Teacher’s Edition
Learning
Graphic
Design &
Illustration
Andrew Faulkner
Conrad Chavez
Brian Wood
Learning Graphic Design
& Illustration
Teacher’s Edition
Andrew Faulkner
Conrad Chavez
Brian Wood
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330 Hudson Street, New York, NY 10013
Hardcover ISBN 10: 0-13-446041-3
Hardcover ISBN 13: 978-0-13-446041-3
1 2 3 4 5 6 7 8 9 10 12 11 10 09 08
Table of Contents
INTRODUCTION IV CHAPTER 6
PREPARING AND OUTPUTTING A FILE 269
CHAPTER 1 LESSON 12 | Preparing Photoshop Files for the
GETTING STARTED WITH PHOTOSHOP CC 1
LESSON 1 | Getting to Know the Work Area 3 Web 271
LESSON 2 | Basic Photo Corrections 22 LESSON 13 | Producing and Printing Consistent
End-of-Chapter Activities 59
Color 290
CHAPTER 2 End-of-Chapter Activities 304
USING SELECTIONS AND LAYERS WHILE
DESIGNING 64 CHAPTER 7 308
LESSON 3 | Working with Selections 66 GETTING STARTED WITH ILLUSTRATOR CC
LESSON 4 | Layer Basics 84 LESSON 14 | Getting to Know the
End-of-Chapter Activities 108
Work Area 310
CHAPTER 3 LESSON 15 | Techniques for Selecting
IMPROVING AND EXTRACTING IMAGE
CONTENT 113 Artwork 335
LESSON 5 | Quick Fixes 115 End-of-Chapter Activities 354
LESSON 6 | Masks and Channels 135
End-of-Chapter Activities 150 CHAPTER 8
WORKING WITH SHAPES AND PATHS 358
CHAPTER 4 LESSON 16 | Using Shapes to Create Artwork for a
ENHANCING A DESIGN WITH TYPOGRAPHIC
AND VECTOR ELEMENTS 155 Postcard 360
LESSON 7 | Typographic Design 157 LESSON 17 | Editing and Combining Shapes and
LESSON 8 | Vector Drawing Techniques 175
End-of-Chapter Activities 195 Paths 392
End-of-Chapter Activities 412
CHAPTER 5
MORE PHOTO REFINEMENTS 199 CHAPTER 9
LESSON 9 | Advanced Compositing 201 TRANSFORMING, POSITIONING, AND
LESSON 10 | Painting with the Mixer Brush 223 DRAWING 416
LESSON 11 | Working with Camera Raw 242 LESSON 18 | Transforming Artwork 418
End-of-Chapter Activities 266 LESSON 19 | Creating an Illustration with the
Drawing Tools 441
End-of-Chapter Activities 475
LEARNING GRAPHIC DESIGN & ILLUSTRATION iii
Table of Contents
CHAPTER 10 CHAPTER 12
WORKING WITH COLOR AND TYPE 479 EXPANDING YOUR TOOLKIT WITH BRUSHES
LESSON 20 | Using Color to Enhance Signage 481 AND STYLES 612
LESSON 21 | Adding Type to a Poster 512 LESSON 24 | Using Brushes to Create a
End-of-Chapter Activities 547
Poster 614
CHAPTER 11 LESSON 25 | Exploring Creative Uses of Effects and
WORKING WITH LAYERS AND FILLS 552
LESSON 22 | Organizing Your Artwork with Graphic Styles 640
End-of-Chapter Activities 667
Layers 554
LESSON 23 | Gradients, Blends, CHAPTER 13
WORKING WITH SYMBOLS, CC LIBRARIES, AND
and Patterns 578 WEB CONTENT 671
End-of-Chapter Activities 607 LESSON 26 | Creating Artwork for a T-Shirt 673
LESSON 27 | Preparing Content for the Web 709
End-of-Chapter Activities 732
INDEX 737
iv LEARNING GRAPHIC DESIGN & ILLUSTRATION
Introduction
Learning Graphic Design & Illustration gives you an in-depth introduction to Adobe Photoshop and Adobe Illustrator,
two of the most widely used graphic design applications in the world. This book supports the Creative Cloud ver-
sions of these applications. Adobe Creative Cloud gives you access to the most up-to-date tools and features for all
Adobe applications.
Adobe® Photoshop® CC is the industry standard for digital imaging excellence. Its powerful image-editing fea-
tures and intuitive interface make it easy to learn and simple to use for both beginners and professionals. Adobe®
Illustrator® CC is the industry-standard illustration application for print, multimedia, and online graphics. Whether
you are a designer or a technical illustrator producing artwork for print publishing, an artist producing multimedia
graphics, or a creator of web pages or online content, Adobe Illustrator offers you the tools you need to get profes-
sional-quality results.
How the Teacher’s Edition is Organized
The Learning Graphic Design & Illustration Teacher’s Edition is a comprehensive guide to the student edition text. In
addition to providing instructors with essential information about how to use the student edition in the classroom,
it includes exclusive material such as additional activities, discussion topics, and suggestions for ways to customize
lessons for tiered learning. The Teacher’s Edition presents instructors with teaching tips and other relevant content
directly alongside the full-page view of the student edition text. Instructors can see exactly what the student sees
while referencing the information they need to manage the classroom and promote learning.
To make it easy for teachers to access information relating to the current content, the Teacher’s Edition
includes the following features and elements:
• Chapter Overview: This includes summary information on the lessons in each chapter. Teachers can use this
material as an introduction to what students are about to learn.
• Files Needed for This Chapter: These include a listing of all of the student data files needed to complete the
activities in the chapter.
• Chapter Opener: Discusses the skills that students will be leaning about and applying.
• Focus and Engage: Each lesson begins with a “bell-ringer” activity to start the class off and to help focus
the students’ attention on the content to come.
• Teaching Tips: These items help explain the content and provide additional information for instructors to use in
the classroom.
• Discussion Topics: These discussion topics relate directly and indirectly to the content on the current page.
• Meet Individual Needs: These include accommodations and additional activities for More Advanced, Less
Advanced, English Language Learners, and Special Needs Students.
• Review the Vocabulary: Key terms and definitions introduced on the current page are supplied.
• Answer Keys: Answers for all end-of-lesson and end-of-chapter activities are included in the wrap content.
LEARNING GRAPHIC DESIGN & ILLUSTRATION v
Chapter 1
Getting Started
with Photoshop CC
LEARNING GRAPHIC DESIGN & ILLUSTRATION 1
LEARNING GRAPHIC DESIGN & ILLUSTRATION 1
CHAPTER 1 Lesson 1 Getting to Know the Work Area
OVERVIEW
Lesson 1 | Getting to Know the Work Area Lesson 2 | Basic Photo Corrections
This chapter introduces students to the
Photoshop environment and its basic tools. Start to work in Adobe Photoshop Strategy for retouching
Use the tools Resolution and image size
Lesson 1: Key skills include navigating and Sample a color Open a file with Adobe Bridge
customizing the workspace, using the Zoom Work with tools and tool properties Straighten and crop the image in Photoshop
and Eyedropper tools, using the Layers and Undo actions in Photoshop Adjust the color and tone
Navigator panels, brightening a photograph, More about panels and panel locations Use the Spot Healing Brush tool
adding and customizing text, and undoing Find resources for using Photoshop Apply a content-aware patch
actions in Photoshop. The lesson concludes Explore employability skills Repair areas with the Clone Stamp tool
with a review of employability and the pro- Sharpen the image
fessional qualities and personal appearance Review a brief history of graphic design
standards employers seek.
End-of-Chapter Activities
Lesson 2: Key skills include straighten-
ing and cropping images, using the Spot
Healing Brush, Patch, and Clone Stamp
tools, and using the Curves and Levels
options to adjust tonal range. The lesson
concludes with a review of the history of
graphic design.
Files Needed for This Chapter:
01End.psd
01Start.psd
02End.psd
02Start.psd
PB01.psd
CT01.tif
CHAPTER OPENER 2 LEARNING GRAPHIC DESIGN & ILLUSTRATION LEARNING GRAPHIC DESIGN & ILLUSTRATION 2
• Ask, “What is Adobe?” Review the MEET INDIVIDUAL NEEDS
concept of a suite of applications,
comparing Adobe CC to Microsoft More advanced learners: Choose up to three more advanced learners—including any
Office suite and others with which who are already familiar with Photoshop—to act as the Photoshop Shortcut Police. As
students are already familiar. Explain you move through the chapter—perhaps the whole book!—it’s their job to point out
that CC stands for Creative Cloud, the keyboard shortcuts for pull-down menu options or other commands. Have them keep
cloud-based method by which Adobe a running list to display or distribute to the class.
distributes and updates its software
applications.
• Write or project the word “Photo-
shop” on the wall. Ask students to
share what they know about this
word. Probe with questions like “Who
uses it?” “What does it do?” and “What
does it mean for something to be
Photoshopped?”
2 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 FOCUS AND ENGAGE
Lesson 1 Overview Introduce the Lesson
In this lesson, you’ll learn how to do the following: • Photoshop is digital image-editing
software. Why do we want or need
• Open image files in Adobe Photoshop. • Choose commands in panel and context menus. to edit images? Have you ever used
software—or even a smartphone
• Select and use tools in the Tools panel. • Open and use a panel in the panel dock. app—to edit a photograph or other
image? What did you change about
• Set options for a selected tool using the options • Undo actions to correct mistakes or to make the image and why?
bar. different choices.
• Ask what computer applications stu-
• Use various methods to zoom in to and out from • Find resources for using Photoshop. dents already know and use. As you
an image. • Explore employability skills. review the skills listed in the Lesson 1
Overview, ask what students already
• Select, rearrange, and use panels. know that might give them a head
start in their work with Photoshop.
Enormous demand for digital image content continues to grow, driven by the consumer’s desire for online infor-
mation and entertainment of all types. In a rapidly changing landscape of both old and new technologies, the goal • Explain that the skills students learn
of image design and editing remains the same: You want to take the original image and shape it into a composi- in this section will reappear in the
tion, based on your original vision, that clearly communicates an idea or information to the audience. lessons that follow; emphasize the
importance of mastering each skill.
Photoshop CC provides all the tools you need to work with digital images, from making corrections to a vintage
photo that’s been scanned to layering text and imagery to create a finished project. As you work with Adobe REVIEW THE
Photoshop, you’ll discover that you can often accomplish the same task in several ways. To make the best use of VOCABULARY
the extensive editing capabilities in Photoshop, you must first learn to navigate the work area. This lesson intro-
duces you to the Photoshop environment and its basic tools. bitmap (or raster) image an image made
of tiny squares called pixels. You can edit
Starting to Work in Adobe Photoshop Bitmap images (technically a bitmap image by erasing or changing
called raster images) the color of individual pixels. Most digital
The Adobe Photoshop work area includes menus, toolbars, and panels that give you photographs and scanned images are
quick access to a variety of tools and options for editing and adding elements to your Graphic which uses a rectangular bitmap files.
image. You can also add commands and filters to the menus by installing third-party grid of picture elements (pixels)
software known as plug-ins. that when placed side by side vector graphic a graphic made up of lines
create the image. Each pixel is and curves defined by mathematical objects
In Photoshop, you primarily work with bitmap images (technically called raster assigned a specific location and called vectors. You can edit a vector graphic
images), digitized continuous-tone images that have been converted into a series color value. by manipulating the lines and curves that
of small squares, or picture elements, called pixels. You can also work with vector combine to form it. Logos and type are
graphics, which are drawings made of smooth lines that retain their crispness when Vector graphics examples of vector graphics.
scaled. You can create original artwork in Photoshop, or you can import images from
many sources, such as: Graphics made up of lines and TEACHING TIP
curves defined by mathematical
• Photographs from a digital camera or mobile phone objects called vectors. Prepare examples of bitmap and vector
graphics so you can demonstrate the dif-
• Stock photography ference. Open—or have students open—
each type of file and magnify the view. Ask
• Scans of photographs, transparencies, negatives, graphics, or other documents volunteers to describe the differences in
how the images appear. Discuss practical
• Captured video images applications—including accommodating file
formats—for each type.
