
  many adjustment options. 
  Before you apply a filter to a layer, you can first convert 
  the layer into a Smart Object layer. When you apply a 
  filter to a Smart Object layer, the filter becomes a Smart 
  Filter, a non-destructive editing layer that preserves the 
  original image. When you use Smart Filters, you can 
  modify filter settings (or disable the filter) at any time 
  after you’ve applied them. It’s a very smart and efficient 
  way to work.
  These are just a few of the filters available that can 
  add visual interest to your project.
  
  1 2 :  f i l t e r s  &  e f f e c t s
  194
  Filter Gallery
  Some filters can only be applied to rgb files, so if the filter you want to use 
  won’t work because your image is in cmyk mode, go to the Image menu and 
  choose Mode > rgb Color. Also, keep in mind that an image’s resolution 
  can affect the appearance of some filter’s results—a higher resolution usually 
  produces a more refined result. We often increase an image’s resolution before 
  we apply certain filters, then reduce the resolution (see page 70).
  To	use	the	filters	and	effects	from	the	Filter Gallery:
  1 Select a layer in the Layers panel to which you want to apply a filter  
  or an effect. Or make a selection in a layer. 
  2 From the Filter menu, choose “Filter Gallery.” The dialog opens, 
  shown below, with the selected layer content in the preview pane.
  Preview.
  Adjust preview size.
  Choose 
  filters here, 
  or from the 
  thumbnails 
  pane.
  Effects layers.
  New effect layer.
  Hide/show filter thumbnails.
  Thumbnails pane.
  3 Single-click a folder in the middle section to display filters and effects.
  4 Select one of the filter thumbnails (such as “Charcoal,” shown above).
  5 With a filter/effect thumbnail selected, adjust the settings on the 
  right side of the dialog. The filter is added to the effects layers list 
  in the bottom-right corner. Each filter you choose will replace the 
  existing one in the list until you click the New effect layer button, 
  then it gets added and the effects affect each other.
  •	 Add as many effects as you want. 
  •	 Click the eyeball icon to turn the effect on or off. 
  •	 The stacking order of effects layers can affect the image results, so 
  drag a filter up or down in the list to try different combinations.
  6 Click ok. Once you click ok, those effects are permanently applied (see 
  Chapter 7 about the History palette if you made a mistake!).
  
  1 2 :  f i l t e r s  &  e f f e c t s
  195
  Glowing Edges.
  Poster Edges.
  Grain Vertical.
  Torn Edges.
  A sampling of filters from the Filter Gallery.
  Filters in the Filter menu 
  You can also choose and apply filters from the Filter menu. Some of these 
  same filters are in the Filter Gallery, in which case Photoshop automatically 
  opens them in the Filter Gallery dialog (shown on the opposite page) when 
  you select one of them. 
  There are too many filters to show them all here. Experiment with each one 
  so you know what the possibilities are. 
  Original image.
  Surface Blur applied.
  Artistic filters
  The Artistic filters create painterly effects. 
  Some effects that may not immediately 
  appeal to you with their default settings 
  can look very different when you exper-
  iment with the adjustment sliders. The 
  Watercolor filter is shown on the left.
  Blur filters
  There are several different types of blur filters. The most commonly used 
  is the Gaussian Blur to slightly soften the image. Another favorite is
  Surface Blur, which attempts to keep edges sharp while blurring between 
  edges; use it to improve a low-resolution image that has lots of noise and 
  graininess, as shown below.
  
  1 2 :  f i l t e r s  &  e f f e c t s
  196
  Brush Stroke filters
  The Brush Stroke filters create a painterly 
  or graphic look, using different brush 
  stroke effects. By adjusting the filter sliders, 
  a wide variety of beautiful effects are 
  possible. The Accented Edges filter is shown 
  to the left.
  Noise filters
  Noise is random or orderly color or 
  grayscale pixels that can be used to create 
  texture, add visual interest, and cover up 
  problem areas, such as uneven color or dust 
  specs. The Reduce Noise filter smooths areas 
  of color that contain noise, yet preserves 
  edges. In the example to the left, I used 
  Add Noise.
  Pixelate filters
  The Pixelate filters can simulate halftone patterns or translate images into 
  blocks of color or different kinds of dot patterns, such as the Mezzotint
  filter, shown below-left, and the Mosaic filter, below-right. (There is a 
  completely different Mosaic Tiles filter under Texture.)
      
  
  1 2 :  f i l t e r s  &  e f f e c t s
  197
  Render filters
  The Render filters create cloud patterns and simulated light reflections. 
  They are also useful with 3d techniques, which we don’t cover in this book. 
  This Lens Flare filter simulates the flares 
  that different types of camera lenses create.
  This Lighting Effects filter simulates various 
  types of lighting. You can add drama, 
  focus, or visual interest to a portrait, a 
  landscape, or just about any subject when 
  you apply lighting effects. It’s another 
  creative option that you can take advantage 
  of in Photoshop.
  Sharpen filters
  Unsharp Mask and Smart Sharpen are 
  the most effective filters in this category. 
  Unsharp Mask (left) adjusts the contrast 
  of edge detail. Smart Sharpen provides 
  more control, letting you set the amount 
  of sharpening separately for shadows and 
  highlights.
  Sketch filters
  The Sketch filters add texture and create 
  a fine art or hand-drawn look. Many of 
  the filters, such as the Stamp filter shown 
  here, use the current foreground and 
  background colors.  
  
  1 2 :  f i l t e r s  &  e f f e c t s
  198
  Filters and Smart Objects
  Smart Object layers contain image data, but not the actual image. This 
  allows non-destructive editing, which means the original image on that layer 
  is preserved and can always be recovered. Once a layer is a Smart Object, 
  any filters you apply are automatically Smart Filters, which are perpetually 
  adjustable and non-destructive.
  To	convert	a	regular	or	Background	layer	to	a	Smart	Object, select the layer, then: 
  •	From the Layer menu, choose Smart Objects > Convert to Smart Object.
  Or from the Filter menu, choose “Convert for Smart Filters.”
  Both commands do the same thing; they convert the selected layer 
  into a Smart Object, preparing it to accept filters as Smart Filters.
  To make changes to the original image on a Smart Object layer, double-click 
  the Smart Object thumbnail. The original image opens in a separate window. 
  Make the changes, save them in the original location, then close the original’s 
  window. The edited image is now visible in the Smart Object layer. 
  Work on a low-res version of a Smart Object
  If a project requires large, high-resolution images—which can cause slower 
  performance on your computer, especially when applying certain filters—you 
  can work with low-resolution versions of the images as Smart Objects and 
  apply Smart Filters and adjustments, then later replace the low-res versions 
  with the high-res images. Any transformations, filters, warping, and effects 
  you created are applied to the high-resolution replacement images.
  1 Select a Smart Object, then from the Layer menu, choose Smart 
  Objects > Replace Contents.
  2 In the “Place” window that opens,  choose the high-res version of the 
  image, then click “Place.”
  3 Click ok. The new content is placed in the Smart Object.
  Remember, however, that a filter applied to low-res image might have a more 
  intense result than the same filter applied to a high-res image. 
  The Accented Edges filter applied 
  to a low-resolution image (left) and 
  a high-resolution image (right).
  
  1 2 :  f i l t e r s  &  e f f e c t s
  199
  Copy a filter to another Smart Object
  Instead of going through the steps necessary to apply the same filter to 
  another layer or multiple layers, copy	filter	effects from one Smart Object 
  layer to another Smart Object layer.
  •	Option-drag (PC: Alt-click) the filter effects icon on a Smart Layer 
  and drop it onto another Smart Layer (shown below). 
  Delete or disable a Smart Filter
  To delete a Smart Filter, do one of the following:
  •	In the Layers panel, right-click on the Smart Filter name  
  (the filter name, not the layer name), then choose “Delete  
  Smart Filter.”
  •	Or drag the individual Smart Filter layer to the Trash icon at the 
  bottom of the Layers panel. 
  To disable a Smart Filter, do one of the following:
  •	In the Layers panel, right-click on the Smart Filter name,  
  (the filter name, not the layer name), then choose “Disable  
  Smart Filter.” 
  •	Or in the Layers panel, click the Eyeball icon next to the Filter 
  Mask thumbnail (which will delete all the Smart Filters in that 
  collection) or next to an individual Smart Filter name.
  This is the effects icon on a Smart Layer, 
  being dragged to the Smart Layer above. 
  
