I. Adobe Photoshop
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A.
1. General - Photoshop Concepts
a. Raster Images and Bitmapping
i
Photoshop files are raster images (pixels) stored on bitmap formats and are
resolution dependent. I.e. they cannot be scaled without loosing resolution.
Resolution is defined by pixels per inch. Color Depth is defined by the amount
of information in each pixel which is usually 8 or 16 byths deep.
b. Channels
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i
Photoshop is a mono chromatic image editor the files color separate into
separate channels: i.e. Red Green Blue or RGB Each channel is a “mask” and
has different degrees of gray saturation in each area of the mask. The lighter
the color the more information is revealed the darker the more that is hidden.
i.e. the sky is lighter in the blue mask and darkest in the red mask
ii
When combined they make up a full color image.
c. Destructive and Non- destructive Editing:
i
Photoshop images can quickly derogate when you manipulate the pixels or
resize images Non-destructive editing maintains the original pixel
information.
d. Non-Destructive Editing Tools: All other tools destroy pixels and image quality.
Learn these tools now!
i
Camera Raw – for importing images that can only be edited one in Camera
Raw
ii Camera Raw as Smart Objects – for importing images that can have multiple
camera raw settings applied to them
iii Smart Objects – for scalable, transformable images which retain all pixel info
A) Smart Filters – Filters applied to smart objects become smart filters
B) Smart Transformations – Transformations applied to smart objects are
smart
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Adjustment Layers – for manipulating color adjustments
Fill layers – for gradients
Layer and Vector Masks – for adding and manipulating images
Spot healing, Clone or Healing Brush – For retouching on a separate layer Be
sure to select Sample All Layers from the options bar (select Ignore
Adjustment Layers to ensure that adjustment layers won’t affect the
separate layer twice).
e. Paths, Alpha Channels, Layer Masks and Vector Masks (see sections on each
below)
i
Paths vector forms created with the shape or pen tools. Paths are used to
make are black and white Vector masks. A transitory “working path “ is
automatically made when you use these tools. It can be saved as a
permanent vector path in the pallet menu.
ii Alpha Channels are toned gray scaled bitmapped channels, created from
selections when a bit-map editing tools (magic wand, brush, eraser, burn or
dodge tools are used to define an area. Alpha channels are used to create
layer masks. A permanent Alpha Channel can be make from a selection in the
Channel pallet
iii Paths can be changed to Alpha Channels and visa versa.
iv Masks General Black hides and white reveals the image below.
v Layer Masks
A) Are bitmap images and are resolution dependent and are created with
painting, selection or dodging tools. They cannot be scaled without
loosing definition.
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B) Filters, color adjustments and layer attributes can be applied
C) Work in grey scale only
D) Better at soft edges like painting and dodging or when defined paths are
not necessary. Not editable with a pen tool as they do not have a path.
vi Vector Masks
A) Are vector images and are resolution independent and are created with
pen and shape tools. They can be scaled and exported as paths
B) Filters, color adjustments and layer attributes can be applied
C) They are black and white and use dot screens (gradients) to achieve
grays.
D) They are editable with a pen tool and shapes.
2. Photoshop General Tips
i Make a copy of your original prior to working on an image!!!!!!!
ii Be obsessively systematic and organized.
iii Be sure to set your DPI to multiples of 90 (i.e. 270 or 360) unless you are
printing to offset (300) or for the web 72 Dpi.
iv The color mode should be RGB unless you are preparing your images for
offset printing.
v The color profile should be Adobe RGB (1998) unless you are preparing items
for the web then they should be SRGB
b. Hot Tips:
i
To temporarily activate the last-used selection tool when using another type
of tool, hold down Ctrl (Windows) or Command (Mac OS)
ii To repeat last command use Command D. This is especially helpful if you are
offsetting and copying objects.
iii Pen Tool
A) Switch from Path Selection, Pen, Add Anchor Point, Delete Anchor Point,
or Convert Point tools, to Direct Selection tool
(i) Control (Windows) or Command (Mac OS)
B) Switch from Pen tool or Freeform Pen tool to Convert Point tool when
pointer is over anchor or direction point
(i) Alt or Option (MacOS)
c. General Standards
i
Color Mode and Color Profile Standards
A) Color mode should be in RGB unless the document is for offset printing
offset printing in which case it should be CMYK.
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B) Resolutions should be in multiples of 90dpi except images for screen or
Internet use which should be 72 dpi or color offset which should be 300
dpi.
C) Format should be compressed with high-level jpeg’s in layers with the
exception of images for high res publication or fine art images that
should remain uncompressed.
D) Color profile should be Adobe RGB (1998) unless you are preparing items
for the web in that case they should be SRGB
E) See color management section for all color settings.
ii
File Type Standards
A) Working file: PSD
B) Working archive of issued file: PSD or Layered TIFF can be used for
saving a working archived copy of the image. This file should not be
touched or modified once it is issued. If you need to make modifications
make a copy!
C) Working image for presentation and email: JPEG – save and additional
copy of the file without layers to be used as the import or working file to
be given to others with layers master archive One should be high
resolution with little compression (for in-house layouts). To specify the
amount of compression, enter a value from 10 to 12 or choose from the
pop‑up menu. Entering a higher value or choosing High or Maximum
applies less compression, increasing file size and image quality. T he
second should be low res (for email or web) and should be between 4
and8.
d. Resolution Basic Concepts
i
Bit Resolution: Pixels
A) Photoshop works in a fixed resolution so that image continues to
derogate as you work on it and manipulate its scale:
B) Set resolution at 270 or 360 at the largest size you can imagine printing
the image.
ii
Image resizing improvements
A) Preserve Details (enlargement)
(i) When this method is chosen, a Noise reduction slider becomes
available for smoothing out noise as you upscale the image.
B) Nearest Neighbor (hard edges)
(i) A fast but less precise method that replicates the pixels in an image.
This method preserves hard edges and produces a smaller file in
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illustrations containing edges that are not anti-aliased. However, this
method can produce jagged effects, which become apparent when
you distort or scale an image or perform multiple manipulations on a
selection.
3.
Histograms
a. Definition
i
A histogram illustrates how pixels in an image are distributed by graphing
the number of pixels at each color intensity level. A well exposed image has
coverage at both ends and a “hill” in the middle
Overexposed
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Properly Exposed
Underexposed
ii
Histogram palette
A. Channel menu
B. Palette menu
C. Uncached Refresh button
D. Cached Data Warning icon
E. Statistics
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4. Tools
5. Selection Tools
6. Crop and slice Tools
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7. Navigation and Move Tool
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8. Retouching Tools
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9. Painting Tools
10. Drawing Tools
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11. Exporting and Importing Files
12. Importing Files
a. Importing from Digital Camera Raw Files
i
b.
Camera Raw Files are uncompressed file formats from digital cameras that
are designed to be highly manipulatable and adjustable while retaining the
original information.
Opening Camera Raw files as Smart Objects
i
Before you can edit Camera Raw files in Photoshop, you must configure
settings for them with Camera Raw. Once you edit a Camera Raw file in
Photoshop, you can’t reconfigure Camera Raw settings without losing the
changes. Opening Camera Raw files in Photoshop as Smart Objects enables
you to reconfigure Camera Raw settings at any time, even after you edit the
file.
c. Using Camera Raw
i
Choose File > Open, browse to select one or more camera raw files, and click
Open. The Camera Raw dialog box appears, with Open as the default button
for opening the images in Photoshop.
ii The Camera Raw dialog box opens with the camera raw image displayed in a
preview window. The histogram shows the tonal range of the image with the
current settings. As you make setting adjustments, the histogram
automatically updates. If you selected more than one image, the Filmstrip
appears on the left side of the Camera Raw dialog box. (You can show or hide
the Filmstrip by clicking Toggle Filmstrip.)
iii If you’re processing several camera raw files, select them from the Filmstrip.