• Artwork created in drawing programs
LEARNING GRAPHIC DESIGN & ILLUSTRATION 3
MEET INDIVIDUAL NEEDS
English language learners Have English language learners translate the vocabu-
lary words and definitions into their native language and read them aloud to a
partner in both English and their native language.
More advanced learners: Have more advanced learners—or those with prior
knowledge of Photoshop—create a chart or infographic that details the differ-
ences between bitmap and vector graphics.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 3
REVIEW THE Lesson 1 Getting to Know the Work Area
VOCABULARY
Note: Typically, you won’t Starting Photoshop and Resetting Preferences
workspace a preset arrangement of pan- need to reset defaults when
els in the Photoshop work area. you’re working on your own To begin, you’ll start Adobe Photoshop and reset the default preferences.
projects. However, you’ll
Discussion Topic reset the preferences before Try It!
working on most lessons in
What are the main components of the this book to ensure that what 1. Double-click the Adobe Photoshop icon on your taskbar (Windows) or dock
Photoshop workspace? Ask a volunteer to you see onscreen matches the (Mac OS), and then immediately hold down Ctrl+Alt+Shift (Windows) or
draw and label the parts of the workspace descriptions in the lessons. Command+Option+Shift (Mac OS) to reset the default settings. If you don’t see
for the class. Have each student use sticky the Photoshop icon in your taskbar or dock, choose Start > All Programs > Adobe
notes to label their desk as if it was a Workspace Photoshop CC (Windows 8.1), Start > All apps> Adobe Photoshop CC (Windows
Photoshop workspace. A preset arrangement of panels 10), or look in the Applications>Adobe Photoshop CC 2015 folder (Mac OS).
in the Photoshop work area.
2. When prompted, click Yes to confirm that you want to delete the Adobe
Photoshop Settings file.
3. Click Window> Workspace > Essentials (Default) to ensure that the default
workspace displays.
The Photoshop work area or workspace appears.
Reviewing Default Workspace Features
The default workspace in Photoshop, shown below, consists of the menu bar and
options bar at the top of the screen, the Tools panel on the left, and several open
panels in the panel dock on the right. When you have documents open, one or more
image windows also appear, and you can display them at the same time using the
tabbed interface. The Photoshop user interface is very similar to the one in Adobe
Illustrator®, Adobe InDesign®, and Adobe Flash Professional®—so learning how to use
the tools and panels in one application means that you’ll be familiar with them when
you work in the others.
Menu bar Workspaces menu
Options bar
Tools panel Panels
Note: This illustration shows the On Mac OS, the application frame keeps the image, panels, and menu bar together.
Mac OS version of Photoshop.
The arrangement is similar on There is one main difference between the Photoshop work area on Windows and
Windows, but operating system that on Mac OS: Windows always presents Photoshop in a contained window. On
styles may vary. Mac OS, you can choose whether to work with an application frame, which contains
the Photoshop application’s windows and panels within a frame that is distinct from
Note: The default workspace other applications you may have open; only the menu bar is outside the application
is the Essentials workspace. frame. The application frame is enabled by default; to disable the application frame,
To display another workspace, choose Window > Application Frame.
choose Window > Workspace,
then click another workspace in
the submenu.
4 LEARNING GRAPHIC DESIGN & ILLUSTRATION
4 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 REVIEW THE
VOCABULARY
Opening a File Note: You also can start
Photoshop and open a file by image window: a window holding an
To work with a file, you need to open it within Photoshop. In many of the lessons in double-clicking a Photoshop file individual image file in the Photoshop
this book, you will open a file to use as the basis for completing the lesson’s project. (*.psd) such as the 01End.psd file application
showing the completed project
Try It! for this lesson. Discussion Topic
1. Choose File > Open, and navigate to the data files for this lesson. What are three ways to open a file in
Microsoft Word or another program
2. Select the 01End.psd file, and click Open. Click OK if you see the Embedded you already know? How about closing
Profile Mismatch dialog box. it? Do those same techniques work for
Photoshop files?
A file opens in its own window. Image window
A window holding an individual
The 01End.psd file opens in its own window, called the image window. In this image file in the Photoshop
project, you’ll create a birthday card. application.
3. Choose File > Close, or click the close button (the x next to the filename) on the Note: For a complete list of the
title bar of the image window. (Do not close Photoshop.) tools in the Tools panel, see the
Appendix, “Tools panel overview.”
Using the Tools
Photoshop provides an integrated set of tools for producing sophisticated graphics
for print, web, and mobile viewing. We could easily fill the entire book with details
on the wealth of Photoshop tools and tool configurations. While that would cer-
tainly be a useful reference, it’s not the goal of this book. Instead, you’ll start gaining
experience by configuring and using a few tools on a sample project. Every lesson
will introduce you to more tools and ways to use them. By the time you finish all
the lessons in this book, you’ll have a solid foundation for further explorations of the
Photoshop toolset.
Selecting and Using a tool from the Tools Panel
The Tools panel is the long, narrow panel on the far left side of the work area. It con-
tains selection tools, painting and editing tools, foreground- and background-color
selection boxes, and viewing tools. You’ll start by using the Zoom tool, which also
appears in many other Adobe applications, including Illustrator, InDesign, and Acrobat.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 5
LEARNING GRAPHIC DESIGN & ILLUSTRATION 5
TEACHING TIP Lesson 1 Getting to Know the Work Area
Use a stack of overhead transparencies— Try It!
or plastic wrap, glass, or even sheets of
waxed paper—to introduce the concept of 1. Choose File > Open, navigate to the folder holding the data files for this chapter,
layered files. Demonstrate that you can see and double-click the 01Start.psd file to open it.
through one layer to the others below, but
marking on one layer doesn’t affect the
others. Why is this a good thing?
The file contains the elements you’ll need to complete the project.
The 01Start.psd file contains the background image and a ribbon graphic that
you’ll use to create the birthday card that you viewed in the end file.
2. Choose File > Save As, navigate to the location where your instructor directs you
to save files for this chapter’s projects, and name the file 01End_xx.psd. (Add _xx
to the file name and replace xx with your initials or full name if instructed by your
teacher.) Click OK or Save. Click OK in the Photoshop Format Options dialog box
if it appears.
Saving the file with a different name ensures that the original file (01Start.psd)
remains unchanged. That way, you can return to it if you want to start over.
3. Click the double arrows just above the Tools panel to toggle to a double-column
view. Click the double arrows again to return to a single-column Tools panel and
use your screen space more efficiently.
You can display the Tools panel in a double or single column.
6 LEARNING GRAPHIC DESIGN & ILLUSTRATION
6 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topic
4. Examine the status bar at the bottom of the work area (Windows) or image What are four different ways to zoom in
window (Mac OS), and notice the percentage that appears on the far left. This on an image? Which do you think you’ll
represents the current enlargement view of the image, or zoom level. use most often? Why would the creators
of Photoshop give users four different
5. Move the pointer over the Tools panel, and hover it over the magnifying-glass ways to accomplish the same thing?
icon until a tool tip appears. The tool tip displays the tool’s name (Zoom tool)
and keyboard shortcut (Z).
Zoom level Status bar
The status bar (left) displays the current zoom level; the magnifying glass icon in the Tools panel is the
Zoom tool.
6. Click the Zoom tool icon ( ) in the Tools panel, or press Z to select it.
7. Move the pointer over the image window. The pointer now looks like a tiny mag-
nifying glass with a plus sign in the center of the glass ( ).
8. Click anywhere in the image window.
After selecting the Zoom tool, click the image to zoom in. Note: You can use other
methods to zoom in and out. For
The image enlarges to a preset percentage level, which replaces the previous example, when the Zoom tool
value in the status bar. If you click again, the zoom advances to the next preset is selected, you can select the
level, up to a maximum of 3200%. Zoom In or Zoom Out mode on
the options bar. You can choose
9. Hold down the Alt key (Windows) or Option key (Mac OS) so that the Zoom tool View > Zoom In or View > Zoom
pointer appears with a minus sign in the center of the magnifying glass ( ), and Out. Or, you can type a new
then click anywhere in the image. Then release the Alt or Option key. percentage in the status bar and
press Enter or Return.
Now the view zooms out to a lower preset magnification, so that you can see
more of the image, but in less detail.
10. If Scrubby Zoom is selected in the options bar, click anywhere on the image and
drag the Zoom tool to the right. The image enlarges. Drag the Zoom tool to the
left to zoom out. When Scrubby Zoom is selected, you can drag the Zoom tool
across the image to zoom in and out.
11. Deselect Scrubby Zoom in the options bar if it’s selected. Then, using the Zoom
tool, drag a rectangle to enclose part of the rose blossom.
The image enlarges so that the area you enclosed in your rectangle now fills the
entire image window.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 7
LEARNING GRAPHIC DESIGN & ILLUSTRATION 7
Discussion Topic Lesson 1 Getting to Know the Work Area
Some Photoshop pros love the Navigator 12. Click Fit Screen in the options bar to see the entire image again.
panel and always keep it visible. Others
never use it. Which side do you agree with The Zoom tool option bar includes automatic zoom options such as Fit Screen.
and why?
You have used the Zoom tool in four different ways to change the magnification in
the image window: clicking, holding down a keyboard modifier while clicking, drag-
ging to zoom in and out, and dragging to define a magnification area. Many of the
other tools in the Tools panel can be used with keyboard combinations and options
as well. You’ll have opportunities to use these techniques as you work through the
lessons in this book.
Zooming and Scrolling with the Navigator Panel
The Navigator panel is another speedy way to make large changes in the zoom
level, especially when the exact percentage of magnification is unimportant.
It’s also a great way to scroll around in an image, because the thumbnail shows
you exactly what part of the image appears in the image window. To open the
Navigator panel, choose Window > Navigator.
The slider under the image thumbnail in the Navigator panel enlarges the image
when you drag to the right (toward the large mountain icon) and reduces it
when you drag to the left.
The red rectangular outline represents the area of the image that appears in the
image window. When you zoom in far enough that the image window shows
only part of the image, you can drag the red outline around the thumbnail area
to see other areas of the image. This is also an excellent way to verify which
part of an image you’re working on when you work at very high zoom levels.
8 LEARNING GRAPHIC DESIGN & ILLUSTRATION
8 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topic
Brightening an Image Why is it a good idea to do your image
brightening in a separate adjustment
One of the most common edits you’re likely to make is to brighten an image taken layer? Why not just save yourself a step
with a digital camera or phone. You’ll brighten this image by changing its brightness and adjust the original image?
and contrast values.
Try It!
1. In the Layers panel, on the right side of the workspace, make sure the Rose layer
is selected.
2. In the Adjustments panel, which is above the Layers panel in the panel dock,
click the Brightness/Contrast icon to add a Brightness/Contrast adjustment layer.
The Properties panel opens, displaying the Brightness/Contrast settings.
3. In the Properties panel, move the Brightness slider to 98 and the Contrast slider
to 18.
Click the Brightness/Contrast icon to add an adjustment layer, then set the layer’s Properties as desired.