  1 2 :  f i l t e r s  &  e f f e c t s
  200
  Tip: The first item in the Filter menu shows the most recent filter applied.
  •	If you choose the recent filter that appears as the first item in the Filter 
  menu, it applies	the	same	filter	settings as the last time it was used. 
  •	As a shortcut to	open	the	filter	dialog, Option-click (PC: Alt-click) 
  the recent filter name at the top of the Filter menu (which is the last 
  filter you used). This opens the filter dialog so you can modify the 
  settings, instead of applying the filter with the previous settings.
  Show a grid to help with alignment.
  Remove barrel 
  or pincushion 
  distortion.
  Correct 
  vertical or 
  horizontal 
  perspective.
  The original image with lens distortion.
  Lens Correction
  Two types of lens distortion are common with cameras: Barrel distortion 
  (straight lines bow out toward the edges, like a barrel) and Pincushion distortion
  (straight lines bend inward toward the center). The Lens Correction filter 
  corrects both types, and more.
  1 Open an image that needs correction (usually something with straight 
  lines), then from the Filter menu, choose “Lens Correction….”
  
  1 2 :  f i l t e r s  &  e f f e c t s
  201
  The corrected image.
  2 In the “Auto Correction” pane, you can choose the camera model 
  and lens type that you used to shoot the photo, and let the default 
  settings take care of correcting the image. 
  3 If you don’t know the camera information, click the “Custom” tab.
   
  In the “Geometric Distortion” section, drag the “Remove Distortion” 
  slider toward the barrel distortion icon (left) or toward the 
  pincushion distortion icon (right).
  4 If necessary, in the “Transform” section, drag the “Vertical 
  Perspective” and the “Horizontal Perspective” sliders left or right. 
  The icon at either end of the sliders indicates the effect that slider 
  will have on the image.
  5 When the corrections are made, click ok. 
  
  1 2 :  f i l t e r s  &  e f f e c t s
  202
  The Liquify filter
  The Liquify filter distorts and warps raster images. It’s a great filter for 
  retouching, or for special effects, because it creates substantial distortion 
  with minimal quality degradation.  
  1 Select a layer, or make a selection of part of a layer.
  2 From the Filter menu, choose “Liquify….”
  3 In the Liquify dialog, use the Freeze Mask tool to “paint” areas of the 
  image that you don’t want to change. This is only necessary if your 
  brush size overlaps areas that you don’t want to affect. 
   
   To erase the Freeze Mask when you’re done, use the Thaw Mask tool.
  4 Choose one of the liquify tools from the panel on the left side, then 
  drag in the preview pane to distort the image. I used the Forward 
  Warp tool in the example below.  
  5 Use the Reconstruct tool from the Tool panel to paint the changes 
  back to normal, or click the “Reconstruct” button on the right side 
  to undo the liquify effects step by step, or click “Restore All” to 
  undo all distortions at once. Click ok when you’re happy with it.
  Brush	Density sets the feathering (softness) of the brush. The edge of a softer 
  brush (lower number) does not impact the image as much as a hard edge.
  Brush Pressure sets the impact of distortion when you drag a tool in the 
  preview area. Low settings have less impact per drag. 
  Brush Rate and Turbulent Jitter set the speed of distortions when you hold a 
  tool stationary in the preview area. Drag just a wee bit, then hold the tool still.
  See page 41 for another example of how to use this filter for retouching.
  Experiment with  
  the various tools  
  and settings.
  To make the brush 
  larger, press ].
  To make the brush 
  smaller, press [.
  
  1 2 :  f i l t e r s  &  e f f e c t s
  203
  Vanishing Point
  Vanishing Point lets you create a perspective plane mesh on top of an image.
  When you retouch or clone on top of the perspective plane, the edits are 
  scaled and oriented to the plane in perspective. For instance, you might 
  want to extend a brick patio into the background of a photo, or cover the 
  side of a house with wood planks. Vanishing Point enables you do that, in 
  perspective. To keep the perspective plane information in a document (to 
  use later), save the document in psd, tiff, or jpeg format.
  The example shown below just barely scratches the surface of what can be 
  done in Vanishing Point, but it demonstrates how this feature can overcome 
  certain complex retouching challenges. 
  Clone an image with Vanishing Point
  1 Open an image that has a perspective in it, such as a long walkway or 
  a building. To protect the original, create a new layer to work on.
  2 From the Filter menu, choose “Vanishing Point….”
  3 In the Vanishing Point dialog that opens, use the Create Plane tool 
  (selected by default) to click in the preview area and set the four 
  corners of a rectangle that 
  will define the perspective 
  plane surface. The opacity 
  of the image below is 
  lightened so you can see 
  the perspective plane 
  clearly (right).
  To add a plane, select the 
  Create Plane tool and 
  drag the existing plane’s 
  edge away from the plane 
  (shown on the right).  
  By default, new planes are drawn at a 
  ninety-degree angle to the source plane.
   
  Anything painted, cloned, or pasted onto a 
  plane adheres to that plane’s perspective.
  —continued
  
  1 2 :  f i l t e r s  &  e f f e c t s
  204
  In this example, we want to clone the sides of the tower, in perspective,  
  to make it taller.
  4 Select the Edit Plane tool. Drag the top edge of the front plane 
  upward to extend the perspective. Repeat for any other edge 
  necessary to cover your intended work area (below).
  5 To protect other parts of the image from being altered, select the 
  Rectangular Marquee tool, then double-click inside the front plane 
  to select it.
  6 Choose the Clone Stamp tool. Option-click (PC: Alt-click) on the 
  image (a window in this example) to set a clone source. Position 
  the brush where you want to put another window, then drag in the 
  image, creating another window; repeat as necessary. No matter 
  where on the plane you paint, the cloned image maintains the 
  correct perspective. 
  •	You can paste an item 
  into the “Vanishing 
  Point” dialog window to 
  create a floating selection,
  which conforms to the 
  perspective of any plane 
  that it’s dragged into. 
  You can scale, rotate, 
  flip, or move a floating 
  selection.
  7 Click ok when finished.
  
  205
  Camera 
  Raw
  Many of today’s cameras can be set to shoot photos in 
  what is called Camera Raw. Raw is not a format itself, but 
  refers to a myriad of camera-specific formats that capture 
  uncompressed image data, retaining much more color and 
  luminance information than other formats, such as tiff 
  or jpeg. With raw photos you can manipulate and adjust 
  images in ways not possible with compressed formats.
  While some adjustments in Camera Raw, such as 
  noise reduction and lens correction, are also available 
  in Photoshop’s Filter menu, the Camera Raw method 
  provides more control, preserves the original, and allows 
  you to store the adjustments separately.
  Many of the Camera Raw adjustments in Photoshop 
  work not only with raw photos, but also with jpeg 
  and tiff formats. Some of the original data in jpegs 
  and tiffs, however, is deleted in the camera during 
  the compression process, so some adustments have 
  limitations.
  There are several different raw formats; in the unlikely 
  event that you need to work with images in a format 
  that is not supported by Photoshop, visit the Adobe web 
  site and search for “dng Converter.” The dng (Digital 
  Negative) Converter converts other raw formats to the 
  dng format, which is compatible with Photoshop and 
  other Adobe applications. 
  
  1 3 :  c a m e r a  r a w
  206
  Open an image in Camera Raw
  Open an image in Camera Raw by doing any one of the following: 
  •	In Photoshop, from the File menu, choose “Open….”  
  In the Open dialog box, single-click to select an image.  
  From the “Format” menu at the bottom of the dialog box, 
  choose “Camera Raw,” then click “Open.” The image opens 
  in the Camera Raw interface.
  •	If the Applications bar is visible in Photoshop, click the 
  Bridge icon 
   to open the Bridge application.  
  Select a photo, then click the Open in Camera Raw icon 
  in the Options bar. It opens in the Camera Raw interface.
  •	Double-click a raw image anywhere on your computer. Raw 
  images have filename extensions such as .nef .dng, .raw, 
  .crw and .cr2. They open in the Camera Raw interface.
  Preview.
  Toolbox.
  Full screen mode.
  Histogram.
  Camera Raw 
  menu.
  Choose an 
  Adjustment 
  panel.
  Adjustment 
  control 
  sliders.
  Save changes, 
  select a file format.
  Open the image   
  in Photoshop,   
  and apply changes.
  Apply changes, 
  close the Camera 
  Raw dialog.
  Turn the preview on and off to compare 
  adjustments to the original image.
  The Camera Raw interface
  The main elements of the Camera Raw interface include a large preview, 
  a tool panel located just above the preview, and a pane on the right that 
  displays the controls for the currently selected Adjustment panel. 
  
