Learning Graphic Design & Illustration

Layer Basics Lesson 4 Discussion Topic

Step 3 tells you to hold down the Shift key
as you resize the beach image. What hap-
pens to the image you don’t hold down
the Shift key?

Multiply

Lighten

Overlay Luminosity Difference

Resizing and Rotating Layers

You can resize and transform layers.

Try It!

1. Click the Visibility column on the Beach layer to make the layer visible.

2. Select the Beach layer in the Layers panel, and choose Edit > Free Transform.
A Transform bounding box appears around the beach image. The bounding box
has handles on each corner and each side. First, you’ll resize and angle the layer.

3. Press Shift as you drag a corner handle inward to scale the beach photo down by
about 50%. (Watch the Width and Height percentages in the options bar.)

4. With the bounding box still active, position the pointer just outside one of the
corner handles until it becomes a curved double arrow. Drag clockwise to rotate
the beach image approximately 15 degrees. You can also enter 15 in the Set Ro-
tation box in the options bar.

Resizing and rotating the layer.

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Lesson 4 Layer Basics

5. Click the Commit Transform button ( ) in the options bar.
6. Make the Flower layer visible. Then, select the Move tool ( ), and drag

the beach photo so that its corner is tucked neatly beneath the flower, as
in the illustration.
7. Choose File > Save.

Note: You can also create a new Here’s how to position the transformed layer.
layer by choosing Layer > New >
Layer, or by choosing New Layer Using a Filter to Create Artwork
from the Layers panel menu.
Next, you’ll create a new layer with no artwork on it. (Adding empty layers to a file is
comparable to adding blank sheets of film to a stack of images.) You’ll use this layer
to add realistic-looking clouds to the sky with a Photoshop filter.

Try It!

1. In the Layers panel, select the Background layer to make it active, and then click
the Create A New Layer button ( ) at the bottom of the Layers panel.
A new layer, named Layer 1, appears between the Background and Pineapple
layers. The layer has no content, so it has no effect on the image.

2. Double-click the name Layer 1, type Clouds, and press Enter or Return to
rename the layer.

Adding and renaming a layer.

3. In the Tools panel, click the Foreground Color swatch, select a sky blue color
from the Color Picker, and click OK. We selected a color with the following
values: R=48, G=138, B=174. The Background Color remains white.

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Layer Basics Lesson 4 Discussion Topic

4. With the Clouds layer still active, choose Filter > Render > Clouds. What are the other options under Filter >
Render besides Clouds?

Realistic-looking clouds appear behind the image. Note: You can drag images from
a Bridge window to Photoshop
5. Choose File > Save. as easily as you can drag from
the Windows or Mac desktop.
Dragging to Add a New Layer

You can add a layer to an image by dragging an image file from the desktop, Bridge,
or Explorer (Windows) or the Finder (Mac OS). You’ll add another flower to the post-
card now.

Try It!

1. If Photoshop fills your monitor, reduce the size of the Photoshop window:

• In Windows, click the Restore button ( ) in the upper right corner, and then
drag the lower right corner of the Photoshop window to make it smaller.

• In Mac OS, click the green Maximize/Restore button ( ) in the upper left
corner of the image window.

2. In Photoshop, select the Pineapple copy layer in the Layers panel to make it the
active layer.

3. In Explorer (Windows) or the Finder (Mac OS), navigate to the data files for
this chapter.

4. Select Flower2.psd, and drag it from Explorer or the Finder onto your image.
The Flower2 layer appears in the Layers panel, directly above the Pineapple
copy layer. Photoshop places the image as a Smart Object, which is a layer you
can edit without making permanent changes. You’ll work more extensively with
Smart Objects in Lesson 8.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 95

Discussion Topic Lesson 4 Layer Basics

How does dragging to add a new layer 5. Position the Flower2 layer in the lower left corner of the postcard, so that about
save time? How else could you have half of the top flower is visible.
added the purple flower to your image?

The second flower appears in the image.

6. Click the Commit Transform button ( ) in the options bar to accept the layer.

Adding Text

Now you’re ready to create some type using the Horizontal Type tool, which places
the text on its own type layer. You’ll then edit the text and apply a special effect.

Try It!

1. Make the HAWAII layer visible. You’ll add text just below this layer, and apply spe-
cial effects to both layers.

2. Choose Select > Deselect Layers, so that no layers are selected.
3. In the Tools panel, select the Horizontal Type tool ( ). Then, choose Window >

Character to open the Character panel. Do the following in the Character panel:

Character panel settings.

• Select a serif font (we used Birch Std; if you use a different font, adjust other
settings accordingly).

• Select a font style (we used Regular).
• Select a large font size (we used 36 points).
• Select a large tracking value ( ) (we used 250).
• Click the color swatch, select a shade of grassy green in the Color Picker,

and click OK to close the Color Picker.

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Layer Basics Lesson 4 Discussion Topics

• Click the Faux Bold button ( ). Note: If you make a mistake In design, a gradient is an effect that
• Click the All Caps button ( ). when you click to set the type, fades in or out—or both!
• Select Crisp from the Anti-aliasing menu ( ). simply click away from the type
and repeat step 4. The Select Pixels command within a layer
4. Click just below the “H” in the word “HAWAII,” and type Island Paradise. Then is a relatively new Photoshop feature. If
click the Commit Any Current Edits button ( ) in the options bar. you had an older version, could you still
select the letters in the word Hawaii?
How? Would you have to do it one letter
at a time?

The new type layer. Note: Make sure you click the
thumbnail, rather than the layer
The Layers panel now includes a layer named Island Paradise with a “T” thumb- name, or you’ll see the wrong
nail, indicating that it is a type layer. This layer is at the top of the layer stack. The context menu.
text appears where you clicked, which probably isn’t exactly where you want it to
be positioned.

5. Select the Move tool ( ), and drag the “Island Paradise” text so that it is
centered below “HAWAII.”

Applying a Gradient to a Layer

You can apply a color gradient to all or part of a layer. In this example, you’ll apply a
gradient to the word “HAWAII” to make it more colorful. First you’ll select the letters,
and then you’ll apply the gradient.

Try It!

1. Select the HAWAII layer in the Layers panel to make it active.

2. Right-click or Control-click the thumbnail in the HAWAII layer, and choose
Select Pixels.

Selecting the pixels on the layer.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 97

Lesson 4 Layer Basics

Note: Though the layer contains Everything on the HAWAII layer (the white lettering) is selected. Now that you’ve
the word “HAWAII,” it is not a selected the area to fill, you’ll apply a gradient.
type layer. The text has been
rasterized. 3. In the Tools panel, select the Gradient tool ( ).

4. Click the Foreground Color swatch in the Tools panel, select a bright shade of or-
ange in the Color Picker, and click OK. The Background Color should still be white.

5. In the options bar, make sure that Linear Gradient ( ) is selected.

6. In the options bar, click the arrow next to the Gradient Editor box to open the
Gradient Picker. Select the Foreground To Background swatch (it’s the first one),
and then click anywhere outside the gradient picker to close it.

Note: To list the gradient options Selecting and applying the gradient.
by name rather than by sample,
click the menu button in the 7. With the selection still active, drag the Gradient tool from the bottom to the top
gradient picker, and choose of the letters. If you want to be sure you drag straight up, press the Shift key as
either Small List or Large List. you drag.
Or, hover the pointer over a The gradient extends across the type, starting with orange at the bottom and
thumbnail until a tool tip appears, gradually blending to white at the top.
showing the gradient name.
8. Choose Select > Deselect to deselect the HAWAII type.

9. Save the work you’ve done so far.

Applying a Layer Style

You can enhance a layer by adding a shadow, stroke, satin sheen, or other special
effect from a collection of automated and editable layer styles. These styles are easy
to apply, and they link directly to the layer you specify.
Like layers, layer styles can be hidden by clicking eye icons ( ) in the Layers panel.
Layer styles are nondestructive, so you can edit or remove them at any time. You
can apply a copy of a layer style to a different layer by dragging the effect onto the
destination layer.
Earlier, you used a layer style to add a stroke to the beach photo. Now, you’ll add
drop shadows to the text to make it stand out.

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Layer Basics Lesson 4 Discussion Topics

Try It! Note: You can also open the A drop shadow can be a great way to add
Layer Style dialog box by clicking depth to an image element. Drop shad-
1. Select the Island Paradise layer, and then choose Layer > Layer Style > the Add A Layer Style button at ows are also one of the most overused,
Drop Shadow. the bottom of the Layers panel even abused, effects in graphic design.
and then choosing a layer style, As a result, they can be controversial;
2. In the Layer Style dialog box, make sure that the Preview option is selected, and such as Bevel And Emboss, from designers tend to either love them or hate
then, if necessary, move the dialog box so that you can see the Island Paradise the pop-up menu. them. Why do you think this is the case?
text in the image window. How can you avoid contributing to drop
Note: To change the Global shadow abuse?
3. In the Structure area, select Use Global Light, and then specify the following settings: Light settings, choose Layer >
• Blend Mode: Multiply Layer Style > Global Light. There’s a story that when a certain New
• Opacity: 75% York Times magazine ran with a drop
• Angle: 78 degrees shadowed headline, so many design-
• Distance: 5 px ers called in to complain the next day
• Spread: 30% that the telephone had to be temporarily
• Size: 10 px disconnected.
When Use Global Light is selected, one “master” lighting angle is available in
all the layer effects that use shading. If you set a lighting angle in one of these MEET INDIVIDUAL
effects, every other effect with Use Global Light selected inherits the same NEEDS
angle setting.
Angle determines the lighting angle at which the effect is applied to the layer. More advanced learners Have more
Distance determines the offset distance for a shadow or satin effect. Spread advanced learners—or those with prior
determines how gradually the shadow fades toward the edges. Size determines knowledge of Photoshop—experiment
how far the shadow extends. with Drop Shadow settings. How do the
Photoshop adds a drop shadow to the “Island Paradise” text in the image. settings change the effect? Encourage
each student to come up with his
4. Click OK to accept the settings and close the Layer Style dialog box. or her own unique, but subtle, Drop
Shadow style.
Layer effects and styles are listed below the layer in the Layers panel.

Photoshop nests the layer style in the Island Paradise layer. First it lists Effects,
and then the layer styles applied to the layer. An eye icon ( ) appears next to
the effect category and next to each effect. To turn off an effect, click its eye
icon. Click the Visibility column again to restore the effect. To hide all layer styles,
click the eye icon next to Effects. To collapse the list of effects, click the arrow
next to the layer.

5. Make sure that eye icons appear for both items nested in the Island Paradise layer.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 99

TEACHING TIP Lesson 4 Layer Basics

For steps 8 and 10, remind students that 6. Press Alt (Windows) or Option (Mac OS), and drag the Effects line or the fx
they can use sliders for the numerical symbol ( ) onto the HAWAII layer.
selections, or key in the numbers and press
Tab to advance to the next selection.

Dragging to copy layer effects and styles.

The Drop Shadow layer style is applied to the HAWAII layer, copying the settings
you applied to the Island Paradise layer. Now you’ll add a green stroke around
the word HAWAII.

7. Select the HAWAII layer in the Layers panel, click the Add A Layer Style button
( ) at the bottom of the panel, and then choose Stroke from the pop-up menu.