The image of the rose brightens.
In these lessons, we’ll often instruct you to enter specific numbers in panels and
dialog boxes to achieve particular effects. When you’re working on your own
projects, experiment with different values to see how they affect your image.
There is no right or wrong setting; the values you should use depend on the
results you want.
4. In the Layers panel, examine the Brightness/Contrast adjustment layer.
An adjustment layer appears in the Layers panel.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 9
LEARNING GRAPHIC DESIGN & ILLUSTRATION 9
Discussion Topics Lesson 1 Getting to Know the Work Area
In the Layers panel, how can you tell Adjustment layers let you make changes to your image, such as adjusting the
when a layer is visible? Why might you brightness of the rose, without affecting the actual pixels. Because you’ve used
want to make a particular invisible? an adjustment layer, you can always return to the original image by hiding or
deleting the adjustment layer—and you can edit the adjustment layer at any time.
What does the Eyedropper tool do? You’ll use adjustment layers in several lessons in this book.
Layering is one of the fundamental and most powerful features in Photoshop.
Photoshop includes many kinds of layers, some of which contain images, text, or
solid colors, and others that simply interact with layers below them. You’ll learn
more about layers in Lesson 4, “Layer Basics,” and throughout the book.
5. Click the double arrows at the top of the Properties panel to close it.
You’ve just completed your first task in Photoshop. Your image is bright and
punchy and ready for a birthday card.
Sampling a Color
By default, the foreground color in Photoshop is black and the background color is
white. You can change the foreground and background colors in several ways. One
way is to use the Eyedropper tool to sample a color from the image. You’ll use the
Eyedropper tool to sample the blue of one ribbon so that you can match that color
when you create another ribbon. First, you’ll need to display the Ribbons layer so you
can see the color you want to sample.
Try It!
1. In the Layers panel, click the Visibility column for the Ribbons layer to make the
layer visible. When a layer is visible, an eye icon ( ) appears in that column.
Click the Visibility column (eye icon column) in the Layers panel to display or hide a layer.
A ribbon with “Happy Birthday” written on it appears in the image window.
2. Select the Ribbons layer in the Layers panel so that it’s the active layer.
3. Select the Eyedropper tool ( ) in the Tools panel.
10 LEARNING GRAPHIC DESIGN & ILLUSTRATION
10 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 REVIEW THE
VOCABULARY
4. Click the blue area in the Happy Birthday ribbon to sample a blue color.
Context menu: a menu containing com-
Click a color with the Eyedropper tool to make it the new foreground color. Context menu mands and options appropriate to specific
A menu containing commands objects or elements in the work area.
The foreground color changes in the Tools panel and the Color panel. Anything and options appropriate to They are sometimes referred to as “right-
you draw will be this color until you change the foreground color again. objects or specific elements click” or “shortcut” menus.
in the work area. They are
Working with Tools and Tool Properties sometimes referred to as “right- Discussion Topics
click” or “shortcut” menus.
When you selected the Zoom tool in the previous exercise, you saw that the options You’re about to use the brush tool to
bar provided ways for you to change the view of the current image window. Now Note: The Rectangular Marquee “paint” part of your image. How can you
you’ll learn more about setting tool properties using context menus, the options bar, tool selects rectangular areas. tell what color that paint will be?
panels, and panel menus. You’ll use all of these methods as you work with tools to You’ll learn more about selection
add the second ribbon to your birthday card. tools in Lesson 3, “Working with What’s a marquee? Do you think
Selections.” “Marquee Tool” is an appropriate name
Using Context Menus for the selection tool you used in Try It!
Step 2. Why or why not?
You can use the context menu to see commands for working with an object or
element in the Photoshop work area. Usually, the commands on a context menu are
also available in some other area of the user interface, but using the context menu
can save time.
Try It!
1. Select the Zoom tool ( ), and zoom in so you can clearly see the lower third of
the card.
2. Select the Rectangular Marquee tool ( ) in the Tools panel.
Make sure that the Ribbons layer is still selected in the Layers panel, and drag the
Rectangular Marquee tool to create a selection about 1/2 inch tall and 2 inch-
es wide, ending at the right edge of the card. As you drag the tool, Photoshop
displays the width and height of the selected area. It’s okay if the size of your
selection is a little different from ours.
3. Select the Brush tool ( ) in the Tools panel.
4. In the image window, right-click (Windows) or Control-click (Mac OS) anywhere
in the image to open the Brush tool context menu. Context menus vary with
their context, of course, so what appears can be a menu of commands or a
panel-like set of options, which is what happens in this case.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 11
LEARNING GRAPHIC DESIGN & ILLUSTRATION 11
Discussion Topic Lesson 1 Getting to Know the Work Area
How can you tell when a tool in the Tools 5. Select the first brush (Soft Round), and change the size to 65 pixels.
panel includes hidden options? Why
do you think the makers of Photoshop
decided to hide certain tools and not others?
Note: Clicking anywhere Right-click and then change the settings for the Brush tool.
in the work area closes the
context menu. 6. Click anywhere outside the selection to close the panel.
7. Drag the pointer across the selected area until it’s fully painted blue. Don’t worry
about staying within the selection; you can’t affect anything outside the selection
as you paint.
8. When the bar is colored in, choose Select > Deselect so that nothing is selected.
The Brush tool applies the foreground color within the selection.
The selection is gone, but the blue bar remains.
Selecting and Using a Hidden Tool
Photoshop has many tools you can use to edit image files, but you will probably
work with only a few of them at a time. The Tools panel arranges some of the tools
in groups, with only one tool shown for each group. The other tools in the group are
hidden behind that tool. You’ll use the Polygonal Lasso tool to remove a triangular
notch from the color bar so that it matches the ribbon at the top of the card.
A small triangle in the lower right corner of a button is your clue that other tools are
available but hidden under that tool.
Try It!
1. Position the pointer over the third tool from the top in the Tools panel until the
tool tip appears. The tool tip identifies the Lasso tool ( ), with the keyboard
shortcut L. Select the Lasso tool.
12 LEARNING GRAPHIC DESIGN & ILLUSTRATION
12 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topic
2. Select the Polygonal Lasso tool ( ), which is hidden behind the Lasso tool, using What’s a lasso? What’s a polygon? What’s
one of the following methods: the difference between the Lasso tool and
• Press and hold the mouse button over the Lasso tool to open the pop-up list the Polygonal Lasso tool? What would
of hidden tools, and select the Polygonal Lasso tool. you guess the Magnetic Lasso tool does?
The small triangle on a Tools panel tool indicates that it contains hidden tools.
• Alt-click or right-click (Windows) or Option+click (Mac OS) the tool button
in the Tools panel to cycle through the hidden lasso tools until the Polygonal
Lasso tool is selected.
• Press Shift+L, which cycles between the Lasso, Polygonal Lasso, and Mag-
netic Lasso tools.
With the Lasso tool, you can draw free-form selections; the Polygonal Lasso
tool makes it easier to draw straight-edged sections of a selection border. You’ll
learn more about selection tools, making selections, and adjusting the selection
contents in Lesson 3, “Working with Selections.”
3. Move the pointer over the left edge of the blue color bar that you just painted on
the Ribbons layer. Click just to the left of the upper left corner of the bar to start
your selection. You should begin your selection just outside the colored area.
4. Move the cursor to the right about 1/4 inch, and click about halfway between the
top and bottom of the bar. You’re creating the first side of the triangle. It doesn’t
need to be perfect.
5. Click just to the left of the bottom left corner of the bar to create the second
side of the triangle.
6. Click the point where you started to finish the triangle.
You can draw a selection with a shape such as a triangle using the Polygonal Lasso tool.
7. Press the Delete key on your keyboard to delete the selected area from the col-
ored bar, creating a notch for your ribbon.
8. Choose Select > Deselect to deselect the area you deleted.
The ribbon is ready. Now you can add a name to your birthday card.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 13
LEARNING GRAPHIC DESIGN & ILLUSTRATION 13
Discussion Topic Lesson 1 Getting to Know the Work Area
In Step 4, why did the name “Elaine” Setting Tool Properties in the Options Bar
appear in the same color as the back-
ground ribbon (at least at first)? Next you’ll use the options bar to select the text properties and then to type the name.
Try It!
1. In the Tools panel, select the Horizontal Type tool ( ).
The buttons and menus in the options bar now relate to the Type tool.
2. In the options bar, select a font you like from the first pop-up menu. (We used
Minion Pro Italic, but you can use another font if you prefer.)
3. Specify 32 pt for the font size.
Note: You can place the pointer You can scrub or use a pop-up menu to choose a font size for text.
over the labels of most numeric
settings in the tool options bar, You can specify 32 points by typing directly in the font-size text box and pressing
in panels, and in dialog boxes in Enter or Return, or by scrubbing the font-size menu label. You can also choose a
Photoshop to display a “scrubby standard font size from the font-size pop-up menu.
slider.” Dragging the pointing
finger slider to the right increases 4. Click once anywhere on the left side of the colored bar, and type Elaine. Don’t
the value; dragging to the left worry if the text isn’t positioned well; you’ll correct that later.
decreases the value. Alt+dragging
(Windows) or Option+dragging
(Mac OS) changes the values
in smaller increments;
Shift+dragging changes them in
larger increments.
The text you type appears on a new layer.
The text is the same color as the bar you typed it on. You’ll fix that next.
Using Panels and Panel Menus
The text color is the same as the Foreground Color swatch in the Tools panel, which
is the blue color you used to paint the bar. You’ll select the text and choose another
color from the Swatches panel.
14 LEARNING GRAPHIC DESIGN & ILLUSTRATION
14 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topics
Try It! Step 6 had you change from viewing your
Swatches as small thumbnails to view-
1. Make sure the Horizontal Type tool ( ) is selected in the Tools panel. ing them as a list with color names. Why
2. Drag the Horizontal Type tool across the text to select the full name. would anybody want to do that? How
3. Click the Swatches tab to bring that panel forward, if it’s not already visible. might the color name be helpful?
4. Select any light-colored swatch. (We chose pastel yellow.)
You don’t like Elaine’s name in Light
Yellow Orange. You’d like to change it
to the exact purple of the small, long-
stemmed flowers behind the rose. Can
you do that? How?
You can select text and then apply another color to it using the Swatches panel. Note: When you move the
pointer over the swatches, it
The color you select appears in three places: as the Foreground Color in the temporarily changes into an
Tools panel, in the text color swatch in the options bar, and in the text you se- eyedropper. Set the tip of the
lected in the image window. eyedropper on the swatch you
want, and click to select it.
5. Select another tool in the Tools panel, such as the Move tool ( ), to deselect the
text so that you can see the text color.
That’s how easy it is to select a color, although there are other methods in
Photoshop. However, you’ll use a specific color for this project so that it matches
the text in the other ribbon. It’s easier to find it if you change the Swatches
panel display.
6. Click the menu button ( ) on the Swatches panel to open the panel menu, and
choose Small List.
You can display colors as a list in the Swatches panel using the panel menu. Note: Don’t select the Move tool
using the V keyboard shortcut,
7. Select the Type tool and reselect the text, as you did in steps 1 and 2. because you’re in text entry
mode. Typing V will add the letter
8. In the Swatches panel, scroll about halfway down the list to find the Light Yellow to your text in the image window.
Orange swatch, and then select it.
9. Select the Move tool ( ) again to deselect the text.
Now the text appears in the orange color.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 15
LEARNING GRAPHIC DESIGN & ILLUSTRATION 15
Discussion Topic Lesson 1 Getting to Know the Work Area
What are two ways to “undo” a mistake in
Photoshop?