  1 3 :  c a m e r a  r a w
  207
  The Camera Raw Adjustments panels
  To	display	a	specific	Adjustment	panel, click its button in the row of buttons 
  (shown below) that are located below the Histogram (shown on the previous 
  page). Hover the cursor over an icon to show a tool tip description of the 
  item; click an icon to display its controls. Some specific examples and 
  exercises are on the following pages, but spend some time experimenting. 
  The toolbox
  The toolbox provides a collection of tools for editing the image in the preview. 
  Zoom tool: Enlarge or reduce the preview.
  	 Hand	tool: Drag in the preview area to reposition an enlarged image.
  White Balance tool: Click on a tonal value in the preview to adjust 
  the image’s white balance. (We usually simply select “As Shot” or 
  “Auto” from the “White Balance” pop-up menu.)
  Color Sampler: Click colors in the preview to show their rgb values 
  in a list. You can list the values of up to four colors.
  Target Adjustment tool: Hold down this tool icon to reveal a pop-up 
  menu, then choose the type of adjustment you want to make. Click 
  on the preview to sample a range of pixels, then drag horizontally 
  to modify the pixels that fall within the sampled range. See page 210 
  for an example.
  Crop tool: Crop the image.
  Straighten tool: Press and drag to align the drawn line with a feature 
  in the image that you want to straighten horizontally or vertically. 
  	 Spot	Removal	tool: From the “Type” pop-up menu, choose “Heal” 
  or “Clone,” then set the brush size (Radius) and opacity. 
  Red	Eye	Removal	tool: Adjust the Pupil Size slider and the Darken
  slider (if necessary), then drag a rectangle that covers the entire eye 
  and part of the face. The tool will only remove the red color.
  Adjustment Brush tool: Paint effects on the image that can be 
  adjusted after you apply them. See page 211 for an example.
  Graduated Filter: Place one or more gradations over an image to affect 
  exposure, brightness, contrast, saturation, clarity, sharpness, or color.
  
  1 3 :  c a m e r a  r a w
  208
  Before Noise Reduction.
  After Noise Reduction.
  Noise Reduction 
  Unless a camera is set to shoot in a raw (uncompressed) format, a photo 
  will have some degree of compression applied to it in the camera, which 
  creates noise. Noise appears as unwanted texture, artifacts, and odd-colored 
  pixels in the image. The example below shows an image that was originally 
  scanned at a low resolution and saved as a jpeg. We can fix that. 
  1 Open an image in Camera Raw (see page 206). 
  2 In the Camera Raw dialog, single-click the “Detail” icon. 
  3 In the “Noise Reduction” section, give Luminance a high setting,  
  and give Luminance Detail a low setting. See the example below.
  4 In the “Noise Reduction” section, drag the Color slider to the right 
  to remove color noise. Drag the Color Detail slider to the right to 
  recover edge detail, if necessary.
  5 Drag the Luminance Contrast slider right to enhance edge contrast.
  	
  6	 Save	the	file in one of the following ways:
  •	Click “Save Image…” to save your adjustments;  
  choose a file format and location in which to store the image. 
  •	Click “Open Image” to apply the adjustments and open 
  the image per usual in Photoshop.
  •	Click “Done” to apply the adjustments and close  
  the Camera Raw dialog box.
  
  1 3 :  c a m e r a  r a w
  209
  Lens Correction
  Use Camera Raw’s Lens Correction tools to fix common lens distortions such 
  as barrel and pincushion distortion. Also use these tools to fix the even more 
  common vertical or horizontal distortion, as shown in the example below.   
  1 Open an image in Camera Raw (see page 206).
  2 In the Camera Raw dialog, click the “Lens Corrections” icon.
  3 In the Lens Corrections panel that opens, 
  make sure you’ve got the Zoom or Hand 
  tool selected. Click the “Manual” tab.  
  Based on the type of distortions you need  
  to correct, drag the adjustment sliders in 
  the “Transform” section. Watch the preview 
  to see the result.
   
   In this example, I adjusted the Vertical slider 
  to straighten the door frame, then adjusted 
  the Rotate slider a bit for a straighter 
  appearance.
  To reset all the settings, hold down the Option 
  key (PC: Alt key), and the Cancel button 
  turns into a Reset button.
  4 Save the file as described in Step 6 on the opposite page.
  Before Lens Corrections.
  After Lens Corrections.
  Option-click (Alt-click) the 
  Cancel button to reset all 
  the controls.
  
  1 3 :  c a m e r a  r a w
  210
  The Targeted Adjustment tool
  The Targeted Adjustment tool samples a range of pixels at the point where 
  you click in the preview, then modifies pixels that fall in that range as you 
  drag the tool horizontally across the preview. In the example below, we want 
  to change the color of the building, but retain the realistic color changes 
  between light and shadow areas (a perfect example for when this tool is 
  invaluable). 
  1 Open an image in Camera Raw (see page 206).
  2 Press on the Targeted Adjustment tool in the Tools panel to display its 
  tool menu (shown below-right); select the type of settings you want 
  to adjust. 
  	 Hue: Adjust the colors.
  Parametric	Curve: Adjust highlights, 
  lights, darks, and shadows.
  Saturation: Adjust the saturation  
  of the color range you click on.
  Luminance: Adjust the brightness of the color range you click on.
  Grayscale	Mix: Convert the image to grayscale and adjust the 
  grayscale values of the color range you click on.
  3 Press on a color in the preview that you want to adjust, then drag the 
  Adjustment tool left or right in the preview to adjust the hue of the 
  sampled pixels. You’ll see the sliders on the right adjust as you drag.
  4 Save the file as described in Step 6 on page 208.
  Press and drag the tool left or right in the preview to modify 
  the selected settings (the Hue, in this example). 
  The initial click samples 
  a range of pixels that will 
  be modified.
  
  1 3 :  c a m e r a  r a w
  211
  The Adjustment Brush
  Use the Adjustment brush to paint individual areas of an image and adjust 
  them separately. This unique brush enables you alter your image by painting 
  with exposure, contrast, clarity, and other adjustments. 
  1 Open an image in Camera Raw (see page 206).
  2 Click the Adjustment Brush icon in the Tools panel.  
  In the lower pane on the right, adjust the brush settings  
  (Size, Feather, Flow, and Density).
  3 Check the Auto Mask button so the brush will detect edges and keep 
  the brush effect confined to specific areas. If the effect spills over 
  into an unwanted area, select Erase and paint out the spill-over.
  4 Adjust the sliders to settings you want to paint with. Don’t worry 
  about precise settings—modify them after you paint them in. 
  5 Paint on the preview image. A Pin appears in the painted area to 
  indicate an adjustment; additional brush strokes are added to the 
  same group (the Add button is selected by default). To paint a 
  different area, which sets another Pin, click New.
  	
  To	see	areas	where	you’ve	painted with an Adjustment Brush,  
  hover the brush over a Pin.  
  To adjust the image, click on a Pin to select it, then adjust the sliders.
  6 Save the file as described in Step 6 on page 208.
  The Adjustment brush in this example is set to paint 
  with exposure, brightness, and contrast.
  Paint with “New” 
  brush settings, “Add” 
  brush strokes with 
  existing settings, or 
  “Erase” brush effects. 
  Feathered brush.
  Brush settings.
  Brush effects 
  settings.
  Delete effects.
  Adjustment Pin.
  
  1 3 :  c a m e r a  r a w
  212
  Camera Raw images as Smart Objects
  To	place	a	raw	file	in	a		Photoshop	document	as	a	Smart Object, from 
  the File menu, choose “Place.” Select a raw image file, then click “Place.” 
  See pages 111–113 about working with Smart Objects.
  Overexposure warning
  When adjusting exposure or brightness in Camera Raw, you can enable a 
  highlight clipping warning that will highlight overexposed areas as red. A 
  shadow clipping warning will highlight shadows that are too dense for a 
  printer to duplicate as blue. You can see the warning effects, below-left.
  To turn the warnings on or off, click the triangles at the top left and right 
  corners of the histogram in the Camera Raw dialog (below-right). 
  Shadow clipping warning button (left) and 
  highlight clipping warning button (right). 
  Red and blue clipping warnings.
  
  213
  Puppet 
  Warp
  The original image.
  Puppet Warp applied to the image.
  Puppet Warp is a distortion tool that provides an 
  amazing amount of control in manipulating an image. 
  You can literally treat images or objects on a layer (not a 
  Background layer) like a puppet and bend them to suit 
  your needs. You can protect areas from being affected by 
  the warp, and you can even overlap parts of an image on 
  top of another part of the same image, as in the example 
  shown below (on the right). 
  Puppet Warp is useful not only for radical warping, as 
  shown below, but also for all sorts of retouching projects, 
  such as shaping the folds of a blouse, modifying a hair 
  style, trimming a few inches from a waistline, etc. Use 
  this warping technique to fix camera distortions, create 
  unusual effects, or enhance a smile. 
  Elements on a transparent layer, such as the sock puppet 
  below, are especially easy to manipulate since they have 
  no background distortion to deal with.
  
