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As you drag the tool, Photoshop displays the width and height of the selected area. Selection areas are shown by moving dotted lines, sometimes referred to as marching ants. Select the Brush tool in the Tools panel. Click the arrow next to the General Brushes folder to expand it, select the first brush Soft Round , and change the size to 65 pixels. Press Enter or Return to close the context menu. Tip You can also close a context menu by clicking outside it.

The selection is gone, but the blue bar remains. Selecting and using a hidden tool The Tools panel arranges some of the tools in groups, with only one tool shown for each group. The other tools in the group are hidden behind that tool. A small triangle in the lower right corner of a button is your clue that other tools are available but hidden under that tool. Position the pointer over the third tool from the top in the Tools panel until the tool tip appears.

The tool tip identifies the Lasso tool , with the keyboard shortcut L. Select the Lasso tool. Select the Polygonal Lasso tool , which is hidden behind the Lasso tool, using one of the following methods: 1.

Move the pointer over the left edge of the blue color bar that you just painted. Click just to the left of the upper left corner of the bar to start your selection. You should begin your selection just outside the colored area. Click just to the left of the bottom left corner of the bar to create the second side of the triangle. Click the point where you started to finish the triangle. Press the Delete key on your keyboard to delete the selected area from the colored bar, creating a notch for your ribbon.

The ribbon is ready. Now you can add a name to your birthday card. In the Tools panel, select the Horizontal Type tool. The buttons and menus in the options bar now relate to the Type tool. We used Minion Pro Italic, but you can use another font if you prefer.

Specify 32 pt for the font size. We chose Pastel Yellow. The color you select appears in two places: as the Foreground Color in the Tools panel and in the text color swatch in the options bar.

Note When you move the pointer over the swatches, it temporarily changes into an eyedropper. Set the tip of the eyedropper on the swatch you want, and click to select it. Click the Horizontal Type Tool once anywhere on the left side of the colored bar. It replaces the placeholder text. Click the check mark icon in the options bar to commit the text. Click the menu button on the Swatches panel to open the panel menu, and choose Small List. The text becomes selected.

In the Swatches panel, scroll about halfway down the list to find the Light Yellow Orange swatch, and then select it.

Click the check mark button to commit and deselect the text. Now the text appears in the orange color. Tip You can also commit text edits by clicking outside the text layer. For the real world, Photoshop gives you the power to step back and undo actions so that you can try other options. You can experiment freely, knowing that you can reverse the process. Even beginning computer users quickly come to appreciate the familiar Undo command.

The name returns to its previous color. Each time you use the Undo command it reverses one more step, so if you want to undo five steps, you can apply the Undo command or its keyboard shortcut five times. The Redo command works the same way. Tip As you drag, magenta lines called Smart Guides may appear. They help align the edges of dragged content to other edges and guides. Save the file. Your birthday card is done!

Rarely would you need to see all panels simultaneously. The complete list of panels appears in the Window menu. Check marks appear next to the names of the panels that are open and active in their panel groups. You can open a closed panel or close an open one by selecting the panel name in the Window menu.

Note When panels are hidden, a thin strip is visible at the edge of the document. Hover the pointer over the strip to temporarily reveal the panels docked along that edge. You can hide all panels at once—including the options bar and Tools panel—by pressing the Tab key.

To reopen them, press Tab again. You already used panels in the panel dock when you used the Layers and Swatches panels. You can drag panels to or from the panel dock.

This is convenient for bulky panels or ones that you use only occasionally but want to keep handy. You can arrange panels in other ways as well: To move an entire panel group, drag the title bar to another location in the work area. To move a panel to another group, drag the panel tab into that panel group so that a blue highlight appears inside the group, and then release the mouse button.

To dock a panel or panel group, drag the title bar or panel tab onto the top of the dock. To undock a panel or panel group so that it becomes a floating panel or panel group, drag its title bar or panel tab away from the dock.

Expanding and collapsing panels You can resize panels to use screen space more efficiently and to see fewer or more panel options, either by dragging or clicking to toggle between preset sizes: To collapse open panels to icons, click the double arrow in the title bar of the dock or panel group.