Note: The Undo command isn’t Undoing Actions in Photoshop
available if you’ve already saved
your changes. However, you In a perfect world, you’d never make a mistake. You’d never click the wrong object.
can still use the Step Backward You’d always correctly anticipate how specific actions would bring your design ideas
command and the History panel to life exactly as you imagined them. You’d never have to backtrack. For the real world,
(covered in Lesson 9), as long as Photoshop gives you the power to step back and undo actions so that you can try
you haven’t closed the project other options. You can experiment freely, knowing that you can reverse the process.
since you made the changes.
Even beginning computer users quickly come to appreciate the familiar Undo com-
mand. You’ll use it to move back one step, and then step further backward. In this
case, you’ll go back to the light color that you originally chose for the name.
Try It!
1. Choose Edit > Undo Edit Type Layer, or press Ctrl+Z (Windows) or Command+Z
(Mac OS) to undo your last action.
The name returns to its previous color.
2. Choose Edit > Redo Edit Type Layer, or press Ctrl+Z (Windows) or Command+Z
(Mac OS) to reapply the orange color to the name.
Undo reverses the last step. Redo restores the undone step.
The Undo command in Photoshop reverses only one step. This is a practicality,
because Photoshop files can be very large, and maintaining multiple Undo steps can
tie up a lot of memory, which tends to degrade performance. If you press Ctrl+Z or
Command+Z again, Photoshop restores the step you removed initially.
However, you can often use the Step Backward and Step Forward commands (in the
Edit menu) to move through multiple steps.
3. Once the name is back to the color you’d like it to be, use the Move tool to drag
the name so it’s centered in the blue bar.
4. Save the file (File > Save). Your birthday card is done! Close the file (File > Close).
The completed card has the ribbon added at lower right.
16 LEARNING GRAPHIC DESIGN & ILLUSTRATION
16 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topic
More about Panels and Panel Locations You’re working away in Photoshop when
suddenly all of your Panels disappear.
Photoshop panels are powerful and varied. Rarely would you need to see all panels What probably happened? Can you get
simultaneously. That’s why they’re in panel groups, and why the default configura- them back? How?
tions leave many panels unopened.
Note: When panels are hidden,
The complete list of panels appears in the Window menu. Check marks appear a thin, semitransparent strip
next to the names of the panels that are open and active in their panel groups. You is visible at the edge of the
can open a closed panel or close an open one by selecting the panel name in the document. Hovering the
Window menu. pointer over the strip displays
its contents.
You can hide all panels at once—including the options bar and Tools panel—by
pressing the Tab key. To reopen them, press Tab again.
You already used panels in the panel dock when you used the Layers and Swatches
panels. You can drag panels to or from the panel dock. This is convenient for bulky
panels or ones that you use only occasionally but want to keep handy.
You can arrange panels in other ways, as well:
• To move an entire panel group, drag the title bar to another location in the
work area.
• To move a panel to another group, drag the panel tab into that panel group
so that a blue highlight appears inside the group, and then release the
mouse button.
Move a panel by dragging its tab from one panel group to another.
• To dock a panel or panel group, drag the title bar or panel tab onto the top of
the dock.
Dock a panel by dragging its tab to the top of the dock.
• To undock a panel or panel group so that it becomes a floating panel or panel
group, drag its title bar or panel tab away from the dock.
Expanding and Collapsing Panels
You can resize panels to use screen space more efficiently and to see fewer or more
panel options, either by dragging or clicking to toggle between preset sizes:
• To collapse open panels to icons, click the double arrow in the title bar of the
dock or panel group. To expand a panel, click its icon or the double arrow.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 17
LEARNING GRAPHIC DESIGN & ILLUSTRATION 17
Discussion Topic Lesson 1 Getting to Know the Work Area
Collapse your Swatches panel. How did
you do it? What does it look like in its col-
lapsed state? How do you un-collapse it?
You can collapse and expand a panel.
• To change the height of a panel, drag its lower right corner.
• To change the width of the dock, position the pointer on the left edge of the
dock until it becomes a double-headed arrow, and then drag to the left to widen
the dock, or to the right to narrow it.
• To resize a floating panel, move the pointer over the right, left, or bottom edge
of the panel until it becomes a double-headed arrow, and then drag the edge in
or out. You can also pull the lower right corner in or out.
• To collapse a panel group so that only the dock header bar and tabs are visible,
double-click a panel tab or panel title bar. Double-click again to restore it to the
expanded view. You can open the panel menu even when the panel is collapsed.
Note: You can collapse, but You can collapse and expand a group.
not resize, the Character and
Paragraph panels. Notice that the tabs for the panels in the panel group and the button for the panel
menu remain visible after you collapse a panel.
Special Notes about the Tools Panel and Options Bar
The Tools panel and the options bar share some characteristics with other panels:
• You can drag the Tools panel by its title bar to a different location in the work
area. You can move the options bar to another location by dragging the grab bar
at the far left end of the panel.
• You can hide the Tools panel and options bar.
However, some panel features are not available or don’t apply to the Tools panel or
options bar:
• You cannot group the Tools panel or options bar with other panels.
• You cannot resize the Tools panel or options bar.
18 LEARNING GRAPHIC DESIGN & ILLUSTRATION
18 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Discussion Topics
• You cannot stack the Tools panel or options bar in the panel dock. How do you change the size or shape of
• The Tools panel and options bar do not have panel menus. a panel?
Finding Resources for Using Photoshop You meant to collapse your Navigator
panel and ended up closing it instead.
The following resources can help you take your explorations even further, answer How can you get it back?
questions you have, and help you resolve any issues you encounter as you work on
your own projects:
Adobe Photoshop Help and Support: https://helpx.adobe.com/photoshop.html is
where you can find and browse Help and Support content on Adobe.com.
Adobe Creative Cloud Learn & Support: https://helpx.adobe.com/support.html provides
inspiration, key techniques, cross-product workflows, and updates on new features.
Adobe Forums: https://forums.adobe.com/welcome lets you tap into peer-to-peer
discussions, questions, and answers on Adobe products.
Changing Interface Settings
By default, the panels, dialog boxes, and background in Photoshop are dark.
You can lighten the interface or make other changes in the Photoshop
Preferences dialog box:
1. Choose Edit > Preferences > Interface (Windows) or Photoshop CC >
Preferences > Interface (Mac OS).
2. Select a different color theme, or make other changes.
When you select a different theme, you can see the changes immediately.
You can also select specific colors for different screen modes and change
other interface settings in this dialog box.
3. When you’re satisfied with the changes, click OK.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 19
LEARNING GRAPHIC DESIGN & ILLUSTRATION 19
REVIEW THE Lesson 1 Getting to Know the Work Area
VOCABULARY
Employability Skills
employability the capability of getting
and keeping a job Employability Employability means having and using skills and abilities to be hired and stay hired.
Once you recognize the skills that make you employable, you can practice and
MEET INDIVIDUAL Capable of holding a job and develop them in school and at home, so you are ready to use them on the job.
NEEDS available for hire. Employability skills can generally be placed into two groups: hard skills and transferable
skills. Employers often look for people with hard skills to fill specific jobs. For example,
English language learners Share a list of a software development company looks to hire people skilled at writing code.
variations of the word employability with
English language learners —or have them Transferable skills can be used on almost any job. They are called transferable skills
generate their own list (employ, employee, because you can transfer them from one situation or career to another. The founda-
employer, employed, unemployed, etc.) tion skills you use to succeed in other areas of your life, such as decision-making and
Have students work in pairs to use each ver- problem-solving, are transferable skills. You can practice and develop these skills in
sion in an English sentence that shows they school and at home.
know what the word means.
Some computer skills are also transferable. There are very few jobs today that do not
Discussion Topics require basic computer use. If you have these basic skills, you can take them wher-
ever you go:
What are three skills you have now that are
transferable into the workplace? What are • Turn a computer on and start a program.
two that you would like to develop further?
• Type on a computer keyboard without making many mistakes.
Review the bulleted list of Professional
Qualities. Ask a volunteer to explain each • Access the Internet and navigate from one location to another.
term. Why does each quality matter in the
workplace? Does the class think there are • Use a search engine to do basic Internet research.
any terms missing from the list?
• Write and send e-mail.
Professional Qualities
Professionalism, or work ethic, is the ability to show respect to everyone around you
while you perform your responsibilities as best you can. It includes a basic set of per-
sonal qualities that make an employee successful. These qualities include:
• Integrity • Responsibility
• Courtesy • Cooperative
• Honesty • Positive attitude
• Dependability • Open-mindedness
• Punctuality • Flexibility
Professionalism also means you demonstrate positive work behaviors, such as reg-
ular attendance. A professional also maintains a clean and safe work environment,
uses planning and time-management skills to perform tasks efficiently, shows initia-
tive, and takes pride in his or her work accomplishments.
Part of your responsibility as a worker is to make sure that you keep your work
environment safe for yourself and for others. You can practice this at school and at
home. You have to take some responsibility for your own safety. That means using
equipment properly, according to instructions, and being aware of safety hazards.
These behaviors lead to advancement at work, in school, and in everyday life.
20 LEARNING GRAPHIC DESIGN & ILLUSTRATION
20 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Getting to Know the Work Area Lesson 1 Comprehension Check
Professional Appearance 1. You can scan a photograph, trans-
parency, negative, or graphic into
Dress standards vary depending on the career that you choose. For example, you the program; capture a digital video
wouldn’t expect your car mechanic to be wearing a suit and tie, and you wouldn’t image; or import artwork created
want your lawyer to be wearing grease-covered clothing. However, good grooming in a drawing program. You can also
habits are required in all professions. The following are recommendations for main- import digital photos.
taining a well-groomed, professional appearance:
• Wear clothes and shoes that are clean, neat, and in good repair. 2. To select a tool in Photoshop, click its
• Practice good personal hygiene and grooming. icon in the Tools panel, or press the
• Use scented products and makeup sparingly. tool’s keyboard shortcut. A selected
• If your employer has a formal dress and grooming code, know and follow it. tool remains active until you select
• If your employer doesn’t have a formal dress and grooming code, observe a different tool. To select a hidden
tool, either use a keyboard shortcut
co-workers and clients, and follow the informal dress and grooming code. to toggle through the tools, or click
• Remember that first impressions matter; if you are meeting with a new client or and hold the tool in the Tools panel
to open a pop-up menu of the hid-
colleague, you may need to improve on your normal appearance for these and den tools.
other situations such as important presentations.
• Use mouthwash or breath mints. 3. Choose commands from the View
• Empty your pockets, so you won’t have any unwanted bulges or jingles. menu to zoom in on or out from an
• Smile, use good manners, make eye contact, and shake hands firmly. image, or to fit it onscreen, or use the
zoom tools and click or drag over an
Comprehension Check image to enlarge or reduce the view.
You can also use keyboard shortcuts
1. Describe two sources for images you can open in Photoshop. or the Navigator panel to control the
display of an image.