  1 4 :  p u p p e t  w a r p
  214
  The original image.
  Selected pin.
  This “border” 
  is the mesh 
  expansion.
  Puppet Warp an image on a transparent layer
  If the image you plan to warp is on a Background layer, double-click the layer 
  (and click ok) to convert it to a regular layer. The image in this example is 
  on a transparent layer by itself, above a Background layer filled with white. 
  If you want to separate an individual element from an image, see pages 
  158–163 on how to use the Pen tool to create a Path around an object, then 
  delete everything else on the layer.   
  1 Open an image and select the layer you want to warp.
  2 From the Edit menu, choose “Puppet Warp” (if it’s not available, 
  you’ve probably got the Background layer selected).
  3 In the Options bar (shown below), adjust the following settings:
  Mode: Choose Distort for a highly elastic mesh.
  Density (spacing of mesh points): Choose Normal for now. More 
  points increases precision, but can slow down processing time.
  Expansion (expands or contracts the outer edge of the mesh): 
  Expanding the mesh on a transparent layer such as this can help 
  prevent hard edges. Try 2 px for now. 
  Show	Mesh (toggles the mesh visibility): The mesh (as shown 
  below, right) doesn’t have to be visible to use Puppet Warp.
  4 Click on the image to add “pins” to areas you don’t want to move  
  and also add pins to areas that you do want to move. 
   
  When a pin is not selected (when it’s a solid yellow color),  
  it doesn’t move and thus protects the area around it. 
   
  When a pin is selected, a black dot appears in the center of the pin, 
  and you can drag it and its surrounding area to another position.
  
  1 4 :  p u p p e t  w a r p
  215
  5 Select a pin (press on it) and drag it to warp the mesh, as shown 
  below, left. If parts of the image move that shouldn’t, Undo (choose 
  Edit > Undo), then add pins to the area that you need to anchor. 
  To delete a selected pin, press Delete.
  To delete a pin that is not selected, Option-click the pin  
  (PC: Alt-click).
  To	remove	all	pins, click the Remove all pins icon in the Options bar. 
  To	select	and	move	multiple	pins	at	once, Shift-click to select 
  them, then let go of the Shift key and drag to move.
  To rotate the mesh around a selected pin, Option-press on a pin  
  (PC: Alt-press). When a circle appears around the selected pin,  
  drag to rotate the mesh.
  6 To commit the transformation, click the Commit Puppet Warp icon 
  (the checkmark)  
    in the Options bar, or press Enter. Photoshop 
  won’t let you do anything else outside the Puppet Warp until you 
  commit to it, and it won’t save the points for you. 
  Overlap mesh areas
  If you have a floating image on a 
  transparent background, you can 
  move a mesh area in front or behind 
  another mesh area: Select one pin, 
  then click one of the Pin Depth
  buttons in the Options bar. 
  Set pin forward and  
  Set pin backward buttons.
  Set pin forward.
  Set pin backward.
  
  1 4 :  p u p p e t  w a r p
  216
  The photo above-left is not distorted, it’s just a house with lots of character. 
  Puppet Warp, above-right, makes it look more stable for online buyers. 
  Puppet Warp a Smart Object
  To make sure you leave	the	original	image	intact, before you proceed with 
  Puppet Warp, convert its layer to a Smart Object: 
  1 Select the layer you plan to warp.
  2 From the Layer menu, choose Smart Objects > Convert to Smart 
  Object.
  You might want to edit the original image in a non-warp way, yet have those 
  changes appear in your Puppet Warp. To edit the original Smart Object 
  image after you’ve applied Puppet Warp: 
  1 Commit the Puppet Warp adjustment: Press Enter or Return. 
  2 Double-click the Smart Object layer thumbnail. The original, 
  unwarped version of the image opens in a new edit window.
  3 Make edits, then Save. Close the new edit window.   
  Warped Smart Object.
  Warped and edited 
  Smart Object.
  Unharmed original.
  Puppet Warp anything
  Puppet Warp isn’t just for puppets—it’s a powerful tool for reshaping any 
  image. In the example below, the pins placed around the edges serve as 
  anchors to keep those areas pinned down as other areas are warped. 
  
  217
  Index
  Tasks
  alter colors, saturation, luminance, grayscale, 24–25
  bend and twist an image with Puppet Warp, 
  214–216
  brighten a photo, 18, 30–31
  change the Background layer to a regular layer, 94
  clean up scratches and dust in photos, 15, 58
  clone an image from one canvas onto another, 
  179–181
  cloud patterns, how to create, 197
  colorize a photo
  hand-tint a photo, 66
  use the Hue/Saturation Adjustment layer,  
  50–51, 54
  colorize line art, 64–65
  contrast, adjust it, 17, 20
  convert photo to black and white, 20
  crop photos similarly, 84
  desaturate part of a photo, 63
  drop an image into a Photoshop document, 95
  drop shadow, create with a Layer Style, 102–103, 105
  duotone, make one quick and easy, 54
  extend a photo, 34–35
  faded photo, fix it, 16
  fix the vertical or horizontal distortion, 209
  hand-tint a photo, 66, 143
  juice up the color
  brighten the image, 18
  in spots, 63
  in the whole photo, 30–31
  lens correction of an image, 85, 209, 200–201
  lighten a dark photograph, 18, 30–31
  light reflections, how to create, 197
  lose some weight, 39–41
  make a portrait from a snapshot, 36
  make the sky more dramatic, 60–61
  paint from one image onto another canvas, 179–181
  paint with a gradient, 182
  paint without worry about going out of lines, 151
  paint with previous versions of an image, 130–131
  panorama, create one out of several photos, 62
  perspective images, retouch in perspective, 203
  reconstruct the background of a photo, 27
  reduce noise in an image, 195, 208
  remove an element from an image 
  using a mask, 55–57
  using Content Aware fill, 38
  using the Clone Stamp tool, 58
  using the Pen tool and a path, 80–81
  replace the picture on a wall, 48
  resize a photo without cropping, 32–33
  restore parts of an image to an earlier state, 131
  smooth out the artifacts in a low-res image,  
  195, 208
  straighten a photo, 10, 26
  text
  set type in Photoshop, 116–117
  make it go behind an object, 108
  put an image inside of the text, 44
  white areas in photo need more detail, 21
  whiten teeth, 14
  wrinkles, remove them, 19, 58
  A
  Accented Edges filter, 198
  Add Anchor Point tool, 167
  Adjustment Layers
  how to use them, 106–107
  alter colors in, 22
  grayscale conversion, black and white, 20
  Adjustments panels in Camera Raw, 207
  airplane contrails, remove them from the sky
  with Pen tool path, 28
  with the Clone Stamp tool, 58
  alpha channel, one use of, 32–33
  Anti-alias in Options bar, 79, 159
  art gallery art, drop in your own, 48
  Artistic filters, 195
  .ase file, 191
  aspect ratio, resize proportionately, 87
  B
  Background color box
  where is it? 2, 8
  choose color with Eyedropper tool, 53, 189
  in Color panel, 186
  Background layer, 94
  convert to a regular layer, 83, 154
  is not transparent, 149–150
  baseline
  what is it? 116
  baseline shift up or down, 118
  bevel, use Layer Styles, 47
  bezier points and handles, 161
  bit depth, 69
  bitmap images, what are they? 68
  