Use the arrows in the lower right corner of the preview window to navigate to
the image you want to adjust.
iv Save setting so that images taken in the same light source and job can be
opened with the same setting adjustments.
d. Using Adobe Camera Raw as Filter
i
ii
When you process an image in Photoshop, you can choose to apply the
Camera Raw Filter (Filter > Camera Raw Filter) on images that are already
open in Photoshop.
This means that you can apply Camera Raw adjustments to more file types
like PNG, video clips, TIFF, JPEG, and more. The images processed with the
Camera Raw Filter can be on any layer.
e. Importing from Illustrator or vector files
i
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Go to Illustrator
A) Make sure that the file is in RGB mode. Otherwise transparent colors will
be unstable and shift dramatically.
ii
Go to >File>export
A) Select Photoshop
B) Select export
iii Set the following options
A) Color Model RGB
(i) Determines the color model of the exported file. Exporting a CMYK
document as RGB, or vice versa, may cause unexpected changes in
the appearance of transparent areas, especially those that include
blending modes. If you change the color model, you must export the
artwork as a flat image (the Write Layers option isn’t available).
B) Resolution
(i) High
C) Flat Image
(i) Merges all layers and exports the Illustrator artwork as a rasterized
image. Choosing this option preserves the visual appearance of the
artwork but makes images bitmapped.
D) Write Layers
(i) Exports groups, compound shapes, nested layers, and slices as
separate, editable Photoshop layers. Nested layers that are more
than five levels deep are merged into a single Photoshop layer. Select
Maximum Editability to export transparent objects (that is, objects
with an opacity mask, a constant opacity less than 100%, or a
blending mode other than Normal) as live, editable Photoshop layers.
E) Preserve Text Editability
(i) Exports horizontal and vertical point type in layers (including nested
layers up to five levels deep) to editable Photoshop type. If doing so
compromises the appearance of the artwork, you can deselect this
option to rasterize the text instead.
F) Maximum Editability
(i) Writes each top-level sublayer to a separate Photoshop layer if doing
so doesn’t compromise the appearance of the artwork. Top-level
layers become Photoshop layer sets. Transparent objects remain
editable transparent objects. Also creates a Photoshop shape layer
for each compound shape in a top‑level layer if doing so doesn’t
compromise the appearance of the artwork. To write compound
shapes with solid strokes, change the Join type to Round. Whether or
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not you select this option, all layers over 5 levels deep are merged
into a single Photoshop layer.
G) Note: Illustrator cannot export compound shapes that have graphic
styles, dashed strokes, or brushes applied to them. Such compound
shapes become rasterized.
H) Anti-Alias
(i) Removes jagged edges in the artwork by super sampling it.
Deselecting this option helps maintain the hard edges of line art
when it’s rasterized.
I) Embed ICC Profiles: Adobe RGB 1998 for print or Srgb for web
13. Exporting Files
a. Exporting to PDF
i
ii
Exporting to PDF
File Types
A) PDF Presets are:
B) Adobe Smallest File Size Creates PDF files for display on the web or an
intranet, for distribution through an email system for on-screen viewing,
This set of options uses compression, downsampling, and a relatively low
image resolution. It converts all colors to sRGB and does not embed fonts
unless absolutely necessary. It also optimizes files for byte serving.
C) Adobe High Quality Print Creates PDF files that have higher resolution
than the Standard job option file. Color and grayscale images with
resolutions above 450 ppi are downsampled to 300 ppi, and monochrome
images with resolutions above 1800 ppi are downsampled to 1200 ppi.
This settings file prints to a higher image resolution and preserves the
maximum amount of information about the original document.
D) Adobe Press Quality Creates PDF files for high-quality print production
the quality of the content is the highest consideration. The objective is to
maintain all the information in a PDF file that a commercial printer or
prepress service needs to print the document correctly. Color and
grayscale images with resolutions above 450 ppi are downsampled to
300 ppi, and monochrome images with resolutions above 1800 ppi are
downsampled to 1200 ppi. The Press Quality settings file embeds
subsets of fonts used in the document (if allowed). When you export a
document that uses fonts whose permission bits do not allow embedding,
a warning message appears and the fonts are substituted.
E) PDF/A-1b: 2005 (CMYK and RGB) (Acrobat only) Use with spot colors and
transparencies.
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F) Used for long-term preservation (archival) of electronic documents.
PDF/A‑1b uses PDF 1.4 and converts all colors to either CMYK or RGB,
depending on which standard you choose. These PDFs can be opened in
Acrobat and Reader versions 5.0 and later.
G) Exporting to PDF Presentation (Multiple Files)
H) Choose File > Automate > PDF Presentation.
I) In the PDF Presentation dialog box, click Browse and navigate to add
files to the PDF presentation.
J) The files in the Source Files window are used to generate the pages in the
PDF presentation, starting with the topmost file for the first page and
progressing down the list for subsequent pages. To change the sequence,
select the file and drag it to a new position Source Files window.
K) In the Output Options area of the PDF Presentation dialog box, select
from the following options:
L) Multi-Page Document Creates a PDF document with the images on
separate pages.
M) In the Save Adobe PDF dialog box, choose an Adobe PDF preset or specify
save options for the PDF document.
N) Click Save PDF. Photoshop closes the Save Adobe PDF dialog box and
creates the PDF presentation. A dialog box appears telling you whether
the PDF presentation was successfully created.
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b. Exporting to Contact Sheets
i
ii
Choose File > Automate > Contact Sheet II.
In the Contact Sheet II dialog box, specify the images to use by choosing one
of the following from the Use menu in the Source Images area:
A) Current Open Documents Uses any image that is currently open in
Photoshop.
B) Folder Lets you click Browse (Windows) or Choose (Mac OS) to specify
the folder containing the images you want to use. Select Include All
Subfolders to include images inside any subfolders.
iii In the Document area, specify the dimensions, resolution, and color mode for
the contact sheet. Select Flatten All Layers to create a contact sheet with all
images and text on a single layer. Deselect Flatten All Layers to create a
contact sheet in which each image is on a separate layer and each caption is
on a separate text layer.
iv In the Thumbnails area, specify layout options for the thumbnail previews.
v For Place, choose whether to arrange thumbnails across first (from left to
right, then top to bottom) or down first (from top to bottom, then left to
right).
vi Enter the number of columns and rows that you want per contact sheet. The
maximum dimensions for each thumbnail are displayed to the right, along
with a visual preview of the specified layout.
vii Select Use Auto-Spacing to let Photoshop automatically space the
thumbnails in the contact sheet. If you deselect Use Auto-Spacing, you can
specify the vertical and horizontal space around the thumbnails. The contact
sheet preview in the dialog box is automatically updated as you specify the
spacing.
viii Select Rotate For Best Fit to rotate the images, regardless of their
orientation, so they fit efficiently on a contact sheet.
ix When Rotate For Best Fit is deselected, thumbnails appear in their correct
orientation (left). When it is selected, the pictures are rotated to achieve the
best fit (right).
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c. Actions: Exporting Files of The Same Pixel Dimension
i
You will need to automate a script or “action”.
ii
A) Open your action pallet
(i) Go to window>actions
B) Make a new set
(i) Select> New Set from the pull down arrow in the upper corner of the
pallet
(ii) Name your new set: (ie: Actions)
C) Select New action from the pull down arrow in the upper corner of the
palette
(i) Name the Action (i.e. Resize photo 1200 x1200 )
(ii) Select>Record
D) Make your script
(i) Go to >file>automate>fit image
(ii) Enter the maximum size for the image in both the x and y directions:
(i.e. 1200 x1200 pixels)
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(iii) Saving copy of the file
(iv) Go to >File>Save as. Indicate where the files is to be saved
(v) Set up new folder if necessary
(vi) Indicate that a copy is needed
(vii)
Select color profile
E) Hit save on the image.
F) Go to >action pallet> pres stop on the record button controls.
G) Your actions have been saved and recorded
iii To run a script:
A) Open the images to be resized
B) Open the action palette
C) Select the action to be run
d. Exporting File Layers To Files
i
In Photoshop, you can export and save layers as individual files using a
variety of formats. You can apply different format settings to individual
layers, or one format to all exported layers. Layers are named automatically
as they are saved. You can set options to control the generation of names.