2. How do you select tools in Photoshop?
4. The Adobe Photoshop Help and
3. Describe two ways to zoom in to or out from an image. Support online includes full infor-
mation about Photoshop features
4. What are two ways to get more information about Photoshop? plus keyboard shortcuts, task-based
topics, and illustrations. Creative
Review Project 1 Cloud Learn provides inspiration, key
techniques, cross-product workflows,
Do a self-analysis to identify your current employability status. Identify any hard skills and updates on new features. And
you may have that will help you obtain and keep a job. Using the list on the previous Adobe Forums enable you to tap into
page as a guide, identify your transferable skills. Review the information on personal peer-to-peer discussions, questions,
qualities and positive work behaviors and list instances when you have demonstrated and answers.
those qualities and behaviors at school or at work. Write a brief report that lists not
only the employability skills you have already mastered but also the skills you believe
you need to improve in order to obtain and keep a job in your chosen career.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 21
LEARNING GRAPHIC DESIGN & ILLUSTRATION 21
FOCUS AND ENGAGE Lesson 2 Basic Photo Corrections
Introduce the Lesson Lesson 2 Overview
• Display a less-than-perfect scan of In this lesson, you’ll learn how to do the following:
an old photograph (you might ask
volunteers to submit examples in • Understand image resolution and size. • Use the content-aware Patch tool to remove or
advance or use a photo of yours from • View and access files in Adobe Bridge. replace objects.
when you were your students’ age). • Straighten and crop an image.
Ask questions like, “What do you see?” • Adjust the tonal range of an image. • Use the Clone Stamp tool to touch up areas.
and “What would you change about it • Use the Spot Healing Brush tool to repair part of
if you could?” • Remove digital artifacts from an image.
an image.
• Refer back to students’ suggestions • Apply the Smart Sharpen filter to finish
as you review the skills listed in the retouching photos.
Lesson 2 overview. What do st think a
“digital artifact” might be? • Review the history of graphic design.
• Explain that the skills students learn Photoshop includes a variety of tools and commands for improving the quality of a photographic image. Image.
in this section will reappear in the For example, you can straighten and crop an image to improve its composition, use tools such as the Spot Healing
lessons that follow; emphasize the Brush or Patch to fix blemishes, and use tools that reduce digital artifacts, among others. These tools in particular
importance of mastering each skill. come in handy when you’re working with a poorly composed or damaged image.
TEACHING TIP This lesson gives you a strategy to follow when retouching images, explains the relationship between image size/
resolution and image quality, and then steps you through the process of acquiring, resizing, and retouching a
List—or have a volunteer list—the steps in vintage photograph.
the retouching sequence for the class.
Note: In this lesson, you retouch Strategy for Retouching
Discussion Topic an image using only Photoshop.
For other images, it may be How much retouching you do depends on the image you’re working on and your
Why does this sequence make sense? Does more efficient to work in Adobe goals for it. For many images, you may need only to change the resolution, lighten
it really matter? Camera Raw, which is installed the image, or repair a minor blemish. For others, you may need to perform several
with Photoshop. You’ll learn tasks and employ more advanced filters.
about the tools Camera Raw has
to offer in Lesson 11, “Working Organizing an Efficient Sequence of Tasks
with Camera Raw.”
Most retouching procedures follow these general steps, though not every task may
be necessary for all projects:
• Duplicating the original image or scan; working in a copy of the image file makes
it easy to recover the original later if necessary
• Ensuring that the resolution is appropriate for the way you’ll use the image
• Cropping the image to its final size and orientation
• Removing any color casts
• Adjusting the overall contrast or tonal range of the image
• Repairing flaws in scans of damaged photographs (such as rips, dust, or stains)
• Adjusting the color and tone in specific parts of the image to bring out highlights,
midtones, shadows, and desaturated colors
• Sharpening the overall focus of the image
22 LEARNING GRAPHIC DESIGN & ILLUSTRATION
22 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 REVIEW THE
VOCABULARY
The order of the tasks may vary depending on the project, though you should always
start by duplicating the image and adjusting its resolution. Likewise, sharpening • Image resolution: Pixels per unit of
should usually be your final step. For the other tasks, consider your project and plan length (usually an inch) within a digital
accordingly, so that the results of one process do not cause unintended changes to image file, with higher resolution
other aspects of the image, making it necessary for you to redo some of your work. files being larger because they have
more pixels.
Adjusting Your Process for Different Intended Uses
• Monitor resolution: Pixels per unit of
The retouching techniques you apply to an image depend in part on how you’ll use length (usually an inch) on a monitor,
the image. Whether an image is intended for black-and-white publication on news- with higher resolution files appear-
print or for full-color online distribution affects everything from the resolution of the ing larger when displayed on a lower
initial scan to the type of tonal range and color correction that the image requires. resolution monitor.
Photoshop supports the CMYK color mode for preparing an image to be printed using
process colors, as well as RGB and other color modes for web and mobile authoring. Discussion Topics
Resolution and Image Size What do the letters CMYK stand for?
What about RGB? Which is used for
The first step in retouching a photograph in Photoshop is to make sure that the high-quality printing? What about web
image has an appropriate resolution. The term resolution refers to the number or mobile use?
of small squares, known as pixels, that make up an image and establish its detail.
Resolution is determined by pixel dimensions, or the number of pixels along the You’re looking a low-quality digital image.
width and height of an image. What are you likely to see?
Pixels in a photographic image. Image resolution TEACHING TIP
In computer graphics, there are different types of resolution: Pixels per unit of length within Teaching Tip: Share the slide presentation
the digital image file, with higher “DPI, PPI, Oh My!” which was created by a
The number of pixels per unit of length in an image is called the image resolution, resolution files being larger professional graphic designer in response
usually measured in pixels per inch (ppi). An image with a high resolution has more because they have more pixels. to a client’s questions about image size vs.
pixels (and therefore a larger file size) than an image of the same dimensions with resolution.
a low resolution. Images in Photoshop can vary from high resolution (300 ppi or Monitor resolution
higher) to low resolution (72 ppi or 96 ppi).
Pixels per unit of length
The number of pixels per unit of length on a monitor is the monitor resolution, on a monitor, with higher
also usually measured in pixels per inch (ppi). Image pixels are translated directly resolution files appearing larger
into monitor pixels. In Photoshop, if the image resolution is higher than the monitor when displayed on a lower
resolution, the image appears larger onscreen than its specified print dimensions. For resolution monitor.
example, when you display a 1x1-inch, 300-ppi image on a monitor with about half
the resolution, the image fills a about twice the area of the screen.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 23
LEARNING GRAPHIC DESIGN & ILLUSTRATION 23
REVIEW THE Lesson 2 Basic Photo Corrections
VOCABULARY
Note: It’s important to 7x7 inches at 72 ppi; file size 744.2KB 7x7 inches at 200 ppi; file size 5.61MB
• Printer (output) resolution Pixels per understand what “100% 100% onscreen view. 100% onscreen view.
unit on an output device, such as a view” means when you work
desktop inkjet printer, film recorder, onscreen. At 100%, one image To determine the necessary image resolution for a photograph you plan to print,
or monitor. Printer resolution (or the pixel = one monitor pixel. follow the computer-graphics rule of thumb for color or grayscale images intended
resolution set for a particular print Unless the resolution of your for print on large commercial printers: Scan or create the image at a resolution 1.5 to
job) is listed as horizontal dpi by image is exactly the same as 2 times the screen frequency used by the printer. The screen frequency, or lines per
vertical dpi, such as 4800 x 2800 dpi. the resolution of the monitor, inch (lpi), refers to the quality of the halftone screens used by commercial printers to
Higher dpi numbers mean the printer the image size (in inches, for reproduce images. For example, if the image will be printed using a halftone screen
uses smaller dots when printing example) onscreen may be larger frequency of 133 lpi (lines per inch), scan the image at 200 ppi (133x1.5). If you plan
an image. or smaller than the image size to have an image printed commercially, be sure to find out what specifications the
will be when printed. printer requires in terms of image ppi and size.
Discussion Topic
Printer (output) resolution The number of ink dots per inch (dpi) produced by a platesetter (at the commercial
What is Adobe Bridge? Say you run a team Pixels per unit of length on an printer), laser printer, or inkjet printer is the printer (output) resolution. Higher reso-
of five graphic designers. How and why output device, such as a desktop lution images output to higher resolution printers generally produce the best quality.
might they use it? inkjet printer, film recorder,
or monitor. Printer resolution However, be aware that for other forms of output, such as a better quality inkjet
(or the resolution set for a printer, creating or scanning an image at too high a resolution doesn’t provide much
particular print job) is listed as quality improvement in the printout and only makes the file slow and cumbersome
horizontal dpi by vertical dpi, to work with and print. Many inkjet printers offer a high native resolution for output,
such as 4800 x 1200 dpi. Higher already dividing each image pixel into even finer dots of ink to create smooth tran-
dpi numbers mean the printer sitions and continuous tones. For that type of output, creating or scanning an image
uses smaller dots when printing at more than 300 ppi typically will not provide much added benefit in appearance
an image. quality. If your commercial provider will be printing your image with a laser or inkjet
printer, confirm the preferred image resolution and size for your particular project.
For your own printer, you may want to experiment to discover the resolution that
provides the best mix of output quality and speed.
For more information on resolution and image size, see Photoshop Help.
Opening a File with Adobe Bridge
In this book, you’ll work with different start files in each lesson. You may make copies
of these files and save them under different names or locations.
In this lesson, you’ll retouch a scan of a damaged and discolored vintage photograph
so it can be shared or printed. The final image size will be 7x7 inches.
In Lesson 1, you used the Open command to open a file. In this lesson, you’ll open
a file using Adobe Bridge. In later lessons, you can use either Photoshop’s Open
command or Adobe Bridge to open project files.
24 LEARNING GRAPHIC DESIGN & ILLUSTRATION
24 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topic
Try It! Note: If Bridge isn’t installed, What’s another meaning of the word crop?
your instructor will need to install How do you think the two meanings of the
1. Start Photoshop, and then immediately hold down Ctrl+Alt+Shift (Windows) or it from Adobe Creative Cloud. word might be related?
Command+Option+Shift (Mac OS) to reset the default settings.
Note: Deselect the Delete
2. When prompted, click Yes to confirm that you want to delete the Adobe Photo- Cropped Pixels option if you
shop Settings file. want to crop nondestructively, so
that you can revise the crop later.
3. Choose File > Browse In Bridge. If you’re prompted to enable the Photoshop
extension in Bridge, click OK.
Adobe Bridge opens, displaying a collection of panels, menus, and buttons.
4. Select the Folders tab in the upper left corner, and then browse to the folder
holding the data files for this chapter, so that the files in the folder appear in the
Content panel.
Thumbnail previews of the folder contents appear in the Content panel.
5. Look at the 02Start.tif file. To enlarge the thumbnails in the Content panel, drag
the thumbnail slider at the bottom of the Bridge window to the right.
In the 02Start.tif file, notice that the image is crooked, the colors are relatively
dull, and the image has a green color cast and a distracting crease. You’ll fix all
of these problems in this lesson, and a few others. You’ll start by cropping and
straightening the image.
6. Double-click the 02Start.tif thumbnail to open the file in Photoshop. Click OK if
you see the Embedded Profile Mismatch dialog box.
7. In Photoshop, choose File > Save As. Navigate to the location where your instructor
directs you to save files for this chapter’s projects, choose Photoshop from the For-
mat menu, and name the file 02End_xx.psd. (Add _xx to the file name and replace
xx with your initials or full name if instructed by your teacher.) Then click Save.
Straightening and Cropping the Image
in Photoshop
You’ll use the Crop tool to straighten, trim, and scale the photograph. You can use
either the Crop tool or the Crop command to crop an image. By default, cropping
deletes the cropped pixels.
1. In the Tools panel, select the Crop tool ( ).
Crop handles appear, and a cropping shield covers the area outside the
cropping selection.
2. In the options bar, choose W x H x Resolution from the Preset Aspect Ratio
menu. (Ratio is the default value.)
3. In the options bar, type 7 in for the width, 7 in for the height, and 200 px/in for
the resolution. A crop grid appears.