  b l a c k  &  w h i t e  a d j u s t m e n t s
  218
  Black & White adjustments, 20
  black arrow tool (Path Selection tool), 163, 165
  black point, set it in the Levels pane, 137
  blemishes
  remove with Clone Stamp tool, 58
  remove with Spot Healing Brush, 15
  Blending Modes
  what are they? 98
  where is the menu? 98
  Brush Blending Modes (as opposed to  
  Layer Blending modes), 178
  changing layers changes the mode, 101
  cycle through the options, 98, 183
  examples of
  Color Burn, with gradient, 183
  Hard Light, with text, 120
  Multiply, to colorize line art, 64
  Multiply, to hand-tint a photo, 66
  Screen, to colorize line art, 64
  group of layers has its own Blending Mode, 101
  Blur tools and filters
  in Filters menu, 195
  set the Blur brush options, 170–173
  soften edges for final touch-ups, 37
  Surface Blur
  remove noise and artifacts from low-res image, 
  195
  smooth out wrinkles, 19
  borders. See stroke
  bpc (bits per channel), 69
  Bridge, open an image in the Camera Raw interface, 
  206
  Brightness/Contrast panel in Adjustment Layer, 138
  Bristle Brush Preview, 173
  brushes
  which tools are brushes? 170
  apply texture to brushes, 174
  brush Blending Modes, 178
  Brush panel, 173–175
  Brush Preset picker, 170
  Brush Presets panel, 173
  Brush Stroke filters, 196
  change the cursor display for any brush, 171
  examples of brush tips, hard and soft, 172
  keyboard shortcuts to change size or hardness, 172
  lots of brush tips available! 170
  Mixer Brush, 176–177
  painterly effects
  with Artistic filters, 195
  with Brush Stroke filters, 196
  Pattern Stamp tool, paint with patterns, 184
  resize brushes
  in Brush Preset picker, 170
  with keyboard shortcut, 172
  set brush options, 170–173
  stroke a vector shape with a brush, 168–169
  Brush panel, 173–175
  Brush Preset picker
  where is it? 2, 170–173
  how to use it, 170–171
  expanded version of in Brush panel, 173
  Brush Presets panel, 173
  Brush Stroke filters, 196
  buttons, use Layer Styles for, 104
  C
  Camera Raw
  what is it? 205
  add depth to whites, 21
  Adjustment brush to adjust individual areas, 211
  Adjustments panels in, 207
  alter colors, saturation, luminance, grayscale, 24–25
  interface in which photos open, 206
  noise reduction, 208
  open any file in Camera Raw, 206
  open a raw image as a Smart Object, 212
  overexposure warning in, 212
  Red Eye tool in, 59
  tools in, explained, 207
  cancel an operation, 84, 86
  Canvas Size, change it, 34
  Catt family, 84
  chain link icon in Layers panel, 97
  Channels, example of using, 33
  Character panel, 118
  Charcoal filter example, 194
  checkerboard grid (transparency), 149, 150
  Ciatti, Ces and Shannon, 36
  circles
  create a perfect circle shape, 73
  make one and fill it with color, 156
  clip adjustment to a  layer, 106–107
  Clipping Mask, put an image inside of text, 45
  Clone Stamp tool
  how to use it, 179–181
  clean up a photo with, 58
  clone in perspective, 203–204
  Clone Source panel, 179–180
  remove or add an element with, 58
  set complex clone source options, 179
  set its brush options, 170–173
  cloud patterns, how to create, 197
  cmyk color mode, 
  use cmyk for print projects, 69
  change mode in Color panel, 187
  Color Balance panel in Adjustment Layer, 139
  Color Fill thumbnail, 164–165
  Color panel, 186–187
  warning in Color panel, out of gamut, 187
  Color Replacement tool, 52
  
  d e s a t u r a t e  t h e  c o l o r
  219
  colors
  alter colors
  adjust areas separately in Camera Raw, 211
  Hue/Saturation Adjustment layer, 50–51
  hue, saturation, luminance, grayscale, 24–25
  Background color box, 2, 8
  fill it with the Color Replacement eyedropper, 53
  fill it with the Eyedropper tool, 189
  change color mode, 69, 187
  cmyk
  what is cmyk? 69
  change Color panel mode in Color panel, 187
  change document color mode, 69
  proper color mode for print graphics, 187
  Color Balance panel in Adjustment Layer, 139
  color channels and bit depth, 69
  color combinations, use the Kuler panel, 190
  colorize line art, 64–65
  colorize photographs, 50–54
  hand-tint a photo, 66
  color pickers
  Adobe Color Picker, 187
  Color panel, 186–187
  Eyedropper tool, 189
  hud color picker, 188
  Kuler panel, 190
  desaturate the color
  in a selection, 73
  in spots with the Sponge tool, 63
  on the whole layer, 50–51
  dull colors, juice them up, 30–31, 63
  Eyedropper tool to choose colors, 189
  falloff adjustment, 51
  Foreground color box, 2, 8, 52
  fill it with the Eyedropper tool, 189
  gamut, 187
  grayscale color mode, 69
  Hue/Saturation adjustments
  change colors in a photo, 22–23
  create a fake duotone, 54
  modify color in a photo, 50–51
  keyboard shortcuts for color aren’t working, 53
  Kuler panel for color combinations, 190
  match colors in different images, 192
  modes, change them, 187
  replace all similar colors in an image
  replace the color of all text on a certain layer, 120
  with Color Fill of a vector shape, 166
  with Color Replacement tool, 52–53
  with Target Adjustment tool in Camera Raw, 
  24–25, 210
  with the Paint Bucket, 157
  with the Selective Color panel, 147
  rgb
  what is rgb? 69
  change color mode in Color panel, 187
  saturate the color
  in an Adjustment Layer, 51, 139
  in spots, 63
  select all similar colors in an image, 79
  simulate cmyk while using rgb, 69
  spectrum sliders in panels, 51, 187
  Swatches panel, 190–191
  text colors, how to apply, 118–119, 120
  Vibrance adjustments
  from Image > Adjustments menu, 31
  from panel in Adjustment Layers, 139
  warning symbol
  in Color panel, out of gamut, 187
  in Color Picker, web safe, 187
  Commit button in the Options bar, 84, 86
  comps, create from layers, 110
  Content-Aware fill, 27, 38
  Content-Aware scaling
  lose some weight, 40
  resize without cropping, 32–33
  Contiguous in Options bar, 79, 157
  contrast in a photo
  adjust it with Auto settings, 30
  adjust it with Levels, 17, 31
  control (curve) handles, how to use them, 161–162, 167
  convert photo to black and white, 20
  Convert Point tool, 163, 167
  corner points, 161, 167
  Cowne, Donald, 49
  crop an image
  quick cropping method, 82
  crop an image so you can reposition the image 
  within the cropped space, 83
  crop based on another image, 84
  Crop tool
  where is it? 72
  fix camera distortion with, 85
  how to use it, 82–85
  Perspective Crop tool, 85
  one-pixel–width cropping, 74
  Rectangular Marquee tool, crop with, 73, 82
  resize a photo without cropping, 32–33
  crosshairs in image, can’t do anything, 95
  cursors
  choose cursors for all “brush” tools, 171
  curved double-arrow for rotating, 87
  double-headed horizontal arrow, 25
  Curves panel in Adjustment Layers, 138
  Custom Shape tool, 164–169
  d
  Daniels, Jerry, 149
  Delete Anchor Point tool, 167
  desaturate the color
  in a selection, 73
  in spots, 63
  on a whole layer, 50–51
  
  d e s e l e c t  a  s e l e c t i o n
  220
  deselect a selection, 72, 86
  Direct Selection tool (white arrow), 163, 165
  distort an element, 48–49, 88–89
  distortion in images
  fix with crop in perspective, 85
  fix with Lens Correction filter, 200–201
  dng Converter, 205
  document information, 2
  downward-pointing arrow in layer, 107
  drawing in Photoshop, 156–171.  
  See also painting in Photoshop
  Fill pixels mode of drawing, 159
  Freeform Pen tool, 161
  lines, boxes, and ovals, 156–157
  shapes, custom vector shapes, 164–165
  Sketch filters to create hand-drawn look, 197
  drop shadow, create with a Layer Style, 102–103, 105
  duotone effect, quick and easy version, 54
  dust and scratches
  remove with Clone Stamp tool, 58
  remove with Spot Healing Brush, 15
  e
  Effects shown listed in Layers panel, 99
  elbows (lines, boxes, ovals), 156–171
  electrical power lines, remove them, 28
  Elliptical Marquee tool
  where is it? 72
  how to use it, 73
  emboss, use Layer Styles, 47
  enlarge the view, 11–12
  Eraser tool
  change its cursor for more accurate erasing, 171
  example of using the Eraser, 36–37
  set its brush options, 170–175
  Esc key to cancel, 86
  Essentials workspace, 5
  Exposure panel in Adjustment Layers, 138
  eyeball icon, 92
  eyedropper icons
  in the Levels pane, 137
  in the Options bar with the  
  Color Replacement tool, 52–53
  Eyedropper tool
  replace colors in Foreground and Background 
  color boxes, 53, 189
  sampling ring, 189
  F
  falloff, re color, 51
  faux bold or italic fonts, 118
  feather
  add feather after a selection is drawn, 76
  change the brush feather (softness) on the fly  
  or with a keyboard shortcut, 172
  example of a feathered brush tip, 172
  feather the edge of a selection, 76
  preview the soft edge, 77
  feet and inches, don’t use quotation marks, 121
  fields, tips for entering values in, 9
  file formats to save as, 69
  file size
  change it by changing resolution, 70
  check document information field, 2
  decrease the file size by flattening layers, 114
  fill a shape
  Content-Aware fill, 27
  Fill pixels mode, 159
  fill single row/column lines, 74
  special effects with fill settings, 153
  transparent background
  fill shape with the Background color, 153
  fill shape with the Foreground color, 153
  with the Background color, 156
  with the Foreground color, 156
  Fill pixels mode of drawing, 159
  Filter Gallery
  how to use it, 194
  quick experiment with, 43
  examples of filters in, 195–197
  filters
  examples of filters in use, 195–197
  Filter Gallery, how to use it, 194
  resolution affects the filter effect, 68
  Smart Filters for Smart Objects, 113, 198–199
  finger grips, 6
  flatten layers, 114
  Flow of any brush tool, 171
  Foreground color box
  color pickers and, 186–189
  choose color with Eyedropper tool, 189
  in Tools panel, 2, 8
  make sure it’s selected (tap D), 53, 186
  text types in this color, 120
  Freeform Pen tool, 159–162
  freehand shapes
  with Freeform Pen tool to select or draw, 161
  with Lasso tool to select, 74
  Free Transform
  applies to a layer, 86–87
  extend a photo, 34–35
  lose some weight, 39
  rotate or resize a layer, 87
  Freeze Mask tool with the Liquify filter, 41, 202
  frog with red eyes, 59
  full screen, make image display in, 7
  fx symbol on a layer, 102–103
  