A) Choose File > Scripts > Export Layers To Files.
B) In the Export Layers To Files dialog box, under Destination, click Browse
to select a destination for the exported files. By default, the generated
files are saved in the sample folder as the source file.
C) Enter a name in the File Name Prefix text box to specify a common name
for the files.
D) Select the Visible Layers Only option if you want to export only those
layers that have visibility enabled in the Layers palette. Use this option if
you don’t want all the layers exported. Turn off visibility for layers that
you don’t want exported.
E) Choose a file format from the File Type menu. Set options as necessary.
F) Select the Include ICC Profile option if you want the working space
profile embedded in the exported file. This is important for colormanaged workflows.
G) Click Run.
e. Generate Assets from Layers
i
You can generate JPEG, PNG, or GIF image assets from the contents of a
layer or layer group in a PSD file. This is especially helpful for animations and
multidevice web design
A) With the PSD file open, select File > Generate > Image Assets
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B) Append appropriate file format extensions (.jpg, .png, or .gif) to the
names of the layers or layer groups from which you want to generate
image assets. For example, rename the layer
groups, Rounded_rectangles and Ellipses,
as Rounded_rectangles.jpg and Ellipses.png; and the
layer, Ellipse_4 as Ellipse_4.gif
C) Photoshop generates the image assets and saves them in a subfolder
alongside the source PSD file. If the source PSD file is not saved yet,
Photoshop saves the generated assets in a
new folder on your Desktop.
D) To generate multiple assets from a layer/layer group, separate the asset
names with the comma symbol (,). For example, the following layer name
generates three assets: Ellipse_4.jpg, Ellipse_4b.png, Ellipse_4c.png
f.
Exporting paths to Adobe Illustrator
i
ii
See section on creating paths and masks for further explanation on how to
create a single or multiple masks with in a file for export.
The Paths To Illustrator command lets you export Photoshop paths as Adobe
Illustrator files. Exporting paths in this way simplifies the task of combining
Photoshop and Illustrator artwork or using Photoshop features with
Illustrator artwork. For example, you may want to export a pen tool path and
stroke it to use as a trap with a Photoshop clipping path you are printing in
Illustrator. You can also use this feature to align Illustrator text or objects
with Photoshop paths.
A) In an open file draw and save a path or convert an existing selection into
a path.
B) Choose File > Export > Paths To Illustrator.
C) Choose a location for the exported path, and enter a file name. Make sure
Work Path is chosen in the Write menu to export the path.
D) Click Save.
E) Open the file in Adobe Illustrator. You can manipulate the path or use the
path to align Illustrator objects that you add to the file.
iii
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Note that the crop marks in Adobe Illustrator reflect the dimensions of the
Photoshop image. The position of the path within the Photoshop image is
maintained provided don’t change the crop marks or move the path.
iv
A. Document in Photoshop ready for export
B. Document imported to Illustrator.
Note that all of the paths are in one new grouped layer
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14. Document Set Up
15. Scripts, Automated Actions and Droplets
a. Automated Actions
i
ii
Actions are a script that records a set of moves or actions you make to an
image. This is extremely useful when conducting repetitive tasks; (coping
images, resizing, applying filters or color profiles.) You can also script in a
pause or stop into the action to allow for hand adjustments as a specific
moment in a sequence. Always make sure that you save the image as a copy
to a second file.
To make an action see Actions: Exporting Files of The Same Pixel Dimension
above.
b. Conditional Actions
i
ii
Conditional actions let you build actions that choose what to do based on one
of several different conditions. First, you choose a condition and then,
optionally specify an action that plays if the document meets the condition.
Then, you optionally specify an action that plays if the document does not
meet the condition.
To insert a conditional action step into an action that you're recording or
editing
A) Make sure the actions you will be referencing are in the same actions set
B) Choose INSERT CONDITIONAL from the actions panel menu
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C) Choose actions from the THEN PLAY ACTION menu and the ELSE PLAY
ACTION menu, and then click ok
c. Droplets
i
ii
A droplet applies an action to one or more images, or a folder of images, that
you drag onto the Droplet icon . You can save a droplet on the desktop or
to another location on disk.
To Make a droplet
A) First create your action. You must create the desired action in the
Actions palette prior to creating a droplet. (See Recording actions.)
B) Choose File > Automate > Create Droplet.
C) Specify where to save the droplet. Click Choose in the Save Droplet In
section of the dialog box and navigate to the location.
D) Select the Action Set, and then designate which action you intend to use
within the Set and Action menus. (Select the action in the Actions palette
before you open the dialog box to preselect these menus.)
E) Set processing, saving, and file naming options. For descriptions of the
Batch dialog box settings see Batch and droplet processing options.
16. Guides
a. Guides
i
Creating One-off Custom Guides
A) Make Guides: Manually drag any number of guides onto your document.
Now, in order to make the guides editable, choose View > Guides > Lock
Guides to uncheck the Lock Guides option. (If it's already unchecked,
leave it alone.)
B) Select and Move Guides Select a guide on your canvas by placing the
move tool on the guide. When they're selected, it can be manually moved
by dragging it. To move to a guide and snap it to a ruler hold down shift
and move
C) Place a Guide in a specific location: select View>New Guide. Enter
location
b. Premade Scripts
i
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Premade Scripts are set up under. File>Scripts they are good for making pdf
(see above) and converting files and exporting layers (see above).
Particularly useful is Image Processor, which allows you to select a folder
and change the file type, size and profiles by attaching a sequence of actions.
17. Layer Basics
a. Layers Palette
i
Layer Palette is broken up into Layers and sub-layers. If a layer or sub -layer
is selected it will be indicated by highlighted background. To move a layer
highlight it and drag it to a new location. To group use the layers pallet menu
and select new group layer. Name as needed. Layer Options are as follows:
name for the layer or group.
A) Use Layer Below To Create Clipping Mask This option is not available for
groups. (See to create a clipping mask.)
B) Color Assigns a color to the layer or group in the Layers palette.
C) Mode Specifies a blending mode for the layer or group. (See About
blending modes.)
D) Opacity Specifies an opacity level for the layer or group.
E) Fill With Mode-Neutral Color Fills the layer with a preset, neutral color.
A.
B.
C,
D.
F.
G.
Layers palette menu
Layer Group
Layer
Expand/Collapse Layer effects
Layer effect
Layer thumbnail
b. Rasterize layers
i
Rasterising takes a vector graphic image (shapes and lines) and converts it
into a raster image (pixels or dots).
ii Vector Images in Photoshop: You cannot use the painting tools or filters on
layers that contain vector data (such as type layers, shape layers, vector
masks, or Smart Objects) and generated data (such as fill layers). However,
you can rasterize these layers to convert their contents into a flat, raster
image.
iii Making a Rasterized image:
A) Select the layers you want to rasterize,
(i) Choose Layer > Rasterize, and then choose the type of Vector from
the submenu:
(ii) Type: Rasterizes the type on a type layer. It does not rasterize any
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other vector data on the layer.
(iii) Shape: Rasterizes a shape layer.
(iv) Fill: Content Rasterizes the fill of a shape layer, leaving the vector
mask.
(v) Vector Mask: Rasterizes the vector mask on a layer, turning it into a
layer mask.
(vi) Smart Object: Converts a Smart Object into a raster layer.
B) Video: Rasterizes the current video frame to an image layer.
C) Layer: Rasterizes all vector data on the selected layers.
D) All Layers: Rasterizes all layers that contain vector and generated data.
iv To rasterize linked layers, select a linked layer, choose Layer > Select Linked
Layers, and then rasterize the selected layers.
c. Layer Naming Standards
i
Layer Naming Standards: It is important to select clear naming strategies for
your groups and layers so delineate your groups clearly and maintain the
logic of most transient to the most permanent. For example in reverse order
(Top to Bottom):
A)
B)
C)
D)
E)
Fills Gradients and Lighting Effects
People,
Objects and furniture,
Landscape (trees, plants sky),
Architectural layers, (new or interior then base building or shell
conditions as applicable.)