8. In the Structure area of the Layer Styles dialog box, specify the following settings:
• Size: 4 px
• Position: Outside
• Blend Mode: Normal
• Opacity: 100%
• Color: Green (Select a shade that goes well with the one you used for the
“Island Paradise” text.)

9. Click OK to apply the stroke.

The outline appears around the words on the layer.

Now you’ll add a drop shadow and a satin sheen to the flower.

10. Select the Flower layer, and choose Layer > Layer Style > Drop Shadow.
• Then change the following settings in the Structure area:
• Opacity: 60%
• Distance: 13 px
• Spread: 9%
• Make sure Use Global Light is selected, and that the Blend Mode is Multiply.
Do not click OK.

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Layer Basics Lesson 4 TEACHING TIP

11. With the Layer Style dialog box still open, click the word Satin on the left to Note: Be sure to click the word To demonstrate the array of blending
select it and display its options. Then make sure Invert is selected, and apply the Satin. If you click only the check effects options, have students type their
following settings: box, Photoshop applies the layer initials onto a blank psd document. Right-
style with its default settings, but click on the type layer and select Blending
• Color (next to Blend Mode): Fuchsia (choose a color that complements the you won’t see the options. Options, then go down the list, checking
flower color) and unchecking the Layer Style options.

• Opacity: 20%

• Distance: 22 px

The Satin layer effect applies interior shading to create a satiny finish. The con-
tour controls the shape of the effect; Invert flips the contour curve.

12. Click OK to apply both layer styles.

Before applying layer styles. The flower with the drop shadow and
satin layer styles applied

Julieanne Kost is an official Adobe Photoshop evangelist.

Tool Tips from the Photoshop Evangelist

Blending Effects

Blending layers in a different order or on different groups changes the effect.
You can apply a blending mode to an entire layer group and get a very different
result than if you apply the same blending mode to each of the layers individu-
ally. When a blending mode is applied to a group, Photoshop treats the group
as a single merged object and then applies the blending mode. Experiment with
blending modes to get the effect you want.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 101

REVIEW THE Lesson 4 Layer Basics
VOCABULARY

Adjustment later A layer that applies
color or tonal changes.

Nondestructive Editing Editing that
leaves the original content unchanged, so
that you can remove the edits at a later
time if desired.

Adjustment layer Adding an Adjustment Layer
A layer that applies color or tonal
changes. Adjustment layers can be added to an image to apply color and tonal adjust-
ments without permanently changing the pixel values in the image. For example,
Nondestructive editing if you add a Color Balance adjustment layer to an image, you can experiment
Editing that leaves the original with different colors repeatedly, because the change occurs only on the adjust-
content unchanged, so that you ment layer. If you decide to return to the original pixel values, you can hide or
can remove the edits at a later delete the adjustment layer. An adjustment layer is considered a form of non-
time if desired. destructive editing.

You’ve used adjustment layers in other lessons. Here, you’ll add a Hue/Saturation
adjustment layer to change the color of the purple flower. An adjustment layer
affects all layers below it in the image’s stacking order unless a selection is active
when you create it or you create a clipping mask.

Try It!

1. Select the Flower2 layer in the Layers panel.

2. Click the Hue/Saturation icon in the Adjustments panel to add a Hue/Saturation
adjustment layer.

Selecting a Hue/Saturation adjustment layer.

3. In the Properties panel, apply the following settings:
• Hue: 43
• Saturation: 19
• Lightness: 0

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Layer Basics Lesson 4 TEACHING TIP

Encourage students to experiment with
Hue, Saturation, and Lightness values, and
use both the slider and their keyboards to
enter them.

Specifying the Hue/Saturation adjustment layer settings. Note: Be sure to click the layer
name, not the thumbnail, to see
The changes affect the Flower2, Pineapple Copy, Pineapple, Clouds, and the appropriate context menu.
Background layers. The effect is interesting, but you want to change only the
Flower2 layer. Note: You can search for layers
in the Layers panel by layer
4. Right-click (Windows) or Control-click (Mac OS) the layer name on the type, layer name, effect, mode,
Hue/Saturation adjustment layer, and choose Create Clipping Mask. attribute, and color. You can
An arrow appears in the Layers panel, indicating that the adjustment layer also display only the selected
applies only to the Flower2 layer. You’ll learn more about clipping masks in layers: choose Select > Isolate
Lessons 6 and 7. Layers, or choose Selected from
the Kind menu in the Layers
Updating Layer Effects panel to enter Isolation Mode.

Layer effects are automatically updated when you make changes to a layer. You can Note: You don’t have to click the
edit the text and watch how the layer effect tracks the change. Commit Any Current Edits button
after making the text edits,
Try It! because selecting the Move tool
has the same effect.
1. Select the Island Paradise layer in the Layers panel.

2. In the Tools panel, select the Horizontal Type tool ( ).

3. In the options bar, set the font size to 32 points, and press Enter or Return.
Although you didn’t select the text by dragging the Type tool (as you would have to
do in a word processing program), “Island Paradise” now appears in 32-point type.

4. Using the Horizontal Type tool, click between “Island” and “Paradise,” and type of.
As you edit the text, the layer styles are applied to the new text.

5. You don’t actually need the word “of,” so delete it.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 103

Lesson 4 Layer Basics

6. Select the Move tool ( ), and drag “Island Paradise” to center it beneath the
word “HAWAII.”

When you add text, layer effects Center the text beneath the
are automatically applied. word “HAWAII.”

7. Choose File > Save.

Adding a Border

The Hawaii postcard is nearly done. The elements are almost all arranged correctly in
the composition. You’ll finish up by positioning the postmark and then adding a white
postcard border.

Try It!

1. Select the Postage layer, and then use the Move tool ( ) to drag it to the mid-
dle right of the image, as in the illustration.

Moving the Postage layer.

2. Select the Island Paradise layer in the Layers panel, and then click the Create A
New Layer button ( ) at the bottom of the panel.

3. Choose Select > All.
4. Choose Select > Modify > Border. In the Border Selection dialog box, type

10 pixels for the Width, and click OK.
A 10-pixel border is selected around the entire image. Now, you’ll fill it with white.
5. Select white for the Foreground Color, and then choose Edit > Fill.
6. In the Fill dialog box, choose Foreground Color from the Contents menu, and
click OK.
7. Choose Select > Deselect.

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Layer Basics Lesson 4 TEACHING TIP

8. Double-click the Layer 1 name in the Layers panel, and rename the layer Border. Point out the first sentence of the second
paragraph on page 105: “To appreci-
ate what flattening does, notice the two
numbers for the file size in the status bar
at the bottom of the image window.” Be
sure students are clear on what the two
numbers represent. Why is flattening a
good idea? What difference does the
smaller file size make?

The new Border layer. Note: If the sizes do not appear
in the status bar, click the status
Flattening and Saving Files bar pop-up menu arrow, and
choose Document Sizes.
When you finish editing all the layers in your image, you can merge or flatten layers
to reduce the file size. Flattening combines all the layers into a single background
layer. However, you cannot edit layers once you’ve flattened them, so you shouldn’t
flatten an image until you are certain that you’re satisfied with all your design deci-
sions. Rather than flattening your original PSD files, it’s a good idea to save a copy of
the file with its layers intact, in case you need to edit a layer later.

To appreciate what flattening does, notice the two numbers for the file size in the
status bar at the bottom of the image window. The first number represents what the
file size would be if you flattened the image. The second number represents the file
size without flattening. This lesson file, if flattened, would be 2–3MB, but the current
file is much larger. So flattening is well worth it in this case.

The status bar previews the effects of flattening on file size.

Try It!

1. Select any tool but the Type tool ( ), to be sure that you’re not in text-editing
mode. Then choose File > Save (if it is available) to be sure that all your changes
have been saved in the file.

2. Choose Image > Duplicate.

3. In the Duplicate Image dialog box, name the file 04Flat_xx.psd, and click OK.
(Replace xx with your initials or full name if instructed by your teacher.)

4. Leave the 04Flat_xx.psd file open, but close the 04End_xx.psd file.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 105

REVIEW THE Lesson 4 Layer Basics
VOCABULARY
5. Choose Flatten Image from the Layers panel menu.
Layer comp A saved snapshot or version
of the state of layers in the Layers panel.
The comp saves each layer’s visibility,
position, and setting such as style and
blending mode.

Note: If you want to flatten only Flattening the image.
some of the layers in a file, click
the eye icons to hide the layers Only one layer, named Background, remains in the Layers panel.
you don’t want to flatten, and
then choose Merge Visible from 6. Choose File > Save. Even though you chose Save rather than Save As, the Save As
the Layers panel menu. dialog box appears.

Layer comp 7. Make sure the location is the folder for this chapter, and then click Save to ac-
A saved snapshot or version cept the default settings and save the flattened file.
of the state of layers in the
Layers panel. The comp saves You have saved two versions of the file: a one-layer, flattened copy as well as the
each layer’s visibility, position, original file, in which all the layers remain intact.
and settings such as style and
blending mode. You’ve created a colorful, attractive postcard. This lesson only begins to explore
the vast possibilities and the flexibility you gain when you master the art of using
Photoshop layers. You’ll get more experience and try out different techniques for
layers in almost every chapter as you move forward in this book.

About Layer Comps

Layer comps provide one-click flexibility in switching between different views of
a multilayered image file. A layer comp is simply a definition of the settings in the
Layers panel. Once you’ve defined a layer comp, you can change as many settings
as you please in the Layers panel and then create another layer comp to preserve
that configuration of layer properties. Then, by switching from one layer comp
to another, you can quickly review the two designs. The beauty of layer comps
becomes apparent when you want to demonstrate a number of possible design
arrangements. When you’ve created a few layer comps, you can review the design
variations without having to tediously select and deselect eye icons or change
settings in the Layers panel.

Say, for example, that you are designing a brochure, and you’re producing a version
in English as well as in French. You might have the French text on one layer, and the
English text on another in the same image file. To create two different layer comps,
you would simply turn on visibility for the French layer and turn off visibility for the
English layer, and then click the Create New Layer Comp button in the Layer Comps
panel. Then you’d do the reverse—turn on visibility for the English layer and turn off
visibility for the French layer, and click the Create New Layer Comp button—to create
an English layer comp. To view the different layer comps, click the Layer Comp box
for each comp in the Layer Comps panel in turn.

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Layer Basics Lesson 4 Comprehension Check

Layer comps can be an especially valuable feature when the design is in flux or when 1. Layers let you move and edit different
you need to create multiple versions of the same image file. If some aspects need parts of an image as discrete objects.
to stay consistent among layer comps, you can change the visibility, position, or You can also hide individual layers as
appearance of one layer in a layer comp and then sync it to see that change reflected you work on other layers.
in all the other layer comps.
2. A new layer always appears immedi-
Comprehension Check ately above the active layer.

1. What is the advantage of using layers? 3. You can make artwork on one layer
2. When you create a new layer, where does it appear in the Layers panel stack? appear in front of artwork on an-
3. How can you make artwork on one layer appear in front of artwork on other layer by dragging layers up or
down the stacking order in the Layers
another layer? panel, or by using the Layer > Ar-
4. How can you apply a layer style? range subcommands—Bring To Front,
5. When you’ve completed your artwork, what can you do to minimize the file size Bring Forward, Send To Back, and
Send Backward. However, you can’t
without changing the quality or dimensions? change the layer position of a back-
ground layer.