  l a y e r s  a n d  t h e  l a y e r s  p a n e l :  l a y e r  m a s k s
  221
  g
  gamut, proper color gamut, 187
  Gaussian Blur, examples of using, 37, 113, 195
  Glowing Edges filter example, 195
  glow, use Layer Styles, 47
  gradients
  fill a layer with or paint with, 182–183
  fill a vector shape with, 166
  use the Styles panel for custom shapes, 164
  Gradient tool
  fill in a background layer, 57
  paint a gradient into an image, 182–183
  graininess, improve the look, 195
  Grain Vertical filter example, 195
  grayscale
  color mode, change it, 69
  conversions, 20, 143–144
  guides, how to use them, 11
  h
  Hamlet, 117
  hand-tint a photo, 66
  Hand tool to enlarge the image, 12
  hang the punctuation, 121
  hdr, High Dynamic Range, 69
  highlights, adjust them, 31
  histograms
  how to use a histogram, 31
  Levels adjustment, 16, 137
  History panel for multiple Undos, 127–132
  revert state in, 132
  Holbein woodcut, 64
  hover to display tool tips, 9
  hud color picker, 188
  Hue/Saturation adjustments, 22–23, 50–51
  create a fake duotone, 54
  i
  Illustrator
  add a file from Illustrator to Photoshop, 46–47
  share color swatches with Photoshop, 191
  vector files, 68
  InDesign
  paths in Photoshop carry over to InDesign, 81
  share color swatches with Photoshop, 191
  J
  jpeg files
  compressed format, 205
  save as jpeg for on-screen viewing, 69
  k
  keyboard shortcuts for Tools
  change a brush size or hardness, 172
  selection letter shown in tool tip, 9
  when using the Type tool, 116
  Kuler panel for color schemes, 190
  L
  Lasso tools
  where are they? 72
  Lasso tool for freehand selections, 74
  Magnetic Lasso tool snaps to edge, 75
  Polygonal Lasso tool for complex paths, 75
  Layer Comps, 110
  Layer Masks, 108–109.  
  See also mask areas to protect them
  layers and the Layers panel, 92–114
  overview of, 92–93
  Adjustment Layers
  how to use them, 106–107, 133–148
  what are they? why use them? 136–137
  Adjustment panel and settings, 134–135
  Brightness/Contrast panel, 138
  Levels panel, 137
  target layer in, 134, 136
  Auto-Select a layer, 96
  Background layer, 94
  change it to a regular layer, 81, 94
  is not transparent, 149–150
  opacity of, 154
  Blending Modes
  what are they? 98
  where is its menu? 93
  changing layers changes the mode, 101
  colorize an image, 64
  cycle through the options, 98
  group of layers has its own Blending Mode, 101
  hand-tint a photo, 66
  clip layers together, 106–107, 135–136
  color code your layers, 102
  comps, create them from layers, 110
  copy the current layer, 96
  delete a layer, 94
  drop an image into a Photoshop document, 95
  drop shadows, how to create, 102–103, 105
  duplicate a layer in another document, 96
  fields, tips for entering values in, 9
  flatten layers, 114
  fx symbol on a layer, 102–103
  group layers into Group folders, 101
  hide individual layers, 99
  icon for Layers panel, 3, 92
  icons in layers
  chain link icon on layer, 97
  downward-pointing bent arrow in layer, 107
  eyeball icon next to layer, 99
  fx symbol, 103–104
  icon in bottom-right thumbnail on a layer,  
  Smart Object, 95, 111
  icons at bottom of panel, 93
  lock icons, 94, 151–152
  triangle on right end of layer, 103
  Layer Comps, 110
  Layer Masks, how to use them, 108–109
  
  l a y e r  s t y l e s
  222
  Layer Styles
  how to use them, 102–105
  quick overview, 46–47
  add Layer Styles to text, 123
  convert to an image layer, 105
  delete a Layer Style, 103
  special effects with Fills, 153
  Styles panel, use with Layer Styles, 104
  link layers together, 97
  menu of options, 93
  merge certain layers, 99
  Stamp Visible, 100
  new layers, how to create them, 95
  new layer from other layers, 100
  non-destructive editing of layers
  use Adjustment Layers, 106–107, 133–148
  use Layer Styles, 102–105
  use Smart Filters, 198–199
  use Smart Objects, 111–113
  Opacity slider
  where is it? 93
  use the scrubby slider to change the Opacity, 9
  organize layers
  into Groups, 101
  link layers together, 97
  with color coding, 102
  reorder the layers, 95
  select a layer; shortcut, 96
  Shape layers, 165
  show or hide individual layers, 99
  Smart Filters for Smart Objects, 113, 198–199
  Smart Objects
  how to use them, 111–113, 198–199
  drop an image onto a canvas, 95
  Stamp Visible, 100
  thumbnails
  delete a thumbnail, 109
  regular layer thumbnail, 92
  view thumbnails larger or smaller, 114
  Adjustment Layer thumbnails, 107, 136–137
  Color Fill thumbnail, 164–165
  Layer Mask thumbnail, 109, 136, 148
  Smart Filter mask thumbnail, 113, 198–199
  Smart Object thumbnail, 95
  Vector Mask thumbnail, 164–165, 168–169
  transparency on layers, 149–154
  type is always on its own layer, 115, 116
  unlink linked layers, 97
  visibility of layers, turn it on or off, 99
  lens corrections
  crop in perspective, 85
  in Camera Raw, 209
  with Lens Correction filter, 200–201
  Lens Flare filter, 197
  libraries
  of Brush Presets, 173
  of color, 191
  of Layer Styles, 104
  of patterns, 184
  of Shapes, 164–165
  Lighting Effects filter, 197
  lines
  draw lines with Shape tools, 164–165
  single row/column with strokes and fills, 74
  Liquify filter
  how to use it, 202
  lose some weight with, 41
  restore distorted areas to their previous states, 131
  use it on text, 42
  lock icon in a layer, 94, 151–152
  lose some weight 39–41
  low-resolution images
  reduce noise and artifacts in, 195, 208
  work in low-res as Smart Object,  
  replace with high-res, 198
  M
  magic layers. See Adjustment Layers
  Magic Wand tool, 72, 79
  Magnetic Lasso tool
  where is it? 72
  select and snap to edges, 75
  magnify or reduce the view, 11–12
  marching ants
  deselect the ants, 72, 78, 86
  Marching Ants preview, can change it, 77
  Marquee tools
  where are they? 72
  deselect the selection, 86
  how to use them, 72–75
  mask areas to protect them
  Freeze Mask, 41
  Layer Masks, how to use, 108–109
  Quick Mask Mode, 55
  mathematical shapes, vector graphics, 68
  McDonald, Nikki, ii
  measure a length with the Ruler tool, 10
  Mezzotint filter, 196
  Mixer Brush, 176–177
  Mosaic filter, 196
  Mosaic Tiles filter, 196
  Move tool
  adjust character settings on entire layer, 125
  change text color, 120
  cycle through Blending Modes with, 183
  move a guide, 11
  move all Shapes on a layer, 165
  move text with, 116, 117
  reposition image inside a cropped area, 83
  reposition image inside text, 45
  multiple Undo, use the History panel, 128–132
  