F) Record copies of rendering imports or photos: Penguin and Flamingo in
this case are the direct imports from the Rendering software become the
bottom layers. See example below. Always make a dup layer of these.
ii
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Displaying Layers: Use right click on the mouse of Control click
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d. Select Layers in the Layer Palette
Multiple Contiguous Layers: click the first layer and then Shift-click the last
layer.
ii Multiple Noncontiguous Layers: Ctrl-click (Windows) or Command-click (Mac
OS) them in the Layers palette.
iii All Layers: choose Select > All Layers.
iv All layers of a similar type (for example all type layers), choose Select >
Select Similar Layers.
i
e. Select Layers In The Document Window
i
ii
Select the Move tool.
Do one of the following:
iii (Photoshop) In the options bar, select Auto Select Layer and click in the
document on the layer content you want to select. The topmost layer
containing pixels under the cursor is selected.
iv (Photoshop) In the options bar, select Auto Select Group and click in the
document on the content you want to select. The topmost group containing
pixels under the cursor is selected. If you click an ungrouped layer, it
becomes selected.
v Right-click (Windows) or Control-click (Mac OS) in the image, and choose a
layer from the context menu. The context menu lists all the layers that
contain pixels under the current pointer location.
f.
Layer Selection and Hot Tips
i
To display transform handles in a selected layer:
A) Select move tool
B) In the options bar, select Show Transform Controls.
g. Aligning layers
i
Align objects on multiple layers
A) You can align the content of layers and groups using the Move tool.
B) Align multiple layers, Using Boundary Boxes Or Paths
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i.
Select the layers.
ii.
Choose a selection border or select a path, and then select the layers in
the Layers palette. Use this method to align to any specified point in the
image.
iii.
Choose Layer > Align or Layer > Align Layers To Selection), and choose
a command from the submenu. These same commands are available as
Alignment buttons in the Move tool options bar.
h. Grouping
i
Grouping allows layers to be subsets of one another
A) Grouping: To group layers go to the layers pallet select >New Group.
B) Ungroup: go to the layers pallet select >Ungroup
i.
Linking
i
Linking is similar to selecting multiple layers at a time and performing a
single function on all of them at once but it is a permanent until unlinked.
A) Allows layers to be linked regardless of where they are located in the
layer structure. You can link two or more layers or groups.
B) Unlike multiple layers selected at the same time, linked layers retain
their relationship until you unlink them.
C) You can move, apply transformations, and create clipping masks from
linked layers
Linking Multiple Layers: select multiple layers using the Click the link icon
at the bottom of the Layers palette
iii Unlink selected layer(s): Select a linked layer and click the link icon.
iv Temporarily disable selected layers: select the linked layer, Shift-click the
Link icon for the linked layer. A red X appears. Shift-click the link icon to
enable the link again.
v Unlink all linked layer(s): Select one linked layer and then c
ii
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18. Image Adjustments
19. Color Mode Channels, Spot Channels and Alpha Channels
a. Color Mode Channels
i
ii
Color Mode Channels: Photoshop is a mono chromatic image editor the files
color separate into separate channels: i.e. Red Green Blue or RGB Each
channel is a “mask” and has different degrees of gray saturation in each area
of the mask. The lighter the color the more information is revealed the
darker the more that is hidden. i.e. the sky is lighter in the blue mask and
darkest in the red mask. When combined they make up a full color image.
Alpha Channels: Is where you save and load selections from. You can edit
Alpha channels using any of the editing tools. When a channel is selected in
the Channels palette, foreground and background colors appear as grayscale
value and can be used as a mask
20. Adjustment and Fill Layers
a. Adjustment Layer Definition
i
Change color and tonal values without permanently changing the pixel
number or value. By default, they affect all layers underneath them in the
layer structure or in a linked set (this can be overridden by clicking cntr-G
when the adjustment layer is selected)
b. Fill layer definition
i
Applies a solid color, gradient or pattern. They do not affect all of the layers
below them
c. Working with fill and adjustment layers
i
ii
at the bottom of the Layers panel,
Click the New Adjustment Layer button
and choose an adjustment or fill layer type.
Confine adjustment and fill layers to specific areas using masks
A) By default, adjustment and fill layers automatically have layer masks,
indicated by the mask icon to the right of the layer thumbnail.
B) To change the shape of a mask on an existing layer, edit the layer mask
C) Create an adjustment of fill layer mask using a selection or path
(i) In the Layers panel, select the layer to which you want to apply the
adjustment or fill layer
(ii) In the image, create a pixel selection, or create and select a closed
path. A selection confines the new adjustment or fill layer with a
layer mask. A path confines the new adjustment or fill layer with a
28
vector mask
(iii) Create an adjustment or fill layer
D) Create an adjustment layer mask using a color range
(i) In the Layers panel, select the layer to which you want to apply the
adjustment layer.
(ii) Choose Layer > New Adjustment Layer, and choose an adjustment
type.
(iii) In the Masks panel (CS5) or the Masks section of the Properties
panel (CC, CS6), click Color Range.
(iv) In the Color Range dialog box, choose Sampled Colors from the
Select menu.
(v) Select Localized Color Clusters to build a mask based on different
color ranges in the image.
(vi) Set the display option to Selection, and Selection Preview to None
(vii)
Click on a color area in the image.
(viii)
Use the Fuzziness slider to increase or decrease the range of
colors around your sample colors that are included in the masked
area. Use the Range slider to control how far or near a color must be
from the sample points to be included in the mask. After adjusting
the mask, click OK to close the Color Range dialog box.
29
Color Adjustments
d. Curves command Definition
i
You can adjust the tonality and color of an image by changing the shape of
the curve in the Curves dialog box. Moving the curve upward or downward
lightens or darkens the image, depending on whether the dialog box is set to
display levels or percentages. The steeper sections of the curve represent
areas of higher contrast; flatter sections represent areas of lower contrast.
e. Working in Curves:
i
Make a Curves Layer Adjustment: Go to Layer > New Adjustment Layer >
Curves. Click OK in the New Layer dialog box
A) Note: Select Channel Overlays in Curve Display Options to see the color
channel curves superimposed on the composite curve.
ii
Add a point along the curve by doing one of the following:
A) Manual (unrelated) points: (handles) Click directly on the curve.
B) Related points for RGB images: Ctrl-click (Windows) or Command-click
(Mac OS) a pixel in the image. Ctrl/Command-clicking pixels in the image
is the best way to add points when you want to preserve or adjust
specific details in an RGB image.
iii To remove a control point, select it and press Delete;
30
f.
Levels command
i
Adjusts color balance by setting the pixel distribution for individual color
channels..
g. Brightness/Contrast and Shadow/ Highlight commands
i
Brightness/Contrast and Shadow/ Highlight commands lets you make
simple adjustments to the tonal range of an image.
A) Moving the brightness slider to the right increases tonal values and
expands image highlights, to the left decreases values and expands
shadows.
B) The contrast slider expands or shrinks the overall range of tonal values in
the image.
ii
The Shadow/Highlight command is suitable for correcting photos with
silhouetted images due to strong backlighting or correcting subjects that
have been slightly washed out because they were too close to the camera
flash. The adjustment is also useful for brightening areas of shadow in an
otherwise well‑lit image. The Shadow/Highlight command does not simply
lighten or darken an image; it lightens or darkens based on the surrounding
pixels (local neighborhood) in the shadows or highlights.
h. Photo Filter command
i
i.
Color Balance command
i
31
Makes color adjustments for incorrect white points and lighting by
simulating the effects of using a Kodak Wratten or Fuji filter in front of a
camera lens. Good for small manipulations of multiple lighting sources when
used in combination with layer masks.
Changes the overall image mixture of colors in an image.
j.