4. To apply a layer style, select the layer,
and then click the Add A Layer Style
button in the Layers panel, or choose
Layer > Layer Style > [style].

5. To minimize file size, you can flat-
ten the image, which merges all the
layers onto a single background. It’s
a good idea to duplicate image files
with layers intact before you flat-
ten them, in case you have to make
changes to a layer later.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 107

REVIEW QUESTIONS Chapter 2 Using Selections and Layers While Designing

1. When you want to make a change to End-of-Chapter Activities
part of an image
Review Questions
2. Choose Select > Deselect
1. When or why do you make a selection?
Press Ctrl+D (Windows) or 2. Name one of the ways to deselect a selection.
Command+D (Mac OS) 3. Describe how to nudge a selection.
4. Describe the difference between anti-aliasing and feathering when making a selection.
Click outside the selection with 5. Name at least one type of professional certification for graphic design.
any selection tool to start a 6. Describe one of the ways to create a new layer and what content it has as a result.
different selection 7. How do you hide and display layers and layer styles?
8. Discuss what a layer comp is and what benefits a layer comp offers.
3. When a selection tool is active in the
Tools panel, press an arrow key to Multiple Choice
nudge the selection border, but not
the contents. When the Move tool is 1. Which of the following tools enables you to make a geometric selection?
active, press an arrow key to move a. Polygonal Lasso
both the selection border and its b. Elliptical Marquee
contents. When you hold down the c. Quick Selection
Shift key, the selection moves ten pix- d. Magic Wand
els every time you press an arrow key.
2. Which of the following tools enables you to make a freehand selection?
4. Anti-aliasing smooths the jagged a. Polygonal Lasso
edges of a selection by softening the b. Elliptical Marquee
color transition between edge pixels c. Quick Selection
and background pixels. Since only the d. Magic Wand
edge pixels change, no detail is lost.
Feathering blurs edges by building 3. What options bar setting for the Quick Selection tool helps it make better selections?
a transition boundary between the a. Anti-alias
selection and its surrounding pixels. b. Feather
This blurring can cause some loss of c. Auto-Enhance
detail at the edge of the selection. d. Refine Edge

5. Adobe certifications for its leading 4. What options bar setting displays a dialog box enabling you to make changes to the boundary of an existing
products, such as Adobe After Effects selection?
and Premiere Pro, Adobe Dream- a. Anti-alias
weaver, Adobe InDesign, Adobe Illus- b. Feather
trator, and Adobe Photoshop. c. Auto-Enhance
d. Refine Edge
Autodesk certification for its 3ds
Max® 3D modeling, animation, and 5. Which of the following is not one of the lasso tools?
rendering software, as well as its a. Lasso
CAD (computer-aided design) and b. Feather Lasso
other products. c. Polygonal Lasso
d. Magnetic Lasso
Overall skill certifications, such as
CIW vendor-neutral certifications for 6. What is the tool used to remove part of the image?
web designers and developers. a. Transform
b. Move
6. In the Layers panel, select the Back- c. Gradient
ground layer to make it active, and d. Crop
then click the Create A New Layer
button at the bottom of the Layers 108 LEARNING GRAPHIC DESIGN & ILLUSTRATION
panel. This creates a new blank layer
above the active layer. Finder (Mac OS) onto the image window in Photoshop. The new layer appears
with the image content from the image file.
Drag an image file from the desktop,
Bridge, or Explorer (Windows) or the 7. To hide a layer or style, click the eye icon beside the layer in the Layers panel.
To redisplay the layer or style, click the Show/Hide Visibility column beside
the layer or style to redisplay the eye icon.

8. A layer comp is a saved snapshot or version of the state of layers in the Lay-
ers panel. The comp saves each layer’s visibility, position, and settings such
as style and blending mode. Once you’ve defined a layer comp, you can
change as many settings as you please in the Layers panel and then create
another layer comp to preserve that configuration of layer properties. Then,
by switching from one layer comp to another, you can quickly review the two
designs. Layer comps enable you to demonstrate a number of possible design
arrangements.

MULTIPLE CHOICE

1. B 2. A 3. C 4. D 5. B 6. D

108 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Using Selections and Layers While Designing Chapter 2 MULTIPLE CHOICE

7. What is the term for the order of the layers in the Layers panel? 7. A
a. stacking order 8. B
b. cellophane order
c. layer style
d. layer blending

8. This setting controls the overall transparency of the layer content.
a. stacking order
b. opacity
c. blending mode
d. filter

Chapter 1 – Portfolio Builder

Create a Simple Logo

Logos and badges have a wide variety of applications. You can use them on traditional business documents such
as business cards and letterheads, of course. But you can also use them on a website and promotional items such
printed coffee mugs and t-shirts. Because of their versatility, logos you’ve designed make a nice portfolio addition.
In this case, you learn to work with selections and layers to combine elements from two separate files to form a
colorful logo file. In this case, the starter file was created with a transparent background, so that the areas outside
the logo badge (a green circle with some text) aren’t filled with white. (You wouldn’t want a white rectangle around
the circle when using the logo on a website, for example.) After opening the student data file, you’ll open a second
file, make a selection and copy it, then paste the selection into the logo file. From there, you’ll use a selection tool
to select a more specific area, and then invert and delete the selection. You’ll finish the project by moving, rotating,
and renaming the layer.

DIRECTIONS 5. Select the Rectangular Marquee tool in the Tools
panel, and then drag to make a rectangular selec-
1. Choose File > Open, navigate to the folder hold- tion around the red rose at lower left. Make sure
ing the data files for this chapter, and select the you get all of the rose within the selection.
PB02Start.psd file. Click Open. If a Missing Fonts
dialog box opens, click Don’t Resolve. 6. Choose Edit > Copy, and then File > Close. After
copying the rose, you don’t need the file anymore,
2. Choose File > Save As and navigate to the so you can close it.
location where your instructor directs you to save
files for this chapter’s projects. Name the file 7. Back in the PB02End_xx.psd file, choose Edit
PB02End_xx.psd, then click Save. Observe the > Paste. The rose image appears as a new layer
three layers in the Layers panel. Because the first named Layer 2 at the top of the Layers panel.
layer in the file was created as a transparent layer
and the green circle added to it, it is named Layer 1 8. Select the Magic Wand tool in the Tools panel. In
rather than Background. the options bar, enter a Tolerance value of 50.

3. Click the eye icon beside the Roses layer to hide 9. Click an area near the edge of a petal in the red rose.
it. Click the Visibility column again to redisplay
the layer. Make sure the Roses type layer stays 10. Press and hold the Shift key while clicking addi-
selected in the Layers panel. tional areas within the red rose to select all of it.
(Hint: Zoom in to make sure you have selected all
4. Choose File > Open, navigate to the folder holding of the areas, then zoom back out to 100%.)
the data files for this chapter, and select the
Roses.jpg file. Click Open.

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Chapter 2 Using Selections and Layers While Designing

11. Choose Select > Inverse to select all the rectangu- 13. With the Layer 2 layer still selected in the Layers
lar area outside the rose. Press Delete to remove panel, select the Move tool in the Tools panel, and
the background around the rose. Then press drag the rose until vertical and horizontal pink
Ctrl+D (Windows) or Command+D (Mac OS) to center alignment guides appear. (These tell you
deselect the selection. the rose is centered in the image.) Release the
mouse button.
12. If you see any white near the bottom of the rose
between two petals, you can touch it up. First 14. Double-click the Layer 2 layer name (not the
select the Eyedropper tool in the Tools panel. Click thumbnail) in the Layers panel, type Rose, and
a red petal area. Select the Brush tool in the tools press Enter (Windows) or Return (Mac OS) to
panel. In the options bar, set the brush Size to 5 px. rename the layer.
(Again, zoom in and out as needed.)
15. With the Rose still selected, select Edit >
Transform > Rotate. In the options bar, enter 10 in
the Set rotation box (fifth box from the left), and
then click the Commit button.

16. Save and close the file.

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Using Selections and Layers While Designing Chapter 2

Chapter 2 – Critical Thinking

Merging Photos

Take the blinking and bad poses out of an otherwise great family portrait with the Auto-Align Layers feature, and
by selecting and deleting content on a layer. Then, finish the composition by changing the layer blending and
cropping the rough edges. The result is an attractive family photo.

DIRECTIONS 11. Press Ctrl + - (Windows) or Command + - (Mac
OS) as needed to zoom back out.
1. Choose File > Open, navigate to the folder holding
the data files for this chapter, and select the 12. Select the Zoom tool in the Tools panel and click
CT02Start.psd file. Click Open. two or three times to zoom in on the two girls at
the front who are looking away from the camera.
2. Choose File > Save As and navigate to the location
where your instructor directs you to save files for 13. Select the Lasso tool in the Tools panel, and make
this chapter’s projects. Choose Photoshop from sure it still has a Feather setting of 10 px in the
the Format drop-down list and name the file options bar.
CT02End_xx.psd. (Add _xx to the file name
and replace xx with your initials or full name if 14. On Layer 2, use the Lasso to select the first girl’s
instructed by your teacher.) Then click Save. head and neck, press the Delete key to reveal the
shot with the better angle below, and then press
3. In the Layers panel, turn Layer 2 on and off to see Ctrl+D (Windows) or Command+D (Mac OS) to
the two similar photos. When both layers are vis- deselect the selection. Repeat the process to
ible, Layer 2 shows the tall man in the center blink- correct the second girl’s head. (Don’t worry if you
ing, and the two girls in the front looking away. don’t get it right the first time; undo the deletion,
deselect the selection, and then try again.)
You’ll align the two photos, and then use the
Eraser tool to brush out the parts of the photo on 15. Choose View > 100% to zoom back out and see
Layer 2 that you want to improve. where the image stands. Notice the checker-
board areas in the upper-left corner and bottom
4. Make both layers visible, and Shift-click each layer left. Those are transparent areas or “rough edges”
in the Layers panel to select both of them. created by aligning the layers. You can fix this by
cropping the photo.
5. Choose Edit > Auto-Align Layers. In the Auto-Align
layers dialog box that appears, click OK to accept 16. Select the Rectangular Marqee tool in the Tools
the default Auto position. panel. Make sure the Feather setting is 0 px and
the Style is set to Normal.
6. Toggle the eye icon next to Layer 2 off and on to
see that the layers are now more perfectly aligned. 17. Still working on Layer 2, make a selection on the
image that leaves out those transparent areas.
Now for the fun part! You’ll eliminate parts (Feel free to select an area as small as you want so
of the photo on Layer 2 to improve the the image will be cropped as you like.)
composition overall.
18. Choose Image > Crop, and then press Ctrl+D
7. Click Layer 2 in the Layers panel so it’s the only (Windows) or Command+D (Mac OS) to deselect
layer selected. the selection.

8. Select the Zoom tool in the Tools panel and click 19. With Layer 2 still selected, open the Blending
two or three times to zoom in on the man in the Modes menu in the Layers panel, and click
back whose eyes are closed. Saturation. This saturates the color tones more
evenly across the image.
9. Select the Lasso tool in the Tools panel, and enter
a Feather setting of 10 px in the options bar. 20. Save and then close the file.

10. On Layer 2, use the Lasso to select the blinking
man’s face, and then press the Delete key to reveal
the smiling face below. Press Ctrl+D (Windows) or
Command+D (Mac OS) to deselect the selection.