First, you’ll straighten the image.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 25
LEARNING GRAPHIC DESIGN & ILLUSTRATION 25
Discussion Topic Lesson 2 Basic Photo Corrections
Why else—besides removing an old white 4. Click Straighten in the options bar. The pointer changes to the Straighten tool.
border—might you want to crop a photo? 5. Click at the top corner of the photo, press the mouse button as you drag a
straight line across the top edge of the photo, and then release.
Note: You can choose Image > Enter image dimensions and resolution, and the crop grid appears. You can then straighten the image.
Trim to discard a border area
around the edge of the image, Photoshop straightens the image, so that the line you drew is parallel with the
based on transparency or top of the image area. You drew a line across the top of the photo, but any line
edge color. that defines either the vertical or horizontal axis of the image will work. Now,
you’ll trim the white border and scale the image.
Note: To quickly straighten
a photo and crop out the 6. Drag the corners of the crop grid inward to the corners of the photo itself to
scanned background, choose crop out the white border. If you need to adjust the position of the photo, click
File > Automate > Crop And and drag it within the crop grid.
Straighten Photos.
7. Press Enter or Return to accept the crop.
The image is now cropped, and the cropped image fills the image window,
straightened, sized, and positioned according to your specifications.
8. To see the image dimensions, choose Document Dimensions from the pop-up
menu at the bottom of the application window.
Use the pop-up menu at the bottom of the application window to view document dimensions.
9. Choose File > Save to save your work. Click OK if you see the Photoshop Format
Options dialog box.
Adjusting the Color and Tone
You’ll use Curves and Levels adjustment layers to remove the color cast and adjust
the color and tone in the image. Don’t let the Curves or Levels options intimidate
you. You’ll work with them more in later lessons; for now, you’ll take advantage of
their tools to quickly brighten and adjust the tone of the image.
26 LEARNING GRAPHIC DESIGN & ILLUSTRATION
26 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topics
Try It! Why’s this adjustment called Curves? When
you first open the Curves panel, see that
1. Click Curves in the Adjustments panel to add a Curves adjustment layer. straight diagonal line across the graph?
2. Select the White Point tool on the left side of the Properties panel. You’re going adjust the tonal range of the
photo by adding a curve to that line.
After adding a Curves adjustment layer (left), click the White Point tool.
A conservator is a person who repairs and
Specifying a white point changes all the colors in the image. The white point is preserves items of historical or cultural
the color that Photoshop defines as pure white, and it adjusts all other colors interest. For every type of art or object—
accordingly. To set an accurate white point, select a white area in the image. from paintings to historic documents to
3. Click a white stripe on the girl’s dress. buildings—there’s probably a conservator
who specializes in it. Discuss conserva-
tion as a career. What kind of training and
experience would a conservator need?
Where would they work? What might be
some positives and negatives of a career
in conservation?
Click to set the new white point to apply with the adjustment layer.
The color tone of the image changes dramatically. You can click different white
areas, such as the child’s sailor dress, a stripe on the woman’s dress, or the girl’s
sock, to see how each selection changes the color.
In some images, adjusting the white point is enough to remove a color cast and
correct the tone of the image. Here, selecting a white point is a good start. You’ll
use a Levels adjustment layer to fine-tune the tone.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 27
LEARNING GRAPHIC DESIGN & ILLUSTRATION 27
Discussion Topic Lesson 2 Basic Photo Corrections
Gawain Weaver is a professional conserva- 4. Click Levels in the Adjustments panel to add a Levels adjustment layer.
tor who specializes in photography. Browse The Levels histogram in the Properties panel displays the range of dark and light
his website at www.gawainweaver.com. values in the image. You’ll learn more about working with levels in later lessons.
See anything on the home page that Right now, you just need to know that the left triangle represents the black point
looks familiar? (the point Photoshop defines as the darkest in the image), the right triangle
represents the white point (the lightest in the image), and the middle triangle
represents the midtones.
5. Drag the left triangle (blacks) under the histogram to the right, where the blacks
are more pronounced. Our value was 15.
6. Drag the middle triangle a little to the right to adjust the midtones. Our value
was .90.
After adding a Levels adjustment layer (left), drag the histogram triangles to make adjustments.
Now that you’ve adjusted the color, you’ll flatten the image so it’s easier to work
with while you touch it up. Flattening an image merges its layers. After you
flatten an image, you can no longer edit layers individually, but the file is smaller,
and you can easily make changes to the entire image at once.
7. Choose Layer > Flatten Image.
The adjustment layers merge with the Background layer.
As owner of Gawain Weaver Art Conservation, Gawain Weaver has conserved
and restored original works by artists ranging from Eadward Muybridge to Man
Ray, and from Ansel Adams to Cindy Sherman. He teaches workshops interna-
tionally as well as online on the care and identification of photographs.
Find out more at gawainweaver.com.
28 LEARNING GRAPHIC DESIGN & ILLUSTRATION
28 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topic
Real-World Photo Restoration What connections do students see between
the tools in the Photoshop toolbar and those
The tools in Photoshop make restoration of old or damaged photographs seem a photography conservator might use?
like magic, giving virtually anyone the power to scan, retouch, print, and frame
their photo collections.
However, when dealing with works by famous artists, museums, galleries, and
collectors need to preserve original objects to the greatest degree possible
despite deterioration or accidental damage. Professional art conservators are
called upon to clean dust and soiling from print surfaces, remove discoloration
and staining, repair tears, stabilize prints to prevent future damage, and even
paint in missing areas of a work.
Carleton E. Watkins, Nevada Fall, 700 FT, Yosemite Valley, CA, mammoth albumen print, 155⁄8" x 20¾".
This print was removed from its mount to remove the stains and then remounted.
“Photograph conservation is both a science and an art,” says
Weaver. “We must apply what we know about the chemistry of the
photograph, its mount, and any varnishes or other coatings in order
to safely clean, preserve, and enhance the image. Since we cannot
quickly ‘undo’ a step in a conservation treatment, we must always
proceed with great caution and a healthy respect for the fragility
of the photographic object whether it’s a 160-year-old salt print of
”Notre Dame or gelatin silver print of Half Dome from the 1970s.
Many of the manual tools of an art conservator have analogous digital versions
in Photoshop:
An art conservator might wash a photograph to remove the discolored
components of the paper, or even use a mild bleaching process known
as light-bleaching to oxidize and remove the colored components of a
stain or overall discoloration. In Photoshop, you can use a Curves adjust-
ment layer to remove the color cast from an image.
A conservator working on a fine-art photograph might use special paints
and fine brushes to manually “in-paint” damaged areas of a photograph.
Likewise, you can use the Spot Healing Brush in Photoshop to spot out
specks of dust or dirt on a scanned image.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 29
LEARNING GRAPHIC DESIGN & ILLUSTRATION 29
Discussion Topic Lesson 2 Basic Photo Corrections
Why do students think the Healing Brush, A conservator might use Japanese papers and wheat-starch paste to
Spot Healing Brush, Patch, and Red carefully repair and rebuild torn paper before finalizing the repair with
Eye tool are grouped together in the some skillful in-painting. In Photoshop, you can remove a crease or
Photoshop toolbar? repair a tear in a scanned image with a few clicks of the Clone tool.
A fixative was applied to the artist’s signature with a small brush to protect it when the mount was washed.
“Although our work has always been first and foremost about the
preservation and restoration of the original photographic object,
there are instances, especially with family photographs, where the
use of Photoshop is more appropriate,” says Weaver. “More dra-
matic results can be achieved in far less time. After digitization the
original print can be safely stored away, while the digital version
can be copied or printed for many family members. Often, we first
clean or unfold family photographs to safely reveal as much of the
original image as possible, and then we repair the remaining dis-
”coloration, stains, and tears on the computer after digitization.
The corrected photo appears much improved.
Note: The Healing Brush tool Using the Spot Healing Brush Tool
works similarly to the Spot
Healing Brush tool, except that The next task is to remove the crease in the photo. You’ll use the Spot Healing Brush
it requires you to sample source to erase the crease. While you’re at it, you’ll use it to address a few other issues.
pixels before retouching an area.
The Spot Healing Brush tool quickly removes blemishes and other imperfections. It
samples pixels around the retouched area and matches the texture, lighting, trans-
parency, and shading of the sampled pixels to the pixels being healed.
The Spot Healing Brush is excellent for retouching blemishes in portraits, but also works
nicely wherever there’s a uniform appearance near the areas you want to retouch.
30 LEARNING GRAPHIC DESIGN & ILLUSTRATION
30 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topics
Try It! How are the Healing Brush and the
Spot Healing Brush tools alike? How are
1. Zoom in to see the crease clearly. they different?
2. In the Tools panel, select the Spot Healing Brush tool ( ).
3. In the options bar, open the Brush pop-up panel, and specify a 100% hard brush What is an artifact? Then, point out that
the “dark areas” in Step 6 on page 31 are
about 25 px in diameter. Make sure Content-Aware is selected in the options bar. referred to as photographic artifacts. Can
4. In the image window, drag the Spot Healing Brush down from the top of the anyone guess why?
crease. You can probably repair the entire crease with four to six neat downward
strokes. As you drag, the stroke at first appears black, but when you release the
mouse, the painted area is “healed.”
Set Spot Healing Brush tool options and then drag to repair blemishes like the crease in this photo.
5. Zoom in to see the white hair in the upper right area of the image. Then select
the Spot Healing Brush again, and paint over the hair.
Zoom in and out as needed when making repairs.
6. Zoom out, if necessary, to see the full sky. Then click the Spot Healing Brush
wherever there are dark areas you want to heal.
7. Save your work so far.
Applying a Content-Aware Patch
Use the Patch tool to remove unwanted elements from an image. You’ll use a
content-aware patch to remove an unrelated person from the right side of the
photo. In Content-Aware mode, the Patch tool creates nearly seamless blending
with the nearby content.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 31
LEARNING GRAPHIC DESIGN & ILLUSTRATION 31
Discussion Topics Lesson 2 Basic Photo Corrections
Why are we removing the boy from the Try It!
photograph?
1. In the Tools panel, select the Patch tool ( ), hidden beneath the Spot Healing
What is a clone? What does it mean to Brush tool ( ).
clone something?
2. In the options bar, choose Content-Aware from the Patch menu, and make sure
that Sample All Layers is selected. Type 4 into the Structure slider.
The Structure menu determines how closely the patch reflects the existing im-
age patterns. You can choose from 1 to 7, with 1 allowing the loosest adherence
to the source structure and 7 requiring the strictest.
3. Drag the Patch tool around the boy and his shadow, as closely as possible. You
may want to zoom in to see him more clearly.
4. Click within the area you’ve just selected, and drag it to the left. Photoshop
displays a preview of the content that will replace the boy. Keep dragging to the
left until the preview area no longer overlaps the area occupied by the boy, but
without overlapping the woman or the girl she’s holding. Release the mouse but-
ton when the patch is positioned where you want it.
Using the Patch tool in Content-Aware mode enables you to remove unwanted areas. The selection
changes to match the area around it. The boy is gone, and where he stood is a section of the bridge wall
and of a building.
5. Choose Select > Deselect.
The effect was pretty impressive, but not quite perfect. You’ll touch up the
results next.
Repairing Areas with the Clone Stamp Tool
The Clone Stamp tool uses pixels from one area of an image to replace the pixels
in another part of the image. Using this tool, you can not only remove unwanted
objects from your images, but you can also fill in missing areas in photographs you
scan from damaged originals.