Hue/Saturation command
i
Good for specific colors: Adjusts the hue, saturation, and lightness values of
the entire image or of individual color components. This is very powerful tool
but should be used carefully as the image can quickly derogate.
A) The top bar depicts the original hue and saturation of the image below
with the un-manipulated blue sky. The bottom bar depicts the adjusted
image with the orange sky
ii
k. Working in Hue/Saturation
i
Make a Curves Layer Adjustment: Go to Layer > New Adjustment Layer >
Hue/Saturation. Click OK in the New Layer dialog box
ii Choose a color to edit: In the Hue/Saturation dialog box, choose a color from
the Edit menu.
iii Adjust overall range affected and feathering Move the Bottom (rainbow)
sliders.
32
A) Definition of the adjustment sliders that appear between the color bars.
(i) The two inner vertical sliders define the color range.
(ii) The two outer triangle sliders show where the adjustments on a color
range “fall off” (fall‑off is a feathering or tapering of the
adjustments instead of a sharply defined on/off application of the
adjustments).
B) Manually Adjust Color Fall off: Drag one of the white triangle sliders to
adjust the amount of color fall‑off (feathering of adjustment) without
affecting the range.
C) Manually Adjust Range: Drag the area between the triangle and the
vertical bar to adjust the range without affecting the amount of fall‑off.
D) Manually Adjust Color Area:
(i) Drag the center area to move the entire adjustment slider (which
includes the triangles and vertical bars) to select a different color
area.
(ii) Drag one of the vertical white bars to adjust the range of the color
component. Moving a vertical bar from the center of the adjustment
slider and closer to a triangle increases the color range and
decreases the fall‑off.
(iii) Moving a vertical bar closer to the center of the adjustment slider
and away from a triangle decreases the color range and increases the
fall‑off.
E) Automatically by using the eyedropper.
i.
Select a range by Clicking or dragging in the image with the Eyedropper
tool
ii.
.
To expand the range, click or drag in the image with the Add To Sample
Eyedropper tool
.
iii. To reduce the range of color, click or drag in the image with the
Subtract From Sample Eyedropper tool
.
iv. While an eyedropper tool is selected, you can also press Shift to add to
the range, or Alt (Windows) or Option (Mac OS) to subtract from it.
F) Manually Adjust Color, Hue and Saturation using the pop up menu
sliders
(i) Move using the Hue, Saturation and Lightness Bars
i.
33
Drag the triangular sliders in the popup menu under Hue Saturation and
Lightness
iv Reset by holding down the Alt/Option key and clicking Reset in the
Hue/Saturation pop up menu/
l.
Selective Color
i
Good for specific colors, Great for whites and neutral colors such as
renderings. Not as powerful as hue saturate but a good complement. Works
in similar ways.
m. Match Color command
i
Great for presentations when you have to match the color of an object or
architectural element in multiple views
ii Matches the color from one photo to another photo, from one layer to
another layer, and from a selection in an image to another selection in the
same image or a different image.
iii This command also adjusts the luminance and color range and neutralizes
color casts in an image. See Match the color in different images.
n. Working with Match Color Command between Two Images
i
ii
Make a selection in the source and target images. (Optional) If you don’t
make a selection, then the Match Color command matches the overall image
statistics between images.
Make the image that you want to target active, and then choose Image >
Adjustments > Match Color.
A) If you’re applying the Match Color command to a specific layer in the
target image, make sure that layer is active when you choose the Match
Color command.
B) From the Source menu in the Image Statistics area of the Match Color
dialog box, choose the source image whose colors you’ll be matching in
the target image.
C) If necessary, use the Layer menu to choose the layer from the source
image whose colors you want to match. You can also choose Merged from
the Layer menu to match the colors from all the layers in the source
image.
34
iii Make modifications as necessary
iv Click OK.
21. Paths and Workpaths
a. Path Definition
i
ii
Paths and Vectorshapes are lines or shapes that are created with the pen or
shape tools.
Vector shapes are lines and curves you draw using the shape or pen tools.
Vector shapes are resolution-independent—they maintain crisp edges when
resized, printed to a PostScript printer, saved in a PDF file, or imported into a
vector-based graphics application. When you use a pen or shape tool to
create a new shape layer, the new path appears as a vector mask in the Paths
palette.
A) Paths are outlines that you can turn into selections, or fill and stroke
with color. The outline of a shape is a path. You can easily change the
shape of a path by editing its anchor points.
B) A work path is a temporary path that appears in the Paths palette and
defines the outline of a shape Work Path is automatically created in the
paths palette as you draw in the layers palette. If you deselect the work
path without saving it and start drawing again, a new path will replace
the existing one.
b. Use path as a Vector mask
i
See About layer and vector masks below
c. Convert A Path To A Selection.
i
ii
Select the path icon in the Paths palette.
To convert the path, do one of the following:
A) Click the Load Path as a Selection button at the bottom of the Paths
palette.
B) Ctrl‑click (Windows) or Command-click (Mac OS) the path thumbnail in
the Paths palette.
iii Choose Make Selection from the Paths palette menu.
A) In the Make Selection dialog box, select a Rendering option:
(i) Feather Radius: Defines how far inside and outside the selection
border the featheredge extends. Enter a value in pixels.
(ii) Anti-aliased: Creates a finer transition between the pixels in the
selection and the surrounding pixels. Make sure the Feather Radius is
set to 0.
B) Select an Operation option:
35
C) Click ok
d. Multiple selection of paths
i
You can select multiple paths on the same layer or across different layers,
allowing you to apply commands to multiple paths simultaneously (including
delete)
A) Shift-click to select contiguous paths
B) Ctrl-click (Windows) or Command-click (Mac OS) to select noncontiguous paths
e. Save a work path you must go to the path palette
i
ii
f.
Select the path layer
Select save path from the corner pull down menu.
Make Saved Path into a Clipping Path for Export to illustrator or indesign
i
ii
Designating a saved path as a clipping path in order to make part of an image
transparent when exporting the image to a page-layout or vector-editing
application.
In the Layers Palette go to the layer you would like to make a clipping mask
for.
A) Select the layer and keep it highlighted
iii In the Paths palette,.
A) Save the work path as a path Make a path or choose a path that defines
the edge of the object you would like to export .
(i) Highlight the path layer that you are using.
B) Choose Clipping Path from the Paths palette menu, set the following
options, and click OK:
(i) For Path, choose the path you want to save.
(ii) For Flatness, leave the flatness value blank to print the image using
the printer’s default value
g. Paths palette
A. Saved path
B. Temporary work
path
C. Vector mask path
(appears only when
i
ii
36
Create a new work path
in the
A) Select a shape tool or a pen tool, and click the Paths button
options bar.
B) Set tool-specific options, and draw the path. For more information, see
Shape tool options and About the Pen tools.
C) Draw additional path components if desired. You can easily switch
between drawing tools by clicking a tool button in the options bar.
Choose a path area option to determine how overlapping path
components intersect:
iii Add To Path Area
A)
Adds the new area to overlapping path areas.
iv From Path Area
A)
v
Removes the new area from the overlapping path area.
Intersect Path Areas
A)
Restricts the path to the intersection of the new area and the existing
area.
vi Exclude Overlapping Path Areas
A)
Excludes the overlap area in the consolidated path.
B) While drawing with a shape tool, hold down Shift to temporarily select
the Add To Path Area option; hold down Alt (Windows) or Option (Mac
OS) to temporarily select the Subtract From Path Area option.
37
h. Making Workpaths
i
ii
Select Layer in the layer palette: Vector masks are linked to their parent
layer; you must select the parent layer in the Layers palette in order to list
the Vector mask in the Paths palette.