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Chapter 2 Using Selections and Layers While Designing

Chapter 2 – Review Project 2

The most important documents in your career portfolio may be your resume and list of references. You will also need a
cover letter and samples of your work. If you have not already done so, prepare these documents for your portfolio.
DIRECTIONS
1. Develop a resume. Be complete and accurate. Be sure to list any licenses or certificates that you have earned.

Include an objective specific to the job for which you plan to apply. Use action words to describe your experi-
ence and skills. Use formatting that is professional and easy to read.
2. Write a cover letter to submit with your resume. Customize it for a specific job that interests you. Keep it brief
and to the point. Develop a list of references. Try to include at least three people who are willing to speak on
your behalf. Ask them for permission to include them on the list.
3. Compile samples of your work. When you are looking for work in the field of graphic arts, it’s essential that you
have a portfolio that includes examples of your best work. Remember, a picture is worth a thousand words.
Be sure that your material is free from any grammatical, spelling, or technical errors. Edit your documents as nec-
essary. Ask a classmate, teacher, or advisor to review the materials and offer comments and suggestions. Use the
comments and suggestions to improve the documents, and then add them to your career portfolio. Periodically,
look over the documents and revise them in order to keep them up-to-date.

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Chapter 3

Improving and Extracting
Image Content

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CHAPTER 3 Chapter 3 Improving and Extracting Image Content
OVERVIEW
Lesson 5 | Quick Fixes Lesson 6 | Masks and Channels
This chapter reviews eight Photoshop
“quick fixes” for common problems, plus Remove red eye Create a mask to remove a subject from a background
several ways to isolate specific content Brighten an image Refine a mask to include complex edges
within an image. Blur the background of an image using Iris Blur Create a quick mask to make changes to a selected area
Combine images to create a panorama Edit a mask using the Properties panel
Lesson 5: Key skills include using the Apply optical lens correction to a distorted image Manipulate an image using Puppet Warp
Red Eye tool, brightening a too-dark Merge two images to extend depth of field Save a selection as an alpha channel
image, combining multiple images into Move an object seamlessly View a mask using the Channels panel
a panorama, applying blur, using the Use Perspective Warp to place an object into an image Load a channel as a selection
Content-Aware Move tool, and correcting with a different perspective Isolate a channel to make specific image changes
for a number of camera lens defects. Explore graphic design’s heritage and impact on society Explore copyright laws

Lesson 6: Key skills include creating and End-of-Chapter Activities
refining masks to isolate content, using
Puppet Warp to manipulate an image, and 114 LEARNING GRAPHIC DESIGN & ILLUSTRATION
loading and isolating channels to make
selections. CHAPTER OPENER

Files Needed for This Chapter: In Chapter 1 you learned your way around the Photoshop work area and learned a
few tools while you updated a back scan of an old school snapshot. In Chapter 2,
05Boy_start.jpg you learned more detailed ways to make selections and use layers to adjust
those selections and add effects. In this chapter, you’ll learn some of Photoshop’s
05Egret_Start.jpg built-in quick fixes for common issues and learn new ways to select and
manipulate parts of an image.
05PanoramaFiles folder, which contains

skyline1.jpg

skyline2.jpg

skyline3.jpg

skyline4.jpg

05Columns_Start.psd

05Glass_Start.psd

05Columns_Start.psd

05Ducks_Start.psd

05Bridge_Start.psd

06End.psd

06Start.psd

MEET INDIVIDUAL NEEDS

More advanced learners: Choose up to three more advanced learners—including
any who are already familiar with Photoshop—to act as the Photoshop Shortcut
Police. As you move through the chapter—perhaps the whole book!—it’s their job
to point out keyboard shortcuts for pull-down menu options or other commands.
Have them keep a running list to display or distribute to the class.

114 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Quick Fixes Lesson 5 FOCUS AND ENGAGE

Lesson 5 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: Ask students to bring in or scan examples
of photos that they’d like to adjust in
• Remove red eye. • Merge two images to extend depth of field. some way. What needs fixing? Share
examples as you review the skills listed in
• Brighten an image. • Move an object seamlessly. the Lesson 5 Overview.

• Blur the background of an image using Iris Blur. • Use Perspective Warp to place an object into an REVIEW THE
• Combine images to create a panorama. image with a different perspective. VOCABULARY
• Apply optical lens correction to a distorted image.
• Explore graphic design’s heritage and impact Red eye An effect that occurs when the
on society camera flash reflects off the subject’s
eyes, causing a red glow.
Sometimes just one or two clicks in Photoshop can turn an image from so-so (or worse) to awesome. Quick
fixes get you the results you want without a lot of fuss. Not every image requires a complicated makeover using MEET INDIVIDUAL
advanced features in Photoshop. In fact, once you’re familiar with Photoshop, you can often improve an image NEEDS
quickly. The trick is to know what’s possible and how to find what you need. In this lesson, you’ll make quick fixes
to several images using a variety of tools and techniques. You can use these techniques individually, or team them English language learners Have English
up when you’re working with an image that needs just a little more help. language learners translate the vocabulary
words and definitions into their native
Improving a Snapshot Red eye language and read them aloud to a partner
in both English and their native language.
If you’re sharing a snapshot with family and friends, you may not need it to look An effect that occurs when
professional. But you probably don’t want glowing eyes, and it would be good if the a photograph is taken, when Discussion Topics
picture isn’t too dark to show important detail. Photoshop gives you the tools to the camera flash reflects off
make quick changes to a snapshot. the subject’s eyes, causing a Certain cameras have a red-eye reduction
red glow. flash. How do these features work? Have
Correcting Red Eye you ever been on the subject end of one?
If you have a smart phone, search your
Red eye occurs when the retina of a subject’s eye is reflected by the camera flash. It app store for “red eye”. What do you find?
commonly occurs in photographs taken in a dark room, because the subject’s irises How many options are there to fix red
are wide open. Not only does red eye make an ordinary person or animal appear eye—or eliminate it before it happens—
sinister, but it can distract from the subject of the image. Fortunately, red eye is easy and how do they work?
to fix in Photoshop. In this exercise, you will remove the red eye from the boy’s eyes
in the portrait.

Try It!

1. Start Photoshop, and then immediately hold down Ctrl+Alt+Shift (Windows) or
Command+Option+Shift (Mac OS) to restore the default preferences.

2. When prompted, click Yes to delete the Adobe Photoshop Settings file.

3. Choose File > Open, and navigate to the folder where you stored the data files
for this chapter.

4. Double-click the 05Boy_Start.jpg file to open it in Photoshop.

5. Choose File > Save As, choose Photoshop for the Format, name the file
05Boy_End_xx.psd, and click Save.

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Lesson 5 Quick Fixes

6. Select the Zoom tool ( ), and then drag to zoom in to see the boy’s eyes. If
Scrubby Zoom isn’t selected, drag a marquee around the eyes to zoom in.

7. Select the Red Eye tool ( ), hidden under the Spot Healing Brush tool ( ).
8. In the options bar, reduce the Pupil Size to 23%, and the Darken Amount to 30%.

The Darken Amount specifies how dark the pupil should be.
9. Click on the pupil in the boy’s left eye. The red reflection disappears.
10. Click on the pupil in the boy’s right eye to remove the red reflection there, too.

After choosing settings, click each pupil to remove the red reflection.

If the red reflection is directly over the pupil, clicking the pupil removes it.
However, if the red reflection is slightly off the pupil, try clicking the highlight
in the eye first. You may need to try a few different spots, but it’s easy to undo
and try again.
11. Choose View > Fit On Screen to see the entire image.

The red eye has been eliminated from the photo.

12. Choose File > Save to save your work so far.

Brightening an Image

The boy’s eyes no longer glow, but the image is a bit dark. In Photoshop, you can
brighten an image in several different ways, as you’ve already seen. Choosing only
from adjustment layers, you can try modifying Brightness/Contrast, Levels, Curves,
and Exposure. Sometimes the best option is to try them all and see which one you
like best. That’s easy to do with adjustment layers. But when you’re really looking for
a quick fix, a Curves adjustment layer is a great way to go.

Try It!

1. Click Curves in the Adjustments panel.

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Quick Fixes Lesson 5 TEACHING TIPS

2. Click Auto to see what Photoshop applies. The image brightens. Encourage students to experiment with
the tools in the Curves Properties panel.
Applying a Curves adjustment layer and selecting Auto immediately brightens the image. What other options are available and what
are the results?
3. Choose Lighter from the Preset menu. Photoshop applies some subtle changes.
Have students browse magazines for
4. Select the White Point eyedropper in the Curves panel, and then click in the examples of photos that include areas
white area of the decal on the child’s shirt. That brightens the image nicely, and of blur. How is the blur used and for
also improves the contrast. what effect? Blur is often seen as a side
effect of bad photography—something
to be avoided or edited out. Why would
someone choose to add blur to an image?

You can use other tools in the Curves panel, such as the White Point eyedropper,
to brighten the image further.

5. If you’d like to continue tweaking the settings, you can move the curve manually,
or choose a black or gray point. To see how you’ve brightened the image, hide
the Curves layer and then show it again.

6. Save the file, and then close it. The snapshot is ready to share.

Blurring a Background

The interactive blurs in the Blur Gallery let you customize a blur as you preview it on
your image. In the next exercise, you’ll use an iris blur to blur the background in an
image, focusing the viewer’s attention on the egret. You’ll apply the blur as a Smart
Filter so that you can modify it later if you want to.

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REVIEW THE Lesson 5 Quick Fixes
VOCABULARY
Try It!
Smart object A layer that preserves
the source content of an image and its Smart Object 1. Choose File > Open As Smart Object, and navigate to the folder where you
characteristics, despite any changes made. stored the data files for this chapter.
A Smart Object allows you to perform A layer that preserves the
nondestructive editing on the layer. source content of an image 2. Select the 05Egret_Start.jpg file, and click OK or Open.
and its characteristics, despite
TEACHING TIP any changes made. A Smart Photoshop opens the image. There is one layer in the Layers panel, and it’s a
Object enables you to perform Smart Object.
Encourage students to experiment with nondestructive editing on
other options and settings in the Blur the layer. 3. Choose File > Save As, choose Photoshop for the Format, name the file 05Egret_
Gallery and share what they find. End_xx.psd, and click Save. Click OK in the Photoshop Format Options dialog box.

4. Choose Filter > Blur Gallery > Iris Blur.

A blur ellipse is centered on your image. You can adjust the location and scope
of the blur by moving the center pin, feather handles, and ellipse handles. Photo-
shop also opens the Blur Gallery, which includes the Blur Tools, Blur Effects, and
Motion Blur Effects panels.

5. Drag the center pin so that it’s at the bottom of the bird’s body.

6. Click the ellipse, and drag inward to tighten the focus around the bird.

AB CD

A. Center B. Ellipse C. Feather handle D. Focus

7. Press Alt (Windows) or Option (Mac OS) as you click and drag the feather han-
dles to match those in the first image below. Pressing Alt or Option lets you drag
each handle separately.

8. Drag on the focus ring to reduce the amount of blur to 5 px, creating a gradual
but noticeable blur. You can also change the amount of blur by moving the Blur
slider in the Iris Blur area of the Blur Tools panel.

Dragging on the focus ring adjusts the amount of blur applied by the Iris Blur.