  p a t h s
  223
  N
  noise
  what is it? 196
  add or reduce noise with a filter, 196
  noise reduction in Camera Raw, 208
  Noise filters, 196
  non-destructive editing
  with Adjustment Layers, 106–107, 133–148
  with Layer Styles, 102–104
  with Smart Filters, 198–199
  with Smart Objects, 111–113, 198–199
  o
  on-screen viewing
  color mode to use, 69
  file format for, 69
  resolution for, 68
  how to change it, 70
  Opacity
  what is it? 93, 171
  how to change the value of, 9, 93, 109
  use the scrubby slider to change the Opacity, 9
  Option key
  change Cancel button to Reset, 25, 209
  change point on a path, 162
  clip Adjustment Layers together, 107
  copy Layer Style, 47, 104
  create a shape from the center, 73
  subtract from a selection, 61, 78
  Options bar
  where is it? 2
  importance of, 13
  anti-aliasing, what is it? 79, 119
  Auto-Select, 96
  Cancel button, 83, 84
  clear all settings, 82
  Commit button, check mark, 83, 84
  Content-Aware, 15
  Contiguous checkbox, 79
  drawing options, 158
  eyedropper icons in, 52–53
  fields, tips for entering values in, 9
  Mixer brush options, 176
  Refine Edge of selections, 77
  selection options (add to, subtract from, etc.), 74
  Shape layers icon in, 160
  Tolerance settings, 52, 79
  type options in, 119, 124
  Width and Height fields, 82
  orangutan, 14
  original image, preserve it, 177
  Othello, xii
  oval, make one and fill it with color, 156
  P
  painting in Photoshop
  brush tools and settings, 170–175. See also brushes
  Mixer Brush for painterly effect, 176–177
  Paint Bucket tool, 157
  painterly effects with filters, 194–197
  paint with the Clone Stamp tool, 179–181
  paint with a gradient, 182–183
  paint with a pattern, 184
  paint without affecting the background area, 151
  panels
  finger grips, 6
  hide or show all panels, 4
  individual panels
  Adjustments panel, 106–107, 134
  Black & White panel, 145
  Brightness/Contrast panel, 138
  Brush panel, 173
  Brush Presets panel, 173
  Camera Raw Adjustments panel, 207
  Channel Mixer panel, 143
  Character panel, 118, 126
  Clone Source panel, 179
  Color Balance panel, 139
  Color panel, 186
  Custom Shapes panel, 164–165
  Exposure panel, 138
  Gradient Map panel, 146
  History panel, 128–132
  Hue/Saturation panel, 140–142
  Invert panel, 145, 146
  Kuler panel, 190
  Layer Comps panel, 110
  Layers panel, 92–95
  Lens Corrections panel, 209
  Levels Adjustment panel, 135
  Paragraph panel, 119, 121–122
  Paths panel, 80–81, 125, 168–169
  Photo Filter panel, 144
  Posterize panel, 144
  Selective Color panel, 147
  Styles panel, 104–105
  Swatches panel, 190–191
  Tools panel, 8, 72
  Vibrance panel, 139
  manage panels  
  (group, dock, collapse, stack, etc.), 3–6
  panel menu, 4
  panorama photo, 62
  Paragraph panel, 119
  paths
  what’s a path? 160
  close the path, 75
  make a selection from a path, 80
  Paths panel, 80
  set text along a path, 124–125
  stroke a path, 168
  
  p a t h  s e l e c t i o n  t o o l
  224
  Path Selection tool (black arrow), 163, 165
  patterns
  add patterns to a brush, 174–175
  fill a vector shape with, 166
  paint with the Pattern Stamp tool, 184
  use the Styles panel for custom shapes, 164
  Pecos ruins, 60
  Pen tools
  where are they? 72
  how to use them, 160–165
  add, delete, or change points, 167
  Convert Point tool, 158, 163
  Freeform Pen tool, 158, 161
  make and use path selections, 80–81
  remove electrical power lines, 28
  set a path for text on a curve, 124–125
  perspective
  clone in perspective, 203–204
  fix it with the Crop tool, 85
  transform or distort in perspective, 88–89
  Photomerge, create a panorama, 62
  Pixelate filters, 196
  pixels
  pixels per inch
  300 vs. 72 ppi in print, 67, 82
  raster images are pixels, 68
  change the document ppi, 70
  select or draw a line one pixel wide, 74
  set ruler in pixel measurement, 10
  show or hide pixel grid, 12
  specify your preferred measurement system, 82
  view image at actual pixel size, 12
  points on Pen paths, how to control them, 161–163
  point type, 116
  Polygonal Lasso tool
  where is it? 72
  create complicated selection paths, 75
  Polygon tool, 159
  Poster Edges filter example, 195
  ppi, pixels per inch. See resolution, pixels
  Preferences
  cursors, 171
  History panel prefs, 128
  hud color picker prefs, 188
  quotation marks, 121
  tool tips, 9
  transparency prefs, 150
  printing
  color mode to use, 69, 187
  file format for, 69
  resolution for, 68, 82
  how to change it, 70
  .psd native file format, 69
  Pumpkin, John’s dog, 192, 209
  Puppet Warp, 214–216
  Q
  Quick Mask Mode
  where is the button? 2
  in use, 55–57
  Quick Selection tool, 72, 79
  quotation marks in text, 121
  r
  raster images
  what are they? 68
  raster stroke on a vector shape, 168–169
  raster vs. vector, 68, 122, 159, 164
  when to rasterize the type, 123
  Rectangular Marquee tool
  where is it? 9
  how to use it, 73
  make a shape and fill it with color, 156
  red eye, get rid of it
  in Camera Raw interface, 207
  in Photoshop, 59
  Redo command, 132
  reduce or magnify the view, 11–12
  Refine Edges of a selection, 77
  remove unwanted stuff from an image
  reduce noise and artifacts from a low-res image, 
  195, 208
  with Pen tool selections, 28–29
  with the Clone Stamp tool, 58
  Render filters, 197
  reset all settings in a dialog box, 25
  resize
  resize a photo without cropping, 32–33
  resize a selected element, 87, 88
  resize brushes of any sort, 37
  resize the canvas, 34, 70
  resolution
  change the resolution of the document, 70
  difference in filters applied to low/high res images, 
  198
  print resolution
  300 ppi, 68
  300 ppi example, 67, 70
  raster vs. vector, 68
  resize resolution when cropping, 82
  screen resolution
  72 ppi, 68
  72 ppi example, 67, 70
  work on low-res Smart Objects, replace with  
  high res, 198
  revert
  reset settings, 25
  to the last time you saved the file, 132
  
  s m a r t  q u o t e s
  225
  rgb color mode
  what is rgb? 69
  change mode in Color panel, 187
  Richard III, 121, 125
  Rosetta, Robin’s dog, 120, 179, 181, 192, 209
  rotate
  rotate a selected element, 87, 88
  rotate the canvas, 55
  rounded corners of a selection, 76
  Rule of Thirds, 83
  rulers
  change units of measure, 10
  guides, how to use them, 11
  hide and show rulers, 2, 11
  zero point, change it, 10
  Ruler tool
  measure elements, 10
  straighten a photograph, 10, 26
  s
  sampling pixels
  what does “sample” mean? 58
  eyedropper icons in Options bar, 52–53
  sampling ring with the Eyedropper tool, 189
  Saturation adjustments
  what is saturation? 139
  Hue/Saturation Adjustment layer, 22–23, 50–51, 54
  saturate in spots, 63
  Vibrance and Saturation sliders, 31, 139
  scale (resize)
  Content-Aware Scale (resize without cropping), 32
  scale a selected element, 87, 88
  scratches and dust
  remove with Clone Stamp tool, 58
  remove with Spot Healing Brush, 15
  screen images
  resolution for, 68, 82
  Screen Modes, 7
  scrubby slider, 9, 118
  selections
  add feather after a selection is drawn, 76
  close the path, 75
  deselect a selection, 72, 86
  freehand shapes, use Lasso tool, 74
  invert the selection, 56
  marching ants indicate selected area, 77, 156
  modify a drawn selection, add to or delete from, 
  78–79
  rounded corners indicate a feather applied, 76
  select similar colors in the image, 79
  select the inverse of the selection area, 81
  tools for making selections, 72
  selection tools, 72–75
  in the Tools panel, 72
  Crop tool, 82–85
  Elliptical Marquee tool, 73
  Lasso tool, 74
  Magic Wand tool, click to select, 79
  Magnetic Lasso tool snaps to edges, 75
  Polygonal Lasso tool for complex shapes, 75
  Quick Selection tool, click to select, 79
  Rectangular Marquee tool, 73
  Single Row or Single Column Marquee tool, 74
  shadow, as in drop shadow
  add one in Layer Styles, 47
  on text, drop shadow and inner shadow, 123
  position a drop shadow, 47
  Shadows/Highlights adjustments, 18, 21
  adjust with the Levels histogram, 31
  make colors more dramatic, 61
  Shakespeare, xii, 117, 121
  shapes
  center outwards, create a shape, 73
  circles or squares, make perfect ones, 73
  custom shapes, create and edit, 164–169
  fill a shape with a color, 153
  give it a stroke (border), 156
  set text inside a shape, 125–126
  Shape layers button in Options bar, 160, 164
  vector shapes, create and edit, 164–169
  Sharpen filters, 197
  Sharpen tool, set its brush options, 170
  sheep, 58
  Shift key
  center a new image on a layer, 95
  constrain rotation increments, 55
  constrain shapes to perfect circles or rectangles, 73
  increase increments in scrubby slider, 9
  resize proportionately, 87
  Sidney, Mary, 81
  Single Row and Single Column Marquee tools,  
  72, 74, 157
  Sketch filters, 197
  skew a selection, 88
  Slice tools, 72
  sliders, scrubby sliders, 9
  Smart Filters for Smart Objects, 113
  Smart Guides, 11
  Smart Objects
  Camera Raw files as Smart Objects, 212
  drop an image onto a canvas, 95
  how to create and use Smart Objects, 111–113, 
  198–199
  Puppet Warp a Smart Object, 216
  Smart Filters for Smart Objects, 113, 198–199
  thumbnail icon indicates a Smart Object, 95
  Smart Quotes, 121
  