You can remove a Vector mask from a layer and convert a Vector mask or to a
rasterized mask.
iii
iv Draw or select a shape on a layer
v
vi
38
Save the path in the path palette
vii Once all three paths are saved you can use these as Vector Masks, Rasterize
to convert to Layer Mask or export paths to illustrator
22. Masks General
a. White Reveals and Black Hides – Masks Are Greyscale
i White pixels in masks - revels the image bellow (Exposes image to editing)
ii Black pixels in masks - hides the image below (Protects image from editing)
iii Grey pixels reveal corresponding percentages of the image below
b. Image First / Mask Next – In the Layer structure
i Image above or to the left
ii Mask below (clipping mask) or to the right (layer and vector masks)
iii Backgrounds at the bottom
c. Mask Basics
i
ii
39
Masks and channels are grayscale images, so you can edit them like any
other image. With masks and channels, areas painted black are protected,
and areas painted white are editable. Masks let you save and reuse timeconsuming selections as alpha channels. Alpha channels can store selections
so you can use them again, or you can load a saved selection into another
image
Masks let you isolate and protect areas of an image as you apply color
changes, filters, or other effects to the rest of the image. When you select
part of an image, the area that is not selected is "masked" or protected from
editing. You can also use masks for complex image editing such as gradually
applying color or filter effects to an image.
A . Opaque mask used to
protect the background and
edit the butterfly
B. Opaque mask used to
protect the butterfly and
color the background
C. Semitransparent mask
used to color the background
iii
A)
23. Mask Types
a. Quick Mask mode:
i
ii
Good for temporary masks that won’t be saved with image.
Mask and Image is seen in same window at the same time. It allows you to
edit and see your mask in the image window without switching back and
fourth between the mask and image.
iii A selection is created when you leave quick mask mode but is lost unless you
save it to a selection or alpha channel.
iv Conversion to Alpha channel: You can convert a quick mask to an alpha
channel so that you can use them as a vector mask later. This is not done
automatically.
b. Layer Masks and Vector Masks
i
ii
40
Let you produce a mix of soft and hard masking edges on the same layer. By
making changes to the layer mask or the vector masks, you can apply a
variety of special effects. They are non destructive.
They can be linked (moving image and mask in tandem) or unlinked (moving
image and mask independently
A. Layer mask thumbnail
B. Vector mask thumbnail
C. Vector Mask Link icon
D. Add Mask
c. Layer Masks
i
Are bitmap images and are resolution dependent and are created with
painting, selection or dodging tools. They cannot be scaled without loosing
definition.
ii Filters, color adjustments and layer attributes can be applied
iii Work in grey scale only
iv Better at soft edges like painting and dodging or when defined paths are not
necessary. Not editable with a pen tool as they do not have a path.
v Layer masks are better at soft edges where the image is less defined or
where the image is a pre-defined shape. I.e.:
A) Retouching images
B) Combining exposures on the same photographic images.
d. Vector Masks
i
Are vector images and are resolution independent and are created with pen
and shape tools. They can be scaled and exported as paths
ii Filters, color adjustments and layer attributes can be applied
iii They are editable with a pen tool and shapes.
iv Can be edited in colors.
e. Clipping mask
i
41
A clipping mask lets you use the content of a layer to mask the layers above
it. The masking is determined by the content of the bottom or base layer. The
non-transparent content of the base layer clips (reveals), the content of the
layers above it in the clipping mask. All other content in the clipped layers is
masked out.
ii
iii Clipping mask: content of the clipped layer (Potatoes) is only visible within
the content of the base layer (Logo)
42
24. Quick Mask
a. To use Quick Mask mode,
i
Start with a selection and then add to or subtract from it to make the mask.
Alternately, create the mask entirely in Quick Mask mode.
ii Color differentiates the protected and unprotected areas. When you leave
Quick Mask mode, the unprotected areas become a selection.
iii A temporary Quick Mask channel appears in the Channels palette while you
work in Quick Mask mode. However, you do all mask editing in the image
window.
b. To create a temporary mask:
i
Using any selection tool, select the part of the image you want to change.
ii Click the Quick Mask mode button in the toolbox.
iii A color overlay (similar to a rubylith) covers and protects the area outside
the selection. Selected areas are left unprotected by this mask. By default,
Quick Mask mode colors the protected area using a red, 50% opaque overlay.
iv To edit the mask, select a painting tool from the toolbox. The swatches in the
toolbox automatically become black and white.
43
A. The top image shows
standard mode
B. The bottom image shows
the quick mask mode. The
red rubylith film is
highlighted so that you can
v
44
Paint with white to select more of an image (the color overlay is removed
from areas painted with white). To deselect areas, paint over them with black
(the color overlay covers areas painted with black). Painting with gray or
another color creates a semitransparent area, useful for feathering or antialiased effects (semitransparent areas may not appear selected when you
exit Quick Mask Mode, but they are).
Painting in Quick Mask
mode
A. Original selection and
Quick Mask mode with
green chosen as mask color
B. Painting with white in
Quick Mask mode adds to
the selection
C. Painting with black in
vi Click the Standard Mode button
in the toolbox to turn off the quick
mask and return to your original image. A selection border now surrounds the
unprotected area of the quick mask.
vii If a feathered mask is converted to a selection, the boundary line runs
halfway between the black pixels and the white pixels of the mask gradient.
The selection boundary indicates the pixels' transition from being less than
50% selected to more than 50% selected.
viii Apply the desired changes to the image. Changes affect only the selected
area.
c. Saving a quick mask
i
Choose Select > save selection.
d. To change the Quick Mask options:
i
ii
Double-click the Quick Mask Mode button in the toolbox.
Choose from the following display options:
A) Masked Areas to have masked areas appear black (opaque) and to have
selected areas appear white (transparent). Painting with black increases
45
the masked area; painting with white increases the selected area. With
this option, the Quick
B) Mask button in the toolbox appears as a white circle on a gray
background.
C) Selected Areas to have masked areas appear white (transparent) and to
have selected areas appear black (opaque). Painting with white increases
the masked area; painting with black increases the selected area.
D) With this option, the Quick Mask button in the toolbox appears as a gray
circle on a white background.
e. To toggle between the Masked Areas and Selected Areas options for quick
masks,.
i
f.
Alt-click (Windows) or Option-click (Mac OS) the Quick Mask Mode button.
To choose a new mask color,
i click the color box, and choose a new color.
ii To change the opacity, enter a value between 0% and 100%.
iii Both the color and opacity settings affect only the appearance of the mask
and have no effect on how underlying areas are protected. Changing these
settings may make the mask more easily visible against the colors in the
image.
25. Create and Edit Alpha Channels
a. Create an Alpha Channel
i
ii
b.
Alt-click (Windows) or Option-click (Mac OS) the New Channel button at the
bottom of the Channels palette, or choose New Channel from the Channels
palette menu.
Specify options in the New Channel dialog box.
Edit an Alpha Channel
i
To see the alpha channel turn on the layer in the Channel layer and hide the
RGB layer
ii To see the alpha channel and the image simultaneously make both layers
visible. Make the mask 50% transparent to view the masked and unmasked
area
iii Paint on the new channel to mask out image areas. Erase to reveal areas as
per quick mask instructions above.
46
26. Storing Masks in Alpha Channels
i
Create permanent masks by storing them in alpha channels. This allows you
to use the masks again in the same image or in a different image
ii You can create an alpha channel in Photoshop and then add a mask to it.
iii You can also save an existing selection in a Photoshop or Image Ready image
as an alpha channel that will appear in the Channels palette in Photoshop.
b. Save a Selection to a New Channel
i
Select the area or areas of the image you want to isolate.
ii
Click the Save Selection button at the bottom of the Channels palette.
new channel appears, rename as necessary.
A
c. Save a Selection to a Channel
i
Use a selection tool to select the area or areas of the image you want to
isolate.
ii Choose Select > Save Selection.
iii Specify the following in the Save Selection dialog box, and click OK:
A) Choose the Open Document to Save to:
(i) Chooses a destination image for the selection. By default, the
selection is placed in a channel in your active image. You can choose
to save the selection to a channel in another open image with the
same pixel dimensions or to a new image.
B) Choose the Channel to save to:
(i) Chooses a destination channel for the selection. By default, the
selection is saved in a new channel. You can choose to save the
selection to any existing channel in the selected image or to a layer
mask if the image contains layers.