9. Click OK in the options bar to apply the blur. The blur may be a little too subtle.
You’ll edit the blur to increase it slightly.

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Quick Fixes Lesson 5 MEET INDIVIDUAL
NEEDS
10. Double-click the Blur Gallery in the Egret layer in the Layers panel to open it
again. Adjust the blur to 6 px, and click OK in the options bar to apply it. Because More advanced learners Have more
you applied the filter to a Smart Object, you can hide it or edit it without affecting advanced learners—or those with prior
the original image. knowledge of Photoshop—prepare a brief
presentation for the class on the blur
11. Save the file and close it. The egret is accentuated by the subtle blur around it. options detailed on pages 119-120.

Blur Gallery

The Blur Gallery includes five interactive blurs: Field Blur, Iris Blur, Tilt-Shift, Path Blur, and Spin Blur. Each gives you
on-image selective motion blur tools, with an initial blur pin. You can create additional blur pins by clicking on the
image. You can apply one or a combination of blurs, and you can create a strobe effect for path and spin blurs.

Before After Before After

Field Blur applies a gradient blur to areas of the image, Iris Blur simulates a shallow depth-of-field effect,
defined by pins you create and settings you specify for gradually blurring everything outside the focus ring.
each. When you first apply Field Blur, a pin is placed Adjust the ellipse handles, feather handles, and blur
in the center of the image. You can adjust the blur amount to customize the iris blur.
relative to that point by dragging the blur handle or
specifying a value in the Blur Tools panel; you can also
drag the pin to a different location.

Before After Before After

Tilt-Shift simulates an image taken with a tilt-shift lens. Spin Blur is a radial-style blur measured in degrees.
This blur defines areas of sharpness and then fades to You can change the size and shape of the ellipse,
a blur at the edges. You can use this effect to simulate recenter the rotation point by pressing Alt or Option
photos of miniature objects. as you click and drag, and adjust the blur angle. You
can also specify the blur angle in the Blur Tools panel.
Multiple spin blurs can overlap.

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Lesson 5 Quick Fixes

Before After Before After

Path Blur creates motion blurs along paths you draw. You can add a strobe effect to spin and path blurs.
You control the shape and amount of the blur. When Select the Motion Effects tab to bring its panel forward.
you first apply a Path Blur, a default path appears. Drag The Strobe Strength slider determines how much blur
the end point to reposition it. Click the center point shows between flash exposures (0% gives no strobe
and drag to change the curve. Click to add additional effect; 100% gives full strobe effect with little blur
curve points. The arrow on the path indicates the between exposures). Strobe Flashes determines the
blur’s direction. number of exposures.

You can also create a multiple-point path or a shape.
Blur shapes describe the local motion blurs, similar to
camera shake (see “Camera Shake Reduction” on page
135). The Speed slider in the Blur Tools panel determines
the speed for all the path blurs. The Centered Blur op-
tion ensures that the blur shape for any pixel is centered
on that pixel, resulting in more stable-feeling motion
blurs; to make the motion appear more fluid, deselect
this option.

In the Effects tab you specify the bokeh parameters to Before After
control the appearance of blurred areas. Light Bokeh
brightens the blurred areas; Bokeh Color adds more Applying a blur will smooth out visible digital image
vivid colors to lightened areas that aren’t blown out to noise or film grain that’s in the original image, and this
white; Light Range determines the range of tones that mismatch between the original and blurred areas can
the settings affect. make the blur appear artificial. You can use the Noise
tab to restore noise or grain so that blurred areas match
up with unblurred areas. Start with the Amount slid-
er, and then use the other Noise options to match the
character of the original grain. Increase the Color value
if the original has visible color noise, and lower the
Highlights value if you need to balance the noise level in
the highlights compared to the shadows.

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Quick Fixes Lesson 5 Discussion Topic

Creating a Panorama What is a panorama? How do you make
one (assuming you don’t have Photoshop
Sometimes a vista is just too large for a single shot. Photoshop makes it easy to com- to do it for you)? Share with students that
bine multiple images into a panorama so that your viewers can get the full effect. In panorama comes from Greek words that
the next exercise, you’ll combine four shots of the Seattle skyline into a single wide mean “all” and “sight”.
panorama image so that viewers get a sense of the whole scene. Creating a pan-
orama from multiple images requires only a few clicks. Photoshop does the rest. Note: You can also open
selected images from Bridge
Try It! directly into Photomerge by
choosing Tools > Photoshop >
1. With no files open in Photoshop, choose File > Automate > Photomerge. Photomerge.

2. In the Source Files area, click Browse, and navigate to the 05PanoramaFiles
folder within the folder holding the data files for this chapter.

Select the images to merge in the Photomerge dialog box. 121

3. Shift-select all the images in the folder, and click OK or Open.

4. In the Layout area of the Photomerge dialog box, select Perspective.

5. At the bottom of the Photomerge dialog box, select Blend Images Together,
Vignette Removal, Geometric Distortion Correction, and Content Aware Fill
Transparent Areas. Then click OK.

Blend Images Together blends images based on the optimal borders between
them, instead of just creating a simple rectangular blend. Vignette Removal
performs exposure compensation in images with darkened edges. Geometric
Distortion Correction compensates for barrel, pincushion, or fisheye distortion.
Content Aware Fill Transparent Areas automatically patches the empty areas
between the merged image edges and the sides of the canvas. Photoshop
creates the panorama image. It’s a complex process, so you may have to wait a
few moments while Photoshop works. When it’s finished, you’ll see the full vista
in the image window with five layers in the Layers panel. The bottom four layers
are the original four images you selected. Photoshop identified the overlapping
areas of the images and matched them, correcting any angular discrepancies.

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Discussion Topic Lesson 5 Quick Fixes

Before step 7, in which students flatten Note: If you want to see how The top layer, containing “(merged)” in the layer name, is a single panorama im-
their image layers, encourage them the panorama looks without the age blended from all of the images you selected, combined with formerly empty
to click each layer on and off to view areas created by Content Aware areas filled in by Content Aware Fill. Those areas are indicated by the selection.
the individual components of their Fill, hide the top layer.
panoramic image. 6. Choose Select > Deselect.

7. Choose Layer > Flatten Image.

The image flattened to one layer.

8. Choose File > Save As. Choose Photoshop for the Format, and name the file
05Skyline_End_xx.psd. Click Save.
The panorama looks great, but it’s a little dark. You’ll add a Levels adjustment
layer to brighten it a little bit.

9. Click the Levels icon in the Adjustments panel to add a Levels adjustment layer.

10. Select the White Point eyedropper, and then click on a white area of the clouds.

Using the White Point eyedropper on a Levels adjustment layer to brighten the image.

The sky gets bluer, and the entire image brightens.

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Quick Fixes Lesson 5 Discussion Topics

11. Save your work. Click OK in the Photoshop Format Options dialog box and close As you review the tips under “Getting the
the file. Best Results with Photomerge,” discuss
how not following each suggestion might
It’s that easy to create a panorama! mess up the resulting panorama.

Getting the Best Results with Photomerge Some smart phone cameras have a
panorama feature. How does it work?
If you know you’re going to create a panorama when you take your shots, keep What tools does it include that help the
the following guidelines in mind to get the best result. user follow the suggestions on the tip list?

Overlap images approximately 40%. You want enough overlap that TEACHING TIP
Photomerge can assemble the panorama but not so much that it can’t blend
the images. Search Google Images for an example of
each of the defects the vocabulary terms
Use a consistent focal length. If you use a zoom lens, keep the focal length the describe. Be sure to city your source
same for all the pictures in the panorama. for each.

Use a tripod if possible. You’ll get the best results if the camera is at the same level REVIEW THE
when you take each of the shots. A tripod with a rotating head makes that easier. VOCABULARY

Take the photos from the same position. If you’re not using a tripod with a Barrel distortion A lens defect that causes
rotating head, try to stay in the same position as you take the photos so that straight lines to bow out toward the
they are taken from the same viewpoint. edges of the image.

Avoid distortion lenses. They can interfere with Photomerge. (The Auto option Pincushion distortion A lens defect that
does adjust for images you take with fish-eye lenses, though.) causes straight lines to bend inward.

Use the same exposure. The images will blend more gracefully if they all have the Chromatic aberration A lens defect that
same exposure. For example, either use flash for all the images or none of them. causes a color fringe around the edges of
image objects (also called color fringing
Try different layout options. If you don’t like the results you get when you cre- or purple fringing).
ate the panorama, try again using a different layout option. Often, Auto selects
the appropriate option, but sometimes you’ll get a better image with one of the Vignetting A lens defect that causes the
other options. edges of an image, especially the corners,
to be darker than the center.
Correcting Image Distortion Barrel distortion
A lens defect that causes straight
The Lens Correction filter fixes common camera lens flaws, such as barrel and pin- lines to bow out toward the
cushion distortion, chromatic aberration, and vignetting. Barrel distortion is a lens edges of the image.
defect that causes straight lines to bow out toward the edges of the image. Pincushion
distortion is the opposite effect, causing straight lines to bend inward. Chromatic Pincushion distortion
aberration appears as a color fringe along the edges of image objects. Vignetting A lens defect that causes straight
occurs when the edges of an image, especially the corners, are darker than the center. lines to bend inward.

Some lenses exhibit these defects depending on the focal length or the f-stop used. Chromatic aberration
The Lens Correction filter can apply settings based on the camera, lens, and focal A lens defect that causes a
length that were used to make the image. The filter can also rotate an image or fix color fringe along the edges of
image perspective caused by tilting a camera vertically or horizontally. The filter’s image objects.
image grid makes it easier and more accurate to make these adjustments than using
the Transform command. Vignetting
A lens defect that causes the
In the next exercise, you’ll use a Lens Correction filter to correct an image of a Greek edges of an image, especially
temple. In this case, the original image of a Greek temple is distorted, with the col- the corners, to be darker than
umns appearing to be bowed. This photo was shot at a range that was too close with the center.
a wide-angle lens. You’ll quickly correct the lens barrel distortion.

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Discussion Topic Lesson 5 Quick Fixes

Imagine that for practice, you want to Try It!
take a photograph that’s intentionally
distorted like the image of the columns 1. Choose File > Open, and navigate to the folder that holds the data files for
here. How would you do it? this chapter.

TEACHING TIP 2. Double-click the 05Columns_Start.psd file to open it in Photoshop.
3. Choose File > Save As. In the Save As dialog box, name the file 05Columns_
Point out the note on page 124. What
happens to the image as students slide End_xx.psd, and click Save. Click OK if the Photoshop Format Options dialog
the Remove Distortion slider? box appears.
4. Choose Filter > Lens Correction. The Lens Correction dialog box opens.
5. Select Show Grid at the bottom of the dialog box, if it’s not already selected. An
alignment grid overlays the image, next to options for removing distortion, cor-
recting chromatic aberration, removing vignettes, and transforming perspective.

Note: Watch the alignment grid Use the Lens Correction filter to remove the distortion in the columns.
as you make these changes
so that you can see when the The Lens Correction dialog box includes auto-correction options. You’ll adjust
vertical columns are straightened one setting in the Auto Correction tab and then customize the settings.
in the image.
6. In the Correction area of the Auto Correction tab, make sure Auto Scale Image is
selected, and that Transparency is selected from the Edge menu.