You’ll use the Clone Stamp tool to smooth out some irregularities in the height of the
bridge wall and the windows on the building.
32 LEARNING GRAPHIC DESIGN & ILLUSTRATION
32 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2
Try It!
1. Select the Clone Stamp tool ( ) in the Tools panel, and select a 60 px brush with
30% hardness. Make sure that the Aligned option is selected.
2. Move the Clone Stamp tool to an area where the top of the bridge wall is smooth.
That’s the area you want to copy to smooth out the area that was patched.
3. Alt-click (Windows) or Option-click (Mac OS) to start sampling that part of the
image. (When you press Alt or Option, the pointer appears as target cross-hairs.)
4. Drag the Clone Stamp tool across the top of the bridge wall in the patched area
to even it out, and then release the mouse button.
When using the Clone stamp tool, first sample the pixels, then drag to make repairs.
Each time you click the Clone Stamp tool, it begins again with a new source
point, in the same relationship to the tool as the first stroke you made. That is, if
you begin painting further right, it samples from stone that is further right than
the original source point. That’s because Aligned is selected in the options bar.
Deselect Aligned if you want to start from the same source point each time.
5. Select a source point where the bottom of the bridge wall is even, and then drag
the Clone Stamp tool across the bottom of the wall where you patched it.
6. Select a smaller brush size, and deselect Aligned. Then select a source point over
the rightmost windows in the lowest row on the building you patched. Click
across to create accurate windows there.
Change brush sizes and other settings as you go to make sure the repairs appear natural.
7. Repeat step 6 to make any adjustments you want to apply to the lowest area of
the building and the wall that runs in front of it.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 33
LEARNING GRAPHIC DESIGN & ILLUSTRATION 33
Discussion Topic Lesson 2 Basic Photo Corrections
Why remove artifacts before sharpening? 8. If you like, you can use a smaller brush size to touch up the stones in the
patched portion of the wall.
TEACHING TIP
9. Save your work.
Gaussian blur is named for German math-
ematician Carl Friedrich Gauss (1777-1855). The repairs make the photo more clean and clear.
Gaussian blur, which is clearer in the
center and blurrier around the edges of an Sharpening the Image
image, is usually a result of the scanning
process. There’s a prestigious international The last task you might want to do when retouching a photo is to sharpen the image.
mathematics prize named for Gauss, who There are several ways to sharpen an image in Photoshop, but the Smart Sharpen
also has a lunar crater, an asteroid, and filter gives you the most control. Because sharpening can emphasize artifacts, you’ll
an Antarctic volcano named in his honor. remove those first.
His image appeared on the German 10
deutsche mark note. Try It!
1. Zoom in to about 400% to see the boy’s shirt clearly. The colored dots you see
are artifacts of the scanning process.
2. Choose Filter > Noise > Dust & Scratches.
3. In the Dust & Scratches dialog box, leave the default settings with a Radius of 1
pixel and Threshold at 0, and click OK.
The Threshold value determines how dissimilar the pixels should be before they
are eliminated. The Radius value determines the size of the area searched for
dissimilar pixels. The default values are great for tiny dots of color like the ones
in this image.
Now that the artifacts are gone, you can sharpen the image.
4. Choose Filter > Sharpen > Smart Sharpen.
5. In the Smart Sharpen dialog box, make sure that Preview is selected, so you can
see the effect of settings you adjust in the image window.
You can drag inside the preview window in the dialog box to see different parts of the
image, or use the plus and minus buttons below the thumbnail to zoom in and out.
6. Make sure Lens Blur is chosen in the Remove menu.
You can choose to remove Lens Blur, Gaussian Blur, or Motion Blur in the Smart
Sharpen dialog box. Lens Blur provides finer sharpening of detail and reduced
sharpening halos. Gaussian Blur increases contrast along the edges in an image.
34 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Have students present what they learned as 14. William Morris (1834-1896)
each name appears in text pages 35-58. 15. Victor Cousin (1792-1867)
1. Johannes Gutenberg 16. Oscar Wilde (1854-1900)
2. James Watt (1736-1819) 17. Aubrey Beardsley (1872-1989)
3. Nicholas Robert (1761-1828) 18. Victor Horta (1861-1947)
4. Friedrich Koening (1774-1883) 19. Henri de Toulouse-Lautrec
5. Joseph Nicéphore Niépce
(1864-1901)
(1765-1883) 20. Albert Einstein (1879-1955)
6. LouisJacques-Mandé Daguerre 21. Karl Marx (1818-1983)
22. Henri van de Velde (1863-1957)
(1787-1851) 23. Charles Rennie Mackintosh
7. William Henry Fox Talbot (1800-1877)
8. William Caslon (1692-1776) (1868-1928)
9. John Baskerville (1706-1775) 24. Frank Lloyd Wright (1867-1959)
10. Robert Thorne (d. 1820) 25. Peter Behrens (1868-1940)
11. Ottmar Mergenthaler (1854-1899) 26. Walter Gropius (1883-1969)
12. John Ruskin (1819-1896) 27. Ludwig Mies van der Rohe
13. John Augustus Roebling (1806-1869)
(1886-1969)
34 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topics
Motion Blur reduces the effects of blur that resulted from the camera or the sub- How long has graphic design existed? How
ject moving when the photo was taken. do you know?
7. Drag the Amount slider to about 60% to sharpen the image.
8. Drag the Radius slider to about 1.5. Have students ever made a print of any
The Radius value determines the number of pixels surrounding the edge pixels kind in an art class or elsewhere? With what
that affect the sharpening. The higher the resolution, the higher the Radius kinds of printing are they familiar?
setting should usually be.
9. When you’re satisfied with the results, click OK to apply the Smart Sharpen filter. TEACHING TIP
10. Choose File > Save, and then close the project file.
Your image is ready to share or print! What is graphic design? Brainstorm and
agree upon a class definition.
A Brief History of Graphic Design
Mini Biographies: Conduct a random draw-
Graphic design has been shaped by social, cultural, political, and technological cir- ing to assign two or three of the follow-
cumstances throughout its evolution. Egyptian hieroglyphs were created to record ing names to each student. Have students
history, chiseled into stone to last an eternity. summarize the person’s significance in a
maximum of 100 words, bring in an image
Chinese woodblock printing, which began in the third century as a method of print- of the person or something they created (or
ing on cloth, made the reproduction of both text and image economically possible. something that represents them in some
way), and learn to pronounce the per-
son’s name correctly. You’ll do it, too, with
Stephen Heller (b. 1950). Ask for volunteers
to cover any unassigned names.
Paper, invented in China as a substitute for printing on cloth, later became a substitute 35
for parchment skins in the West in the eighth century. The first bound books made
entirely of paper soon followed in the Middle East, their pages protected from humidity
by flattening against one another. Although the Chinese had started printing processes,
European Bibles continued to be scribed with quill pens for centuries. The exhaustive,
time-consuming process was a religious rite for monks serving as copyists, editors, and
teachers, until Johannes Gutenberg printed a Bible using movable type. Each innova-
tion reflected the cultural and economic needs of the society that produced it.
LEARNING GRAPHIC DESIGN & ILLUSTRATION
28. Le Corbusier (1887-1965) 44. Emmanuel Radnitzsky (1890-1976) 60. Herbert Bayer (1900-1985)
29. Paul Cézanne (1893-1906) 45. Marcel Duchamp 61. Mememed Fehmy Agha (1896-1978)
30. Lucian Bernhard 46. Vladimir Tatlin (1885-1953) 62. Cipe Pineles (1908-1991)
31. Ernst Growald 47. Alexander Rodchenko (1891-1956) 63. Paul Rand (1914-1996)
32. Pablo Picasso 48. El Lissitzkty (1890-1941) 64. Alvin Lustig (1915-1950)
33. Gertrude Stein (1874-1946) 49. Vladimir Steinberg (1899-1982) 65. Bradbury Thompson (1911-1995)
34. Erik Satie (1886-1925) 50. Georgii Stenberg (1900-1933) 66. Bill Bernbach (1911-1982)
35. Georges Braque (1882-1963) 51. Piet Mondrian (1872-1944) 67. Helmut Krone (1925-1997)
36. Filippo Marinetti (1876-1944) 52. Theo van Doesburg (1883-1931) 68. Ivan Chermayeff (b.1932)
37. E. McKnight Kauffer (1890-1954) 53. Walter Gropius 69. Herb Lubalin (1918-1981)
38. A.M. Cassandre (1901-1968) 54. Johannes Itten (1888-1967) 70. Katherine McCoy (b.1945)
39. Kazimir Malevich (1878-1935) 55. Josef Albers (1888-1976) 71. P. Scott Makela (1960-1999)
40. Tristan Tzara (1896-1963) 56. Lionel Feininger (1871-1956) 72. Ed Fella (b. 1938)
41. Hanna Höch (1889-1978) 57. Paul Klee (1879-1940) 73. April Greiman (b.1948)
42. Sigmund Freud (1956-1939) 58. Wassily Kandinsky (1866-1944) 74. Tibor Kalman (1949-1999)
43. Man Ray (1890-1976) 59. Laszlo Moholy-Nagy (1895-1946) 75. Paula Scher (b.1948)
LEARNING GRAPHIC DESIGN & ILLUSTRATION 35
Discussion Topics Lesson 2 Basic Photo Corrections
Why are we reviewing the history of Today is no different. The imagination of graphic designers is guided by the innovations
graphic design? and needs of contemporary society; their designs are a reflection of the social, cultural,
How did the Industrial Revolution help and political worlds in which they live. In looking back at the history of their art, graphic
create the role of the graphic designer? designers can better understand their own work within a broad context. As with any
How old is photography? How did Daguerre field, knowing the history gives one the knowledge and freedom to innovate and grow.
improve Niépce’s process? How did Talbot
contribute? Industrial Expansion
People An acceleration of technology began to take hold in Europe in the late 1700s as
economies shifted from manual labor to machine-based manufacture. Inventions
Johannes Gutenberg such as the steam engine, perfected by James Watt (1736–1819), helped drive
James Watt (1736-1819) this Industrial Revolution, especially in England. By the 1850s, England’s national
Nicholas Robert (1761-1828) economy was dominated by manufacturing, and its power structure shifted from
Friedrich Koening (1774-1883) landowners to industrialists. As people began filling cities to work in factories, their
Joseph Nicéphore Niépce (1765-1883) purchasing power grew. Products offered to them kept pace, as did advertising.
LouisJacques-Mandé Daguerre Newspapers, magazines, and posters thrived.
(1787-1851) For European inventors, England was an outlet. Nicholas Robert (1761–1828) of
William Henry Fox Talbot (1800-1877) France devised his first machine for making paper by the roll in 1799, leading to
patents and further development in England by the Fourdrinier Brothers. Steam-
powered printing soon followed, brought to the Times of London in 1814 by a
German, Friedrich Koenig (1774–1833). Paper manufacturing and press speed
reduced the cost of printed promotions, making them more available to the public.
As a result, the design of advertisements and fliers became a specialized activity,
which was considered a separate task from printing and production. Commercial and
artistic possibilities developed as the technology available to designers advanced.
The first permanent photograph was made in 1826 by the French inventor Joseph
Nicéphore Niépce (1765–1833). Niépce’s partner Louis-Jacques-Mandé Daguerre
(1787–1851) refined the invention further by speeding up the developing process
from eight hours to thirty minutes and by inventing a way to fix the image on the
exposed silvered plate. In 1839, the invention of daguerreotype, the term for this
type of early photograph, was formally announced, and a New York magazine, The
Knickerbocker, wrote: “Their exquisite perfection almost transcends the bounds of
sober belief.” Photographs seemed at first unreal to a general public more com-
fortable with handmade illustrations of products and events. Soon, however, news-
paper companies and advertisers began to rely on published photographs to sell
their newspapers and products. Consumers not only could see actual images of
the corsets, hats, and carriages that were being sold but also could view them in an
indisputable and immediate way.