(ii) If you’re saving the selection as a new channel, type a name for the
channel in the Name text box.
(iii) If you’re saving the selection to an existing channel, select how to
combine the selections:
i.
Replace Channel: Replaces the current selection in the channel.
ii.
Add to Channel: Adds the selection to the current channel contents.
iii. Subtract From Channel: Deletes the selection from the channel
contents.
iv. Intersect With Channel: Keeps the areas of the new selection that
intersect with the channel contents.
27. Loading Masks from Alpha Channel
a. From the pull down menu
47
i
Go to Select>Load Selection. Select alpha channel to be loaded
b. From the Channel Pallet
i
Load an Alpha Channel:
A) Select the alpha channel, click the Load Selection button
at the
bottom of the palette, and then click the composite color channel near
the top of the palette.
B) Or: Drag the channel containing the selection you want to load onto the
Load Selection button.
C) Or: Ctrl-click (Windows) or Command-click (Mac OS) the channel
containing the selection you want to load.
ii
To add the mask to an existing selection,
A) press Ctrl+Shift (Windows) or Command+Shift (Mac OS), and click the
channel.
iii To subtract the mask from an existing selection,
A) press Ctrl+Alt (Windows) or Command+Option (Mac OS), and click the
channel.
iv To load the intersection of the saved selection and an existing selection,
A) press Ctrl+Alt+Shift (Windows) or Command+Option+Shift (Mac OS),
and select the channel.
v
You can drag a selection from one open Photoshop image into another.
28. Layer Mask
a. Adding Layer Masks to a document
When you add a layer mask, you need to decide if you want to hide or show
the entire layer. Or, you can create a layer mask that automatically hides a
portion of the layer by making a selection before creating the mask
ii Remember layer masks are bit mapped (so you use the editing tools) and are
stored in the Alpha Channels or selections
iii Reveal or Hide All
i
A) Make a new layer
B) Add image to be modified. Make sure that nothing is selected in your
document. Do one of the following:
(i) Click the New Layer Mask button in the Layers palette
.
(ii) Go to Layer > Layer Mask > Reveal All or choose Layer > Layer Mask >
Hide All.
iv Reveal selection or hide selection using Alpha Channel or Selection
A) In the Layers palette, select the layer or group to receive a mask.
48
B) Select Area to be Masked
(i) Select the area in the image manually or load a selection or select an
alpha channel by
(ii) Go to an Alpha channel and Option +click (mac) on the channel
(iii) Go to Select>Load image
(iv) Select mask from the poop up menu.
C) To make mask do one of the following:
(i) Click the New Layer Mask button in the Layers palette to create a
mask that reveals the selection.
(ii) Alt-click (Windows) or Option-click (Mac OS) the New Layer Mask
button to create a mask that hides the selection.
(iii) Choose Layer > Layer Mask > Reveal Selection or Hide Selection.
b. Commands
i
ii
iii
iv
v
vi
Link Mask and image: Turn on and off link
Disable Mask: Shift >Click (select mask)
Load Selection: Command+click (select mask)
Select Mask: Mac Hold down option/click (select mask). PC Alt+select
View Layer: Alt/Click or Option+Click
Delete Mask: Drag to trash. Do not apply.
c. Apply mask from another layer
i
Do one of the following:
A) To move the mask to another layer, drag the mask to the other layer.
B) To duplicate the mask, Alt-drag (Windows) or Option-drag (Mac OS) the
mask to other layer
d. Edit a Layer Mask
Click the layer mask thumbnail in the Layers palette to make it active. A
border appears around the mask thumbnail.
ii Select any of the editing or painting tools.
iii The foreground and background colors assume default grayscale values
when the mask is active.
iv Do one of the following:
i
A) To subtract from the mask and reveal the layer, paint the mask with
white.
B) To make the layer partially visible, paint the mask with gray. Darker grays
make the level more transparent, lighter grays make it more opaque.
C) To add to the mask and hide the layer or group, paint the mask with black.
The layers below become visible.
49
e. To Edit The Layer Instead Of The Layer Mask,
i
f.
Select the layer by clicking its thumbnail in the Layers palette. A border
appears around the layer thumbnail.
To Paste A Copied Selection Into A Layer Mask,
i
ii
Alt-click (Windows) or Option-click (Mac OS) the layer mask thumbnail in the
Layers palette to select and display the mask channel.
Choose Edit > Paste, then Select > Deselect. The selection is converted to
grayscale and added to the mask. Click the layer thumbnail in the Layers
palette to deselect the mask channel.
29. Vector Mask
a. Adding Vector Masks to a document
When you add a layer mask, you need to decide if you want to hide or show
the entire layer. Or, you can create a layer mask that automatically hides a
portion of the layer by making a selection before creating the mask
ii Remember vector masks are lines (so you use the pen or shape tools) and
are stored in the Path pallet
iii Reveal or Hide All
i
A) In the Layers palette, select the layer you want to add the vector mask to.
B) Do one of the following:
(i) To create a vector mask that reveals the entire layer, choose Layer >
Vector Mask > Reveal All.
(ii) To create a vector mask that hides the entire layer, choose Layer >
Vector Mask > Hide All.
iv Reveal selection or hide selection using Alpha Channel or Selection
A) In the Layers palette, select the layer or group to receive a mask.
B) Select Area to be Masked
(i) Select the area in the image manually using the pen or shape tool or
load a selection or select an path by
(ii) Go to an Path pallete and Option +click (mac) on the channel
(iii) Go to Select>Load image
(iv) Select mask from the poop up menu.
C) To make mask do one of the following:
(i) Click the New Layer Mask button in the Layers palette to create a
mask that reveals the selection.
(ii) Alt-click (Windows) or Option-click (Mac OS) the New Layer Mask
button to create a mask that hides the selection.
(iii) Choose Layer > Layer Mask > Reveal Selection or Hide Selection.
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v
Add a Vector Mask that shows the contents of a current path
A) In the Layers palette, select the layer you want to add the vector mask to
B) Select a path, or use one of the shape or pen tools to draw a work path.
C) Choose Layer > Vector Mask > Current Path.
b. Edit a Vector Mask
i
Click the vector mask thumbnail in the Layers palette or the thumbnail in the
Paths palette. Then change the shape using the shape, pen, or Direct
Selection tools
c. To Edit The Layer Instead of the Vector Mask,
i
Select the layer by clicking its thumbnail in the Layers palette. A border
appears around the layer thumbnail.
d. Convert a vector mask to a layer mask
i
ii
Select the layer containing the vector mask you want to convert, and choose
Layer > Rasterize > Vector Mask.
Important: After you rasterize a vector mask, you can’t change it back into a
vector object.
30. Unlinking Layers and Masks
i
By default, a layer or group is linked to its layer mask or vector mask, as
indicated by the link icon between the thumbnails in the Layers palette.
ii The layer and its mask move together in the image when you move either one
with the Move tool. Unlinking them lets you move them independently and
shift the mask’s boundaries separately from the layer.
iii Note: By default, masks applied to Smart Objects aren’t linked to Smart
Object layers.
iv To unlink a layer from its mask, click the link icon in the Layers palette.
v To reestablish the link between a layer and its mask, click between the layer
and mask path thumbnails in the Layers palette.
31. Clipping Masks
a. Definition
i
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A clipping mask lets you use the content of a layer to mask the layers above
it. The masking is determined by the content of the bottom or base layer. The
non-transparent content of the base layer clips (reveals), the content of the
layers above it in the clipping mask. All other content in the clipped layers is
masked out.
ii
iii Clipping mask: content of the clipped layer (Potatoes) is only visible within
the content of the base layer (Logo)
iv You can use multiple layers in a clipping mask, but they must be successive
layers. The name of the base layer in the mask is underlined, and the
thumbnails for the overlying layers are indented. The overlying layers display
a clipping mask icon.
v The Blend Clipped Layers As Group option in the Layer Style dialog box
determines whether the blending mode of the base affects the whole group
or just the base. (See Group blend effects.)
b. Working with Clipping Masks
i
Arrange the layers in the Layers palette so that:
A) Bottom layer includes Mask: the base layer with the mask is below the
layers that you want to mask.