7. Select the Custom tab.

8. In the Custom tab, drag the Remove Distortion slider to about +52.00 to remove
the barrel distortion in the image. Alternatively, you could select the Remove
Distortion tool ( ) and drag in the image preview area until the columns are
straight. The adjustment causes the image borders to bow inward. However,
because you selected Auto Scale Image, the Lens Correction filter automatically
scales the image to adjust the borders.

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Quick Fixes Lesson 5 Discussion Topic

9. Click OK to apply your changes and close the Lens Correction dialog box. Ask whether there are any old-school
The curving distortion caused by the wide-angle lens and low shooting angle photographers in the room. Does anyone
is eliminated. know what depth of field is and why it is a
big deal?
10. (Optional) To see the effect of your change in the main image window, press
Ctrl+Z (Windows) or Command+Z (Mac OS) twice to undo and redo the filter.

11. Choose File > Save to save your changes, click OK if the Photoshop Format
Options dialog box appears, and then close the image.

The temple looks much more stable now!

Adding Depth of Field

When you’re shooting a photo, you often have to choose to focus either the back-
ground or the foreground. If you want the entire image to be in focus, you can
take two photos—one with the background in focus and one with the foreground
in focus—and then merge the two in Photoshop. Because you’ll need to align the
images exactly, it’s helpful to use a tripod to keep the camera steady. Even with a
handheld camera, though, you can get some amazing results. You’ll add depth of
field to an image of a wine glass in front of a beach.

Try It!

1. Choose File > Open, and navigate to the folder that holds the data files for this
chapter.

2. Double-click the 05Glass_Start.psd file to open it.

3. Choose File > Save As. Name the file 05Glass_End_xx.psd, and click Save. Click
OK if the Photoshop Format Options dialog box appears.

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Discussion Topic Lesson 5 Quick Fixes

Say you’re taking two photos that you 4. In the Layers panel, hide the Beach layer, so that only the Glass layer is visible.
want to combine in this way. What tips The glass is in focus, but the background is blurred. Then, show the Beach layer
should you remember to get the best and hide the Glass layer. Now the beach is in focus, but the glass is blurred.
results from the combined image? Do any You’ll merge the layers, using the part of each layer that is in focus. First, you
of the tips on pages 119-120 apply here? need to align the layers.

5. Show both layers again, and then Shift-click to select both of them.

Select the layers so you can align them.

6. Choose Edit > Auto-Align Layers. Because these images were shot from the
same angle, Auto will work just fine.

7. Select Auto, if it isn’t already selected. Make sure neither Vignette Removal nor
Geometric Distortion is selected. Then click OK to align the layers.
Now that the layers are perfectly aligned, you’re ready to blend them.

8. Make sure both layers are still selected in the Layers panel. Then choose Edit >
Auto-Blend Layers.

9. Select Stack Images and Seamless Tones And Colors, if they aren’t already select-
ed. Make sure Content Aware Fill Transparent Areas is not selected, and then
click OK.

Both the wine glass and the beach behind it are in focus.

10. Save your work, and close the file.

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Quick Fixes Lesson 5 Discussion Topic

Moving Objects with the Can students think of a real-life
Content-Aware Move Tool situation—other than to practice the
Content-Aware Move tool—when
You’ve used the content-aware features in some pretty impressive ways in earlier someone would want to move the ducks
lessons, and to fill in the sky in the panorama project in this lesson. Now you’ll use into a tighter group?
the Content-Aware Move tool to move something in an image (in this case, a duck)
and have Photoshop convincingly fill in the area where the item you moved used to
be. You can also use the Content-Aware Move tool to extend a portion of an image,
such as a stand of trees or fenceposts, seamlessly.

Try It!

1. Choose File > Open, and navigate to the folder that holds the data files for
this chapter.

2. Double-click the 05Ducks_Start.jpg file to open it in Photoshop.

3. Choose File > Save As, choose Photoshop for the format type, and name the
new file 05Ducks_End_xx.psd. Click Save.

4. Select the Content-Aware Move tool ( ), which is hidden beneath the Red Eye
Removal tool ( ).

5. In the options bar, choose Move from the Mode menu, and enter 3 in the Struc-
ture field.

Setting options for the move.

6. Draw a selection marquee around the third duck, with a margin large enough to
include the grass and dirt around it.

7. Drag the selection to the left, slightly above the second duck, so that the ducks
are clustered.

The Content-Aware Move tool fills the area where the third duck used to appear.

When you release the mouse, the dragged duck appears with a transformation
rectangle and handles. These transformation controls give you an opportunity to
rotate and scale the content, but you don’t need to do that in this step.

8. Click the Commit Transform button in the options bar.

9. Change the Structure setting to 5, which requires stricter adherence to the
pattern, and observe how the image changes. Then change the Structure setting
to 1, which results in a much looser adaptation. You can also experiment with
different Color settings, from 0 to 10.

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Lesson 5 Quick Fixes

Now that you’ve committed to the move, Photoshop fills in the area the duck left
behind. How it creates the area depends on the Structure and Color settings in
the options bar. You can try different options while the selection remains active.
10. Choose the Structure and Color options you think look best. Then choose Select >
Deselect. Save the file and close it.

The three ducks are in a tighter formation now, and you can’t tell that the third duck used to be in a
different position.

More on the Content-Aware Move Tool

The Content-Aware Move tool is very impressive when you’re working with
some images, and less impressive with others. For best results, use it when the
background is consistent enough that Photoshop will be able to recognize and
replicate a pattern. In the image of ducks, the grass and dirt are fairly consis-
tent and repetitive. You can also try moving objects with backgrounds such as
meadows, solid-colored walls, sky, wood grains, or water.
It’s best to extend architectural objects in photos that have been shot on a
parallel plane, rather than at an angle. If you’re working with an image that has
multiple layers, select Sample All Layers in the options bar to include them all in
the selection.
The Structure and Color options define how closely the results reflect the
existing image patterns. In the Structure settings, 1 is the loosest and 5 is the
strictest. The Color settings range from 0 (no color adaptation) to 10 (match-
ing the color as closely as possible). Experiment with the options while the
object is still selected to see which give you the best results in a particular
image. You may want to hide the selection edges (choose View > Show >
Selection Edges or View > Extras) to see how the object integrates into its
new position.

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Quick Fixes Lesson 5 Discussion Topics

Adjusting Perspective in an Image Perspective Ask the class, “If I were to ask for your
perspective on something, what do I want
The Perspective Warp feature lets you adjust the way objects in your image relate Perspective refers to creating the you to do?” Review the definition, then
to the scene. You can correct distortions, change the angle from which an object appearance of three dimensions ask how that definition of perspective
appears to be viewed, or shift the perspective of an object so that it merges in a two dimensional image or relates to what we’re talking about here.
smoothly with a new background. Using the Perspective Warp feature is a two-step drawing, by arranging and sizing
process: defining the planes and adjusting them. You start in Layout mode, drawing elements in the composition In art class, has anyone ever drawn
quads to define two or more planes; it’s a good idea to align the edges of the quads so that they look correct when something like a city scene with a
so that they are parallel with the lines of the original object. Then you switch to Warp viewed from a particular point. horizon line in the foreground and a
mode, and manipulate the planes you defined. You’ll use Perspective Warp to merge vanishing point in the background? That’s
images with different perspectives. perspective drawing.

Try It! REVIEW THE
VOCABULARY
1. Choose File > Open, and navigate to the folder that holds the data files for this
chapter. Perspective Perspective refers to creating
the appearance of three dimensions in
2. Double-click the 05Bridge_Start.psd file to open it in Photoshop. a two dimensional image or drawing, by
arranging and sizing elements to that
In the 05Bridge_Start.psd file, the image of the train has been combined with they look correct when viewed from a
the image of a trestle bridge, but their perspectives don’t match. If you’re illus- particular point.
trating a story about a flying train that is making a landing on a trestle bridge, this
might be perfect. But if you want a more realistic image, you’ll need to adjust the
perspective of the train to put it firmly on the tracks. You’ll use Perspective Warp
to do just that.

3. Choose File > Save As, and rename the file 05Bridge_End_xx.psd. Click OK in
the Photoshop Format Options dialog box.

4. Select the Train layer.

The tracks are on the Background layer. The train is on the Train layer. Note: This feature requires a fair
amount of processing power. If
Because the Train layer is a Smart Object, you can apply Perspective Warp and Perspective Warp is grayed out
then modify the results if you’re not satisfied. when you try to select it, make
sure you have a current video
5. Choose Edit > Perspective Warp. A small animated tutorial appears, showing you card and a minimum of 512 MB
how to draw a quad, which defines a plane. VRAM.

6. Watch the animation, and then close it. In the first step of the process, you want
to enclose the object in quads that represent the current planes of the object.

7. Draw the quad for the side of the train: Click above the top of the smokestack,
drag down to the railroad tie below the front wheel, and then drag across to the
end of the caboose. The plane is currently a rectangle.

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TEACHING TIP Lesson 5 Quick Fixes

Encourage students to experiment with 8. Drag a second quad for the front of the train, dragging across the cowcatcher at
related tools in the Edit > Transform the bottom and into the trees at the top. Drag it to the right until it attaches to
menu, including skew, distort, perspective, the left edge of the first quad.
and warp. What effects result from
each? What uses do students see for 9. Drag the corners of the planes to match the angles of the train. The bottom line
these tools? of the side plane should run along the bottom of the train wheels; the top edge
should border the top of the caboose. The front plane should mirror the lines of
the cowcatcher and the top of the light.

Make sure the planes align with the shape of the train.

Now that the quads are drawn, you’re ready for the second step in the process:
warping.

10. Click Warp in the options bar. Close the tutorial box that shows you how to warp
the plane.

11. Click the Automatically Straighten Near Vertical Lines button, next to Warp in
the options bar. This makes the train appear properly vertical, making it easier to
adjust the perspective accurately.

The Automatically Straighten Near Vertical Lines button.

12. Drag the handles to manipulate the planes, moving the back end of the train
down and into perspective with the tracks. Exaggerate the perspective toward
the caboose for a more dramatic result.

13. Warp other parts of the train as needed. You may need to adjust the front of the
train. Pay attention to the wheels; make sure you don’t distort them as you warp
the perspective.
There is no precise right or wrong way to adjust perspective. Trust your eyes to
tell you when it looks right. Remember you can return to tweak it again later,
because you’re applying Perspective Warp as a Smart Filter.

14. When you’re satisfied with the perspective, click the Commit Perspective Warp
button in the options bar.

15. To compare the changed image with the original, hide the Perspective Warp
filter in the Layers panel. Then show the filter again. If you want to make further
adjustments, double-click the Perspective Warp filter in the Layers panel. You
can continue to adjust the existing planes, or click Layout in the options bar to
reshape them.

16. Choose File > Save to save your work, and then close the file.

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Quick Fixes Lesson 5

Changing the Perspective of a Building

In the exercise, you applied Perspective Warp to one layer to change
its relationship with another. But you can also use Perspective Warp to
change the perspective of an object in relation to others in the same layer.
For example, you can shift the angle from which you view a building.
In a case like this, you apply Perspective Warp the same way: In Layout
mode, draw the planes of the object you want to affect. In Warp mode,
manipulate those planes. Of course, because you’re shifting angles within
a layer, other objects on the layer will move, too, so you need to watch for
any irregularities.