  s m a r t  s h a r p e n  f i l t e r
  226
  Smart Sharpen filter, 197
  smooth points, 161
  soft brushes
  preview the soft edge, 77
  selection tools, use a feather on, 76–77
  Sonnet 30, 117
  spectrum
  in color pickers, 187
  spectrum sliders in panels, 51
  Sponge tool
  saturate or desaturate colors, 63
  set its brush options, 170–173
  whiten teeth with, 14
  Spot Healing Brush tool
  remove dust and scratches, 15
  remove electrical power lines from sky, 28–29
  remove wrinkles, 19
  square
  create a perfect square shape, 73
  make one and fill it with color, 156
  Stamp filter, 197
  straighten a photograph, 10, 26
  stroke
  a selection shape, 156
  stroke a path, 29, 168–169
  stroke single row lines, 74
  Styles panel, add more styles to it, 104
  Surface Blur, 19
  Swanmobile, 108–109
  Swatches panel, 190–191
  T
  tabbed windows, 2
  separate the windows, 2, 44
  Targeted Adjustment tool
  in Camera Raw, 25–26, 207, 210
  in the Hue/Saturation Adjustment layer, 22–23
  text. See type
  Thaw Mask tool, 202
  Thornton, Elizabeth, 98, 113
  tiff files
  flattened tiff holds perspective information, 
  203–204
  save files in tiff format for print, 69
  save with transparency, 154
  tint an image or photo, 63, 143
  Tolerance settings for Color Replacement tool, 52
  Tollett family
  Booda, 21
  James Tollett, 16
  John Tollett, 16
  Lois McAtee Tollett, 15
  Tool Preset picker, 169
  Tools panel
  where is it? 2
  find hidden tools, 8
  key to select a tool, 9
  overview of, 8–9
  triangles in corners, 2, 8
  tool tips, 9
  Torn Edges filter example, 195
  transform elements
  change the perspective illusion, 89
  distort a selection, 89
  drop shadow adjustment, 105
  extend a photo, 34–35
  link layers together to transform a combination  
  of elements, 97
  lose some weight, 39
  skew a selection, 88
  Transform commands in Edit menu, 86–90, 167
  transform vector shapes, 167
  warp a selection, 90
  transparency
  what is it? 150–151
  hide the checkerboard, 150
  save tiffs with transparency, 154
  transparent pixels
  lock them, 151–152
  unlock them, 94
  troubleshooting
  brush icon shows up on my canvas when I paint, 173
  controls don’t work when I choose a tool in a panel, 174
  crosshairs in image, can’t do anything, 95
  cursor for my tool is too big/small, 171
  filter won’t apply, 194
  guides won’t go exactly where I want them  
  (turn off Smart Guides), 11
  I have a dozen empty type layers, 116
  image is bitmappy, pixelated, 68, 195, 208
  keyboard shortcuts for color aren’t working, 53
  menu bars disappeared (change screen mode), 7
  photo is too wide, but I don’t want to crop it, 32–33
  ruler uses wrong measurement units, 10
  text typed right off the page, 116
  what font did I use? 115
  X through my image and I can’t do anything, 95
  type
  how to set type in Photoshop, 116–117
  alignment (flush left, center, etc.), 119
  anti-aliasing, 119
  apply effects and styles to text, 122–123
  baseline, what is it? 116
  bounding box, how to control it, 117
  Character panel and how to use it, 118
  color, choose or change it, 118–119, 120
  curly quotes, 121
  curved line, set text along it, 124
  
  z o o m  i n  a n d  o u t
  227
  deselect the text and bounding box, 117, 124
  editable until rasterized, 115
  edit the text, 117
  faux bold or italic fonts, 118
  font family and font style, 118, 119
  hang the punctuation, 121
  image inside of text, 44–45
  kerning, 118
  Layer Style applied, example, 103, 123
  leading value, 118
  liquify the text, 42
  make type appear to go behind an object, 108
  move the text, 116, 117
  overflow text, 117
  path, set text along it, 124
  plus sign in bottom-right corner of bounding box, 117
  punctuation, hang it, 121
  quotation marks, typewriter and typesetter, 121
  rasterize the type, when you must, 123
  resize the bounding box, 117
  Returns, don’t use them, 117
  shape, put type inside, 125–126
  Smart Quotes, 121
  special effects with fill settings, 153
  text doesn’t fit inside bounding box, 117
  tilt the type, 117
  tracking, 118
  vector paths until rasterized, 68, 115
  vertical text
  example of, 120
  toggle to create vertical text, 119
  warped text, 119, 122
  typographer’s quotes, 121
  U
  Undo, 132
  use the History panel for multiple Undos, 128
  Unsharp Mask filter, 197
  V
  values, entering in fields, 9, 118
  specify your preferred measurement system, 82
  Vanishing Point perspective editing, 203–204
  vector images
  what are they? 68
  raster vs. vector, 68, 122, 159, 164
  vector shapes, create and edit, 164–169
  stroke a vector shape with a brush, 168–169
  Vector Mask thumbnail, 164–165, 168–169
  vertical text, 120
  Vibrance adjustments, 31, 139
  visibility
  of Effects, 99
  of layers, how to turn on and off, 36–37, 99
  W
  warning symbol
  in Adobe Color Picker, 187
  in Color panel, 187
  warp a selection, 90
  Watercolor filter, 195
  web safe color warning, 187
  white arrow tool (Direct Selection tool), 163, 165
  white color, make detail show up in, 21
  white point, set it in the Levels pane, 137
  Williams family
  Pauline Williams, 13, 66
  Ryan Williams, 55–57, 107, 177, 178
  Jimmy Thomas, 55, 150
  Scarlett Williams, 55–57, 107, 150
  Shannon Williams Ciatti, 36–37
  Ces Ciatti, 36
  Lydia Alice Beeson Catt, 84
  Riley Adkins Catt, 84
  Serena Pickering Catt, 84
  Solomon Catt, 84
  Pumpkin, 192, 209
  Rosetta, 120, 179, 181, 192, 209
  windows in Photoshop (canvases)
  separate the windows, 2, 44
  window tabs, 2
  woodcut images, colorize, 64–65
  workspace switcher
  where is it? 3
  create, delete, and reset a workspace, 7
  Essentials panel collection, 5
  wrinkles, remove them, 19, 58
  Z
  zero point origin in ruler, 10
  zoom in and out, 11–12
  
  Unlimited online access to all Peachpit, 
  Adobe Press, Apple Training and New 
  Riders videos and books, as well as content 
  from other leading publishers including: 
  O’Reilly Media, Focal Press, Sams, Que, 
  Total Training, John Wiley & Sons, Course 
  Technology PTR, Class on Demand, VTC  
  and more.
  No time commitment or contract 
  required! Sign up for one month or  
  a year. All for $19.99 a month
  Sign up today
  peachpit.com/creativeedge
  
  You love our books and you 
  love to share them with your colleagues and  
  friends...why not earn some $$ doing it! 
  If you have a website, blog or even a Facebook page, 
  you can start earning money by putting a Peachpit 
  link on your page. 
  If a visitor clicks on that link and purchases something 
  on peachpit.com, you earn commissions* on all sales!
  Every sale you bring to our site will earn you a 
  commission. All you have to do is post an ad and 
  we’ll take care of the rest.
  ApplY And get stArted!
  It’s quick and easy to apply.  
  To learn more go to: 
  http://www.peachpit.com/affiliates/
  *Valid for all books, eBooks and video sales at www.Peachpit.com
  Join the  
  PeachPit  
  AffiliAte teAm!
  
SOURCE: textdata/thevault/Crafts/Design/The Non-Designer's Photoshop Book - R. Williams, et. al., (Peachpit, 2012) BBS.pdf