B) Upper Layers include Images to be clipped: and modifying layers (like
layer adjustments).
C) Layer Attributes: Layers in the clipping mask are assigned the opacity
and mode attributes of the base layer.
ii
Create a Clipping Mask. Do one of the following:
A) Go to the Layers Palette. Hold down Alt (Windows) or Option (Mac OS),
position the pointer over the line in the Layers palette dividing the base
layer and the first layer above it that you want to include in the clipping
mask (the pointer changes to two overlapping circles),
and click.
B) Go to the Layers Palette Select the first layer above the base layer in the
Layers palette, and choose Layer > Create Clipping Mask.
iii Add additional layers to the clipping mask, repeat step above
iv Note: If you create a new layer between layers in a clipping mask, or drag an
unclipped layer between layers in a clipping mask, the layer becomes part of
the clipping mask.
c. Remove a layer(s) from a clipping mask
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i
Do one of the following:
A) Hold down Alt (Windows) or Option (Mac OS); position the pointer over
the line separating two grouped layers in the Layers palette (the pointer
changes to two overlapping circles),
and click.
B) In the Layers palette, select a layer in the clipping mask, and choose
Layer > Release Clipping Mask. This command removes the selected layer
and any layers above it from the clipping mask.
32. Smart Objects
a. Smart Objects are layers that contain image data from raster or vector images,
i
Such as Photoshop or Illustrator files. Smart Objects preserve an image’s
source content with all its original characteristics, enabling you to perform
nondestructive editing to the layer. They are not linked files
ii Work with vector data, such as vector artwork from Illustrator, that
otherwise would be rasterized in Photoshop.
iii Perform nondestructive filtering. You can edit filters applied to Smart
Objects at any time.
iv Edit one Smart Object and automatically update all its linked instances.
b. Creating Smart Objects
i
You can create Smart objects using several methods:
A) Choose File>Open As Smart Object command>select file and them click
Open;
B) Choose File > Place to import files as Smart Objects into an open
Photoshop document.
C) Choose Layer > Smart Object > Convert to Smart Object to convert a
selected layer into a Smart Object.
D) Drag PDF or Adobe Illustrator layers or objects into a Photoshop
document.
E) Paste artwork from Illustrator into a Photoshop document, and choose
Smart Object in the Paste dialog box. For the greatest flexibility, enable
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both PDF and AICB (No Transparency Support) in the File Handling
section of the Preferences dialog box.
c. Creating Linked Smart Objects
i
In Photoshop CC, you can create linked smart objects. The contents of linked
smart objects are updated when the source image file changes. Linked smart
objects are particularly useful for teams or in cases where assets must be
reused across designs.
A) Choose File > Place Linked
B) Select an appropriate file and click Place
C) You can also drag-and-drop the appropriate file while keeping the Alt key
(windows) or Opt key (Mac) pressed
ii
Updating linked smart objects
A) Right-click a linked smart object layer and select Update Modified
Content
B) Select Layer > Smart Objects > Update Modified Content
iii Embed linked smart objects
A) Right-click a linked smart object layer in the Layers panel and
select Embed Linked
B) Select Layer > Smart Objects > Embed Linked (to embed all linked smart
objects)
d. Editing Smart Objects
i
You can perform nondestructive transforms. You can scale, rotate, or warp a
layer without losing original image data or quality because the transforms
don’t affect the original data. (Some transform options, such as Perspective
and Distort, aren’t available.)
ii You can’t perform operations that alter pixel data—such as painting, dodging,
burning, or cloning—directly to a Smart Object layer, unless it is first
converted into a regular layer, which will be rasterized. To perform
operations that alter pixel data, you can edit the contents of a Smart Object,
clone a new layer above the Smart Object layer, edit duplicates of the Smart
Object, or create a new layer.
iii To Edit the content of a Smart Object:
A) Select the Smart Object from the Layers palette, and do one of the
following:
(i) Choose Layer > Smart Objects > Edit Contents.
(ii) Double-click the Smart Objects thumbnail in the Layers palette.
(iii) Click OK to close the dialog box.
(iv) Make edits to the source content file, then choose File > Save.
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(v) Photoshop updates the Smart Object to reflect the changes you
made. (If you don’t see the changes, make the Photoshop document
containing the Smart Object active)
e. Replace the contents of a Smart Object
i
You can update the image data in one or multiple (if the Smart Objects are
linked) instances of a Smart Object.
ii Note: When you replace a Smart Object, any scaling, warping, or effects that
you applied to the first Smart Object are maintained.
iii Select the Smart Object, and choose Layer > Smart Objects > Replace
Contents.
iv Click OK.
v The new content is placed in the Smart Object. Linked Smart Objects are also
updated.
33. Converting Color Images to Black and White
i
There are many ways to convert images from color to black and white. Six
are outlined below. Always make a working copy before adjusting images.
b. Desaturate Image Method to convert to Black and White
i
ii
iii
iv
v
vi
vii
viii
ix
Go to layer>new adjustment layer>Hue Adjustment
Go to master color in the hue adjustment pop up menu
Slide the desatureate bar all the way to the left.
Change blending mode to color
Channel Mixer Method to convert to Black and White
Go to layer>new adjustment layer> Channel mixer
Create new adjustment layer
Click monochrome at bottom of pop up menu
Adjust sliders on each RGB color channel. Note that percentages must add
up to 100% in order to maintain brightness levels and go balance. Start from
the following percentages:
A) Red channel (best range) 24%
B) Green channel (sharpest) 68%
C) Blue (nosiest)
08%
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c. Channel Palette method to convert to Black and White
i
Go to window and Choose Channel Palette Select the Red green or Blue
channel based on your eye.
d. Lab Color Conversion method to convert to Black and White (Recommended by
Gabe as easy and good)
i
ii
Go to Image>Mode>Lab Color. Change mode to lab color.
Go to window and Choose Channel Palette. The channels in Lab color are
Lightness channel (luminosity) a channel (red and green) and B channel (all
of the channels)
iii Select the lightness channel.
iv Go back to Image>Mode menu and select Grayscale
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v
e. The Visual Wow Method - Entire Panchromatic Response (recommended with
caution.) You are manipulating the original image a lot and it can derogate. You
must check that there is minimal derogation. Always make a working copy.
i
ii
iii
iv
v
vi
vii
viii
f.
Repeat Method 1 Desaturation
Go to layer>new adjustment layer>Hue Adjustment
Go to master color in the hue adjustment pop up menu
Slide the desatureate bar all the way to the left.
Click On Background of Image
Go to layer>new adjustment layer>Hue Adjustment
Change Blending Mode of the bottom Hue/Saturation Layer to Color
Reopen Bottom Hue/Saturation Layer & Play!
Highest Quality method (Most labor intensive but preserves the most range and
information from the original image)
i
Open the color image and select all. Copy and open new document in
Grayscale color mode. (You will be prompted on the initial pop up screen to
accept or change color mode.)
ii Once the new image is opened, return to original image go to Channel palette
and select red layer. Select the image, copy and paste into the new black and
white file as a new layer. Name the new layer the Red Layer. Return to the
original image and repeat for the Green and Blue channels.
iii Once the new image has four layers (the Grayscale layer and the pasted, Red,
Green and Blue layers) return to the original color image
iv Go to Go to Image>Mode>Lab Color: Change mode to lab color.
v Go to window and Choose Channel Palette. The channels in Lab color are
Lightness channel (luminosity) a channel (red and green) and B channel (all
of the channels)
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vi Select the lightness channel. Highlight the image by selecting all. Copy and
paste the selection in the new image as a new layer. Name this the lightness
layer.
vii Now you are able to manipulate all of the layers by creating adjustment
layers or masks or simply by blending, opacity, or erasing. If you are directly
working on an individual layer make a copy of that layer before adjusting
viii Choose Layer > Select Linked Layers.
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