In this image, as the perspective of the building shifted, so did the perspective of the trees
surrounding it.

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Discussion Topic Lesson 5 Quick Fixes

Was camera shake one of the problems Camera Shake Reduction
in the photos you reviewed in the lesson
opener? Consider having students make Even with a steady hand, unintended camera motion can occur with slow shut-
the corrections they identified to the ter speeds or long focal lengths. The Camera Shake Reduction filter reduces
photographs they contributed. the resulting camera shake, giving you a sharper image.

Before applying the Camera Shake Reduction filter.

You’ll get the best results if you apply the filter to a particular part of an image,
rather than the entire image. It can be especially useful if text has become illeg-
ible due to camera shake. To use the Camera Shake Reduction filter, open the
image, and choose Filter > Sharpen > Shake Reduction. The filter automatically
analyzes the image, selects a region of interest, and corrects the blur. Use the
Detail loupe to examine the preview. That may be all you need to do. If so, click
OK to close the Shake Reduction dialog box and apply the filter.

After applying the Camera Shake Reduction filter.

If you want to make further adjustments, expand the Advanced area of the dia-
log box. You can change the region of interest or adjust its size; view and resize
the blur trace, which is the shape and size of the camera shake that Photoshop
identified; and adjust the Smoothing and Artifact Suppression values to cor-
rect noise and artifacts. You can even save the blur trace to use the settings on
another image. For full information about the Camera Shake Reduction filter,
see Photoshop Help.

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Quick Fixes Lesson 5 TEACHING TIP

Graphic Design’s Heritage Graphic design Find and share slides of the three images
and Impact on Society The art of conveying messages. mentioned on the first two paragraphs:
Lascaux cave paintings, the beware-
Graphic design has always been a part of us, even as far back as the early cave of-the-dog mosaic from Pompeii, and
paintings of approximately 16,000 years ago. Scenes of the hunt—like the ones Benjamin Franklin’s “Join or Die” political
pictured at Lascaux—may have been more than merely decorative, possibly serving cartoon. (Visibly cite your image source
a number of purposes. One purpose may have been to literally describe the animals on each slide.)
as an instruction manual might, picturing what to chase and what to avoid. Another
likely purpose may have been to bring good fortune by symbolically capturing Note that Franklin’s snake is cut into eight
the animals on the wall. Made with only burnt sticks and colored pigments, these pieces, not 13: the New England colonies
beautifully executed designs could have motivated the hunting group and helped are combined into one piece (the head,
it to survive. for New Hampshire, Massachusetts,
Connecticut, and Rhode Island),
Fast-forwarding 14,000 years, a stone mosaic from Pompeii was used to communi- and both Delaware and Georgia are
cate an important message: “Beware of the dog”. A ferocious dog perfectly translated omitted completely.
into the black and white mosaic along with words of caution made its point clearly
to visitors. Forward another 1,700 years to America’s first political cartoon, Join or REVIEW THE
Die, a woodcut by Benjamin Franklin (1706–1790). Franklin’s wit and conviction can VOCABULARY
be seen in the design of a snake severed into eighths, each segment representing a
British American colony or region. The design inspired colonial unity in a yet-to-be- Graphic design The art of conveying
born country. messages.

Today, digital printing and electronic media have replaced cave wall paintings, Discussion Topics
mosaics, and woodcuts. But the functional aspect of graphic design is the same—to
educate, symbolize, and even compel us to action. Understanding graphic design in Compare the definition of graphic design
the context of its history is essential to being a good designer. on page 133 with the class definition from
Chapter 1. How are the two definitions
The Coining of the Term alike? How are they different? Which do
students prefer?
The great book designer W. A. Dwiggins (1880–1956) coined the term “graphic
design” in 1922. Since then, graphic design has grown into its own, legitimate pro- How old is graphic design? How close
fession. Dwiggins had it right in two ways. First by blending the words graphic and was the class’s guess from Chapter 1?
design, he better explained the process—graphic sensibility fused with planning and
organizing. Second, by naming the profession, he categorized it as its own, legitimate Why is “graphic design” more appropriate
activity. Although graphic design had an association with commerce, just as printing, than “graphics design”?
lettering, and the advertising trades did, it was no longer considered a subcategory of
those trades but a valid field in its own right.

Dwiggins’s term was just abstract enough to encompass many kinds of design. The
categories of graphic design all have their own particular practices, and what unites
them is the process graphic designers go through to communicate a concept. As
you continue reading this book, you will see just how that concept of process applies
to the art of graphic design. The field is as much about problem solving, clear think-
ing, and creativity as it is about the end result, the final design.

Oddly enough, it wasn’t until the late 1970s that the media began to refer to the
profession as “graphic design.” Until then it was mistakenly called “graphics design,”
describing only the end product (the design of graphics), and neglecting the idea that
there was an approach to the process, which the term graphic design more accu-
rately describes. The media dropped the “s.”

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Comprehension Check Lesson 5 Quick Fixes

1. Red eye occurs when a camera’s flash The Expanding Field of Design
reflects off the retinas of a subject’s
eyes. To correct red eye in Photo- One of the wonderful things about the graphic design field is that it encourages
shop, zoom in to the subject’s eyes, creative people to develop personally challenging goals. Pushing further, beyond the
select the Red Eye tool, and then click most obvious design solution, is integral to being a good designer. This effort includes
the eye. pushing how we develop concepts, how computer technology enables us to complete
our tasks, and how new media can help expand graphic design language itself.
2. To blend multiple images into a And we have academic support. In the last few decades, an increasing number of
panorama, choose File > Automate > students have been pursuing master’s degrees in graphic design and contributing to
Photomerge, select the files you want the rich mixture of ideas and culture. As a result, the field has grown and become a
to combine, and click OK. more sophisticated, serious field of study. Even a doctoral degree, the highest degree
awarded in most disciplines, is now attainable as a course of study in graphic design,
3. The Lens Correction filter fixes com- advancing research and enriching scholarship within the field. Books, journals, and
mon camera lens flaws, such as barrel magazines on the subject of design flourish, acknowledging the field’s history, theory,
and pincushion distortion, in which methods, and influence. Graphic designers work in countless industries and through-
straight lines bow out towards the out the world. And yet, design is still a bit of a subculture. Its professionals need to be
edges of the image (barrel) or bend constantly self-critical to ensure that the field expands beyond the mere styling of
inward (pincushion); chromatic aber- information. Graphic design reflects and shapes the culture in which it exists.
ration, where a color fringe appears
along the edges of image objects; Comprehension Check
and vignetting at the edges of an im-
age, especially corners, that are dark- 1. What is red eye, and how do you correct it in Photoshop?
er than the center. Defects can occur 2. How can you create a panorama from multiple images?
from incorrectly setting the lens’s 3. Describe how to fix common camera lens flaws in Photoshop. What causes
focal length or f-stop, or by tilting the
camera vertically or horizontally. these defects?
4. What conditions provide the best results when using the Content-Aware
4. The Content-Aware Move tool works
best in images that have consistent Move tool?
backgrounds so that Photoshop can
seamlessly replicate the patterns. Review Project 1

Working alone or in pairs, research the impact that graphic design has had on soci-
ety. As you conduct your research, evaluate the information you find for accuracy
and validity, and keep track of your sources. When you research is complete, analyze
the information. Then, using any graphic design tools with which you are familiar,
create a poster illustrating the impact you think is most interesting. Be sure to obtain
permission if you use any images or clip art, and to properly cite your sources. When
you have completed the poster, present it to the class. Explain the topic, why you
selected it, and why you think it is important.

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134 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Masks and Channels Lesson 6 FOCUS AND ENGAGE

Lesson 6 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: As you review the skills listed in the
Lesson 6 Overview, share that Masks and
• Create a mask to remove a subject from a • Manipulate an image using Puppet Warp. Channels are additional ways to make
background. • Save a selection as an alpha channel. detailed selections in Photoshop. Think
• View a mask using the Channels panel. about how masking tape works: you tape
• Refine a mask to include complex edges. • Load a channel as a selection. over something you don’t want painted,
• Isolate a channel to make specific image changes. do your painting, then pull up the tape
• Create a quick mask to make changes to a • Explore copyright laws. to reveal the unpainted area. Masks in
selected area. Photoshop work basically the same way.
You create a mask to cover and protect
• Edit a mask using the Properties panel. part of an image—the part that you
don’t want to change, then make your
Use masks to isolate and manipulate specific parts of an image. The cutout portion of a mask can be altered, but adjustments to the rest and unmask the
the area surrounding the cutout is protected from change. You can create a temporary mask to use once, or you protected part. Channels are just another
can save masks for repeated use. Channels give you another method for isolating and editing image information. way to make certain kinds of selections
This lesson introduces you to using masks and channels. easier by isolating color components
(RGB or CYMK).
Working with Masks and Channels Mask
Uses black, white, and shades of REVIEW THE
In Photoshop, a mask isolates and protects parts of an image, just as masking tape gray to hide and reveal areas. VOCABULARY
protects window panes or trim from paint when a house is painted. When you create
a mask based on a selection, the area you haven’t selected is masked, or protected Channels Mask Uses black, white, and shades of
from editing. With masks, you can create and save time-consuming selections and Isolate the color information in gray to hide and reveal areas.
then use them again. A key concept in masking is that black hides an area and white an image. For example, an RGB
reveals an area. As in life, rarely is anything black and white. Shades of gray partially image has Red, Green, Blue, and Channels Isolate the color information
hide, depending on the gray levels. Composite channels. in an image. For example, an RGB
image has Red, Green, Blue, and
In addition, you can use masks for other complex editing tasks—for example, to apply Composite channels.
color changes or filter effects to an image. In Photoshop, you can make temporary
masks, called quick masks, or you can create permanent masks and store them as
special grayscale channels called alpha channels. Photoshop also uses channels to
store an image’s color information. Unlike layers, channels do not print. You use the
Channels panel to view and work with alpha channels.

Opening the Project File

In this lesson, you’ll create a magazine cover. The model for the cover was photo-
graphed in front of a different background. You’ll use masking and the Refine Mask
feature to place the model on the appropriate background.

Try It!

1. Start Photoshop, and then immediately hold down Ctrl+Alt+Shift (Windows) or
Command+Option+Shift (Mac OS) to restore the default preferences.

2. When prompted, click Yes to delete the Adobe Photoshop Settings file.

3. Choose File > Open, and navigate to the folder that holds the data files for
this chapter.

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TEACHING TIP Lesson 6 Masks and Channels

Your goal is to separate the model from 4. Double-click the 06Start.psd thumbnail to open it in Photoshop. Click OK if you
the background. You’ll do a rough version see an Embedded Profile Mismatch dialog box.
first, then go back in and fine tune around
the tricky parts. 5. Choose File > Save As, rename the file 06End_xx.psd, and click Save. Click OK if
the Photoshop Format Options dialog box appears.
Saving a working version of the file lets you return to the original if you need it.

Creating a Mask

You’ll use the Quick Selection tool to create the initial mask in order to separate the
model from the background.

Try It!

1. Select the Quick Selection tool ( ). In the options bar, set up a brush with a
size of 15 px and hardness of 100%.

2. Drag to select the man. It’s fairly easy to select his shirt and face, but the hair
is trickier. Don’t worry if the selection isn’t perfect. You’ll refine the mask in the
next exercise.