36 LEARNING GRAPHIC DESIGN & ILLUSTRATION
36 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 REVIEW THE
VOCABULARY
Another early developer of the photographic process, English scientist William Henry
Fox Talbot (1800–1877), created a negative image from which an unlimited number Typeface A set of one or more fonts each
of paper prints (called calotypes) could be made. A brilliant scientist, writer, and pho- composed of glyphs that share common
tographer, Talbot was also a graphic designer. His publication The Pencil of Nature design features. Each font of a typeface has
was the first photographically illustrated book, and Plate 6, called The Open Door, a specific width, style, condensation, width,
is an example of meaningful communication created through this new medium. slant, italicization, and ornamentation.
Composed much like a sixteenth-century Dutch genre painting (popular in England
at the time), everyday objects are loaded with symbolism and meaning: a handmade People
broom, as a metaphor of the old agrarian world (drawing and painting), leans out-
side of an aging cottage. The broom aligns with the opened door’s shadow—they William Caslon (1692-1776)
both point to the darkened interior. At the back of the cottage, light comes through John Baskerville (1706-1775)
a window. Talbot tried to portray a world beyond the frame and a future for the new,
mechanically based medium of photography. Discussion Topic
What’s the difference between a font and
a typeface?
Typesetting was changing, too. Until the nineteenth century, printing was primarily Typeface
limited to books. The Industrial Revolution brought a demand for printed brochures,
product ads, and advertising posters. A variety of wooden display typefaces came A set of one or more fonts each
into existence along with type-specimen catalogs. Up to that point, handbills looked composed of glyphs that share
similar to title pages of books, the book types merely enlarged. Two eighteenth common design features. Each
century English founders of typefaces include William Caslon (1692–1766), whose font of a typeface has a specific
typeface of 1724 was so distinct and legible it was used to set the Declaration of weight, style, condensation,
Independence, and the printer John Baskerville (1706–1775), whose typefaces were width, slant, italicization, and
adopted by the U.S. government for its publishing. ornamentation.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 37
LEARNING GRAPHIC DESIGN & ILLUSTRATION 37
People Lesson 2 Basic Photo Corrections
Robert Thorne (d. 1820) In advertising, new display typefaces were being introduced. Slab Serif types from
Ottmar Mergenthaler (1854-1899) Britain were designed to help information stand out noticeably. These typefaces
were used on pamphlets, posters, and anything that had short lengths of text.
British type designer Robert Thorne (d. 1820) coined the term Egyptian serifs to
describe these thick Slab Serifs because the letterforms resembled the weight
and bluntness of hieroglyphs. In 1803, Thorne developed what he called Fat Face
typefaces, which had an even bolder look and weight than the Egyptians. Fat Faces
appealed to advertisers because of the impact they created on the page. Many
variations of the Fat Faces soon followed, including forward and backward sloping
italics, inline, shadow, and three-dimensional relief letters.
Book typesetting also kept pace with the growing demand as literacy increased, and
in 1886, the German inventor Ottmar Mergenthaler (1854–1899) perfected what he
called his “Linotype machine.” The mechanical process of composing type trans-
formed the industry. The slow hand setting of type, letter by letter, was replaced with
type composed from a keyboard and transmitted to a series of matrices that held
brass letterforms, which cast slugs of raised lead lines of type (“line o’ type”).
38 LEARNING GRAPHIC DESIGN & ILLUSTRATION
38 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 Discussion Topic
What is goth culture?
REVIEW THE
VOCABULARY
Gothic A style of architecture, which
included the pointed arch, the ribbed vault,
and the flying buttress.
People
John Ruskin (1819-1896)
A Turn-of-the-Century Response to Industrialization Gothic
As the Industrial Revolution advanced, artists, writers, and social critics began to A style of architecture, which
object to the dehumanizing effects of mechanization. The most vocal critic, the included the pointed arch, the
British writer and painter John Ruskin (1819–1896), believed that the handcrafted ribbed vault, and the flying
Gothic style of the late Middle Ages, with all its imperfections, was worth reviving as buttress.
a way to offset the mechanical ordinary nature of modern mass production. Ruskin’s
chapter, “the Nature of Gothic,” in The Stones of Venice, Vol. II (1851–1853) explains
that we should find a kind of pleasure in an object that was made with pleasure.
LEARNING GRAPHIC DESIGN & ILLUSTRATION 39
LEARNING GRAPHIC DESIGN & ILLUSTRATION 39
People Lesson 2 Basic Photo Corrections
John Augustus Roebling (1806-1869) Ruskin’s writings inspired a Gothic revival in England and across the Atlantic to
America. The Gothic style permeated art and design in the areas of painting, sculp-
ture, music and architecture. Architecture was the most important and original art
form during the Gothic period. The Brooklyn Bridge (1883), designed by German
immigrant John Augustus Roebling (1806–1869), is a grand example of the Gothic
style, its pointed arches contrasting with the steel-wire suspension system, the first
of its kind and the leading construction technology of its day.
Designer Vignette: The Value of Learning
Graphic Design History with Steven Heller
What is the value of learning and understanding graphic
design history?
What’s the value of learning about any field? Some say then we’re not doomed
to repeat the mistakes. That’s one way of looking at history. Another is as a
primer for current practice. Graphic design has not changed all that much
from the early days of commercial advertising—the late nineteenth century.
Styles have come and gone and returned, but the basic formal issues and
practical concerns are the same. So history puts this into perspective. We can
still invent things, but we don’t have to reinvent things. Now that the web has
become a design venue, new paradigms are being created, but even in this
new digital world many of the old conventions are relevant. Studying design
history places these conventions in context, but also reveals how new ideas
(and ideals) were introduced. Historic graphic design also serves as a primer
for current practice. History is not some musty notion but rather a living link to
many traditions.
What role does design history play in “everyday” problem solving?
The most practical use of history in problem solving is the practice of bor-
rowing. Pastiche [imitation of older styles] is a large component of graphic
design, and where else does one acquire the raw material other than from
history lessons? Aside from this, history offers a blueprint for problem-solv-
ing. Can you tell me that a designer can compartmentalize historical knowl-
edge from contemporary practice? No. Since little has changed, other
than technology, from the “good-old-days” to today one is still able to use
historical lessons as textbook examples of how to make design, if not overtly,
then subconsciously.
To what degree do outside influences such as technology, politics,
and pop culture affect graphic design?
If you don’t practice design by rote—if it has more meaning than sweeping a
floor—then outside influences will affect the way graphic design is created.
Technology often determines how design will look (and be made); politics is
often the theme of design. And pop culture? Well, graphic design is pop cul-
ture, as well as influenced by it (music, art, film, video, and so on, all have been
tapped for graphic designs). To be a well-rounded designer means to have
knowledge about all these things. To be a hack, means to ignore them.
40 LEARNING GRAPHIC DESIGN & ILLUSTRATION
40 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Basic Photo Corrections Lesson 2 REVIEW THE
VOCABULARY
Arts and Crafts Movement (1880–1910) Art movement
Art movement a focus on a particular
The first full-scale art movement that surfaced from Ruskin’s theories was the Arts Focus on a particular approach approach to art.
and Crafts movement. William Morris (1834–1896) led the way, prolifically devoting to art.
himself to a philosophy of art that advocated looking back to the Middle Ages and, in People
particular, to the natural forms that were embraced in that era. “The past is not dead,
it is living in us, and will be alive in the future which we are now helping to make.” William Morris (1834-1896)
Victor Cousin (1792-1867)
Morris’s trademark for his Kelmscott Press is a beautifully crafted example of a com- Oscar Wilde (1854-1900)
mitment to recapturing the handcrafted art forms of the past. Some of the greatest
examples of the art of the printed book came out of the Kelmscott Press. In the TEACHING TIP
page design for The Canterbury Tales, Morris also designed the three typefaces used
(Golden, Troy, and Chaucer), each modeled on fifteenth-century type styles. The Keep a running class list of art movements.
philosophy of the Arts and Crafts movement was that handcrafted forms brought Have students define the movement and its
physical and spiritual pleasure to one’s work. Morris led by example, with a repertoire characteristic works in their own words. Add
that included furniture and cabinet making, wallpaper, ceramics, as well as textile and photos from students’ biographic presenta-
stained glass design—an entire man-made, yet organic, environment. tions as appropriate.
Aestheticism (1870–1914)
The Aesthetic movement took the issue of the purpose of art further than the Arts
and Crafts movement, advocating a complete separation of art from morality and
utility. Aestheticism began as early as 1818 when the French philosopher Victor
Cousin (1792–1867) coined the phrase “art for art’s sake.” Based on a search for ideal
beauty, the Aesthetic movement’s ideology wanted to remove art completely from
commerce and industry and form a more direct relationship between art and life.
Two of its greatest proponents were the writer Oscar Wilde (1854–1900) and the
LEARNING GRAPHIC DESIGN & ILLUSTRATION 41
LEARNING GRAPHIC DESIGN & ILLUSTRATION 41
People Lesson 2 Basic Photo Corrections
Aubrey Beardsley (1872-1989) illustrator Aubrey Beardsley (1872–1898). In fact, Beardsley won widespread notoriety
Victor Horta (1861-1947) in 1894 with his illustrations for Oscar Wilde’s play Salomé. By blending the curvilin-
Henri de Toulouse-Lautrec (1864-1901) ear style of Art Nouveau with contrasting forms found in Japanese woodblock prints,
he created drawings that were new, elegant, and sensual.
Art Nouveau (1890–1910)
The Arts and Crafts and Aestheticism movements directly inspired Art Nouveau,
which quickly became the most encompassing of the turn-of-the-century art
movements. In addition, Japan began trading with the West after 1853, and Japanese
woodblock prints and ornamentation influenced a generation of Western artists. Art
Nouveau’s vocabulary of natural forms included birds, flowers, and vines, which were
translated into high-contrast shapes and patterns. The impact and energy of these
forms were appealing but also reflected the West’s break from traditional depen-
dence on history and the classics for its subject matter.
The style began with the architectural work of Belgian architect Victor Horta
(1861–1947). The centerpiece of his work for his Tassel House project was a stairway.
Its integration of pattern with space moved architecture away from the rigid box and
brought an organic flow to both exteriors and interiors. As Art Nouveau developed,
nearly everything painted, manufactured, or designed was affected—from teapots to
subway entrances. The General Electric and Coca-Cola trademarks designed in this
period have been in continuous use ever since with only slight modifications.
Art Nouveau’s most exuberant expression was in the work of French artist Henri de
Toulouse-Lautrec (1864–1901). Commercial printing was at a point where graphics
and color could be reproduced without much loss of quality, and this development
inspired artists like Lautrec to work in the medium. The inspiration from Japanese
woodblocks is seen in Toulouse-Lautrec’s La Goulue through his use of flat color and
line. Those elements create visual impact, as does the contrast of the cancan dancer
against the solid black crowd in the background. Her undergarments go completely
white, the paper itself becoming part of the drawing. Repeating the words “Moulin
Rouge” in the poster, Toulouse-Lautrec also made typographic strides as he mim-
icked the bouncing rhythm of the dance hall.
42 LEARNING GRAPHIC DESIGN & ILLUSTRATION
42 LEARNING GRAPHIC DESIGN & ILLUSTRATION
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