Make a selection to use as the basis for the mask. ) to

Note: For help making selections, 3. At the bottom of the Layers panel, click the Add Layer Mask button (
refer to Lesson 3, “Working with create a layer mask.
Selections.”

The mask applied to the layer.

The selection becomes a pixel mask, and it appears as part of Layer 0 in the
Layers panel. Everything outside the selection is transparent, represented by a
checkerboard pattern.

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Masks and Channels Lesson 6 TEACHING TIP

About Masks and Masking Tell students not to be overwhelmed by
the discussion of masks and masking and
Alpha channels, channel masks, clipping masks, layer masks, vector masks— channels. They’re all just different things
what’s the difference? In some cases, they’re interchangeable: A channel you can add to an image—or part of an
mask can be converted to a layer mask, a layer mask can be converted to a image—to help you do what you want to
vector mask, and vice versa. Here’s a brief description to help you keep them do to that image.
all straight. What they have in common is that they all store selections, and
they all let you edit an image nondestructively, so you can return at any time
to your original.
• An alpha channel—also called a mask or selection—is an extra channel

added to an image; it stores selections as grayscale images. You can add
alpha channels to create and store masks.
• A layer mask is like an alpha channel, but it’s attached to a specific layer. A
layer mask controls which part of a layer is revealed or hidden. It appears as
a blank thumbnail next to the layer thumbnail in the Layers panel until you
add content to it; a black outline indicates that it’s selected.
• A vector mask is essentially a layer mask made up of vectors, not pixels.
Resolution-independent, vector masks have crisp edges and are created
with the pen or shape tools. They don’t support transparency, so their
edges can’t be feathered. Their thumbnails appear the same as layer
mask thumbnails.
• A clipping mask applies to a layer. It confines the influence of an effect to
specific layers, rather than to everything below the layer in the layer stack.
Using a clipping mask clips layers to a base layer; only that base layer is
affected. Thumbnails of a clipped layer are indented with a right-angle
arrow pointing to the layer below. The name of the clipped base layer
is underlined.
• A channel mask restricts editing to a specific channel (for example,
a Cyan channel in a CMYK image). Channel masks are useful for
making intricate, fringed, or wispy-edged selections. You can create a
channel mask based on a dominant color in an image or a pronounced
contrast in an isolated channel, for example, between the subject and
the background.

Refining a Mask

The mask is pretty good, but the Quick Selection tool couldn’t quite capture all of
the model’s hair. The mask is also a little choppy around the contours of the shirt and
face. You’ll smooth the mask, and then fine-tune the area around the hair.

Try It!

1. Choose Window > Properties to open the Properties panel.

2. If it isn’t already selected, click the mask on Layer 0 in the Layers panel.

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TEACHING TIP Lesson 6 Masks and Channels

You’ve already cut a rough outline around 3. In the Properties panel, click Mask Edge. The Refine Mask dialog box opens.
the model. This is the fine-tuning part. 4. In the View Mode area of the dialog box, click the arrow next to the preview win-

At step 10, if the Properties panel isn’t dow. Choose On Black from the pop-up menu.
visible, go to the Layers panel and click The mask appears against a black background, which makes it easier to see the
the mask thumbnail of the Layer 0 copy. edge of the white shirt and the face.
That should do it! 5. In the Adjust Edge area of the dialog box, move the sliders to create a smooth,
unfeathered edge along the shirt and face. The optimal settings depend on the
Remind students—or have your shortcut selection you created, but they’ll probably be similar to ours. We moved the
police remind them—of the shortcut to Smooth slider to 15 to create a smoother outline, Contrast to 40% to make the
undo any step in this sequence. transitions along the selection border more abrupt, and Shift Edge to -8% to
move the selection border inward and help remove unwanted background col-
Discussion Topic ors from selection edges. (Adjusting Shift Edge to a positive number moves the
border outward.)
Why did we switch to a white background?
Why did we use a black one earlier? Setting for refining the mask edge.

6. In the Output area of the dialog box, select Decontaminate Colors. Choose New
Layer With Layer Mask from the Output To menu. Decontaminate Colors replac-
es color fringes with the color of fully selected pixels nearby. Because it changes
pixel color, this option requires you to output to a new layer or document.

7. Select the Zoom tool in the Refine Mask dialog box, and then click the face to
zoom in so you can see its edges more clearly.

8. Select the Refine Radius tool ( ) in the Refine Mask dialog box. Use it to
paint out any white background that remains around the lips and the nose.
Press the left bracket ([) to decrease the brush size and the right bracket (]) to
increase it.

9. When you’re satisfied with the mask around the face, click OK. A new layer,
named Layer 0 copy, appears in the Layers panel. You’ll use this layer to add the
spikes to the mask of the hair.

10. With Layer 0 copy active, click Mask Edge in the Properties panel to open the
Refine Mask dialog box again.

11. From the View pop-up menu, choose On White. The black hair shows up well
against the white matte. If necessary, zoom out or use the Hand tool to reposi-
tion the image so that you can see all of the hair.

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Masks and Channels Lesson 6 TEACHING TIP

12. Select the Refine Radius tool in the Refine Mask dialog box. Press the ] key to Step 14 may not be necessary for all
increase the size of the brush. (The options bar displays the brush size; we used students. Encourage those who are
300 px at first.) Then, begin brushing along the top of the hair, high enough to satisfied with their hair spikes—and don’t
include the spikes. have any background visible between
spikes—to skip it.
Using the Refine Radius tool to make the hair appear spikier.

13. Press the [ key a few times to decrease the brush size by about half. Then, paint
along the right side of the head, where the hair is a solid color, to pick up any
small, fine hairs that protrude. As you paint, Photoshop refines the mask edge,
including the hair, but eliminating most of the background. If you were painting
on a layer mask, the background would be included. The Refine Mask feature
is good, but it’s not perfect. You’ll clean up any areas of background that are
included with the hair.

14. Select the Erase Refinements tool ( ), hidden behind the Refine Radius tool in
the Refine Mask dialog box. Click once or twice in each area where background
color shows. When you erase an area, the Refine Mask feature erases similar
colors, cleaning up more of the mask for you. Be careful not to erase the refine-
ments you made to the hair edge. You can undo a step or use the Refine Radius
tool to restore the edge if necessary.

15. Select Decontaminate Colors, and move the Amount slider to 85%. Choose New
Layer With Layer Mask from the Output To menu. Then click OK.

16. In the Layers panel, make the Magazine Background layer visible.

The model appears in front of an orange patterned background.

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TEACHING TIP Lesson 6 Masks and Channels

To delete the layers in step 1, Shift + click Julieanne Kost is an official Adobe Photoshop evangelist.
to highlight the target layers, then click
the trash can in the bottom right of the Tool Tips from the Photoshop Evangelist
Layers panel.
Zoom Tool Shortcuts
Often when editing an image, you’ll need to zoom in to work on a detail and
then zoom out again to see the changes in context. Here are several keyboard
shortcuts that make zooming faster and easier.
• With any tool selected, press Ctrl (Windows) or Command (Mac OS) with the

plus sign (+) to zoom in, or with the minus sign (-) to zoom out.
• Double-click the Zoom tool in the Tools panel to return the image to

100% view.
• When Scrubby Zoom is selected in the options bar, just drag the Zoom tool

to the left to zoom out or drag it to the right to zoom in.
• Press Alt (Windows) or Option (Mac OS) to change the Zoom In tool to the

Zoom Out tool, and click the area of the image you want to reduce. Each
Alt/Option click reduces the image by the next preset increment.

Creating a Quick Mask

You’ll create a quick mask to change the color of the glasses frames. First, you’ll
clean up the Layers panel.

Try It!

1. Hide the Magazine Background layer so you can focus on the model. Then de-
lete the Layer 0 and Layer 0 copy layers. Click Yes or Delete to confirm deletion
of the layers or their masks, if prompted; you do not need to apply the mask to
the current layer because Layer 0 copy 2 already has the mask applied.

2. Double-click the Layer 0 copy 2 layer name, and rename it Model.

The renamed layer.
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Masks and Channels Lesson 6 TEACHING TIP

3. Click the Edit In Quick Mask Mode button in the Tools panel. (By default, you Rubylith tape, also called lithographer’s
have been working in Standard mode.) In Quick Mask mode, a red overlay ap- tape, still exists and is also used in
pears as you make a selection, masking the area outside the selection the way screenprinting.
a rubylith, or red acetate, was used to mask images in traditional print shops.
You can apply changes only to the unprotected area that is visible and selected. What you’re doing here is highlighting
Notice that the highlight for the selected layer in the Layers panel appears gray the glasses, then selecting everything
instead of blue, indicating you’re in Quick Mask mode. else—the inverse of your selection—and
applying the green overlay to what’s left.
The Edit In Quick Mask Mode button.

4. In the Tools panel, select the Brush tool ( ).
5. In the options bar, make sure that the mode is Normal. Open the Brush pop-up

panel, and select a small brush with a diameter of 13 px. Click outside the panel
to close it.
6. Paint the earpiece of the glasses frames. The area you paint will appear red, cre-
ating a mask.
7. Continue painting with the Brush tool to mask the earpiece of the frames and
the frame around the lenses. Reduce the brush size to paint around the lenses.
Don’t worry about the hair overlapping the earpiece; go ahead and paint over it.

Using the Brush tool in Quick Mask mode.

In Quick Mask mode, Photoshop automatically defaults to Grayscale mode, with
a foreground color of black and a background color of white. When using a
painting or editing tool in Quick Mask mode, keep these principles in mind:

• Painting with black adds to the mask (the red overlay) and decreases the
selected area.

• Painting with white erases the mask (the red overlay) and increases the
selected area.

• Painting with gray partially adds to the mask.

8. Click the Edit In Standard Mode button to exit Quick Mask Mode.

The unmasked area is selected. Unless you save a quick mask as a more perma-
nent alpha-channel mask, Photoshop discards the temporary mask once it is
converted to a selection.

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Discussion Topic Lesson 6 Masks and Channels

Why do students think this tool is called 9. Choose Select > Inverse to select the area you originally masked.
Puppet Warp?
10. Choose Image > Adjustments > Hue/Saturation.

11. In the Hue/Saturation dialog box, change the Hue to 70. The new green
color fills the glasses frame. Click OK.

12. Choose Select > Deselect.

13. Save your work so far.

Manipulating an Image with Puppet Warp

The Puppet Warp feature gives you flexibility in manipulating an image. You can
reposition areas, such as hair or an arm, just as you might pull the strings on a pup-
pet. Place pins wherever you want to control movement. You’ll use Puppet Warp to
tilt the model’s head back, so he appears to be looking up.

Try It!

1. Zoom out so you can see the entire model.

2. With the Model layer selected in the Layers panel, choose Edit > Puppet Warp. A
mesh appears over the visible areas in the layer—in this case, the mesh appears
over the model. You’ll use the mesh to place pins where you want to control
movement (or to ensure there is no movement).

3. Click around the edges of the shirt. Each time you click, Puppet Warp adds a pin.
Approximately 10 pins should work. The pins you’ve added around the shirt will
keep it in place as you tilt the head.

4. Select the pin at the nape of the neck. A white dot appears in the center of the
pin to indicate that it’s selected.

Pins around the model.
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142 LEARNING GRAPHIC DESIGN & ILLUSTRATION