To expand a panel, click its icon or the double arrow. To change the height of a panel, drag its bottom edge. You can also pull the lower right corner in or out. You can open the panel menu even when the panel is collapsed.

Note Some panels cannot be resized, such as the Character and Paragraph panels, but you can still collapse them. Notice that the tabs for the panels in the panel group and the button for the panel menu remain visible after you collapse a panel. Special notes about the Tools panel and options bar The Tools panel and the options bar share some characteristics with other panels: You can drag the Tools panel by its title bar to a different location in the work area.

You can move the options bar to another location by dragging the grab bar at the far left end of the panel. You can hide the Tools panel and options bar. Tip To restore the default Essentials workspace, click the workspace icon at the top right corner of the application window, and choose Reset Essentials. You cannot resize the Tools panel or options bar. You cannot stack the Tools panel or options bar in the panel dock. The Tools panel and options bar do not have panel menus.

Changing interface settings By default, the panels, dialog boxes, and background in Photoshop are dark. You can lighten the interface or make other changes in the Photoshop Preferences dialog box: 1. Select a different color theme, or make other changes. When you select a different theme, you can see the changes immediately.

You can also select specific colors for different screen modes and change other interface settings in this dialog box. You can also open a scanned image of a photographic print, a transparency or negative film frame, or a graphic. A selected tool remains active until you select a different tool.

You can also use keyboard shortcuts or the Navigator panel to control the display of an image. This lesson steps you through the process of acquiring, resizing, and retouching a vintage photograph. View and access files in Adobe Bridge. Straighten and crop an image. Adjust the tonal range of an image. Use the Spot Healing Brush tool to repair part of an image. Use the Clone Stamp tool to touch up areas. Remove digital artifacts from an image. Apply the Smart Sharpen filter to finish retouching photos.

For many images, you may need only to change the resolution, lighten the image, or repair a minor blemish. For others, you may need to perform several tasks and employ more advanced tools and techniques. Note In this lesson, you retouch an image using Photoshop. For some images, such as those saved in camera raw format, it may be more efficient to work in Adobe Camera Raw, which is installed with Photoshop. Sharpening should usually be your final step. For the other tasks, consider your project and plan accordingly, so that the results of one process do not cause unintended changes to other aspects of the image, making it necessary for you to redo some of your work.

In Photoshop, resolution means the number of pixels per unit of physical length, such as pixels per inch ppi. In Photoshop, resolution is the pixels per inch value, not the pixel dimensions.

Does changing resolution affect file size? Only when the pixel dimensions change. But if you change the size in inches without changing the ppi value or vice versa , the pixel dimensions must change, and so will the file size. Resolution requirements vary depending on the intended output. An image might be considered low resolution when its ppi value is below to ppi.

Factors such as viewing distance and output technology influence the resolution our eyes actually perceive, and this affects resolution requirements too. This is because the device dots are grouped into larger halftone cells or inkjet dot patterns that build tones and colors. Whatever your medium, you should verify the appropriate image resolution of your final images by consulting with your production team or output service provider.

You may make copies of these files and save them under different names or locations, or you may work from the original start files and then download them from the peachpit. For more information, see page 3. In Lesson 1, you used the Open command to open a file.

Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Select the Folders tab in the upper left corner, and then browse to the Lessons folder you downloaded onto your hard disk, so that the lessons in the Lessons folder appear in the Content panel. Adding files, folders, application icons, and other assets that you use often to the Favorites panel lets you access them quickly.

Select the Favorites tab to open the panel, and click the Lessons folder to open it. Thumbnail previews of the folder contents appear in the Content panel. Compare the 02Start. To enlarge the thumbnails in the Content panel, drag the thumbnail slider at the bottom of the Bridge window to the right.

Tip In Bridge, you can see a larger preview of a selected item in the Preview panel. In the 02Start. Choose Photoshop from the Format menu, and name the file 02Working.

By default, cropping deletes cropped pixels. In the Tools panel, select the Crop tool. Tip Deselect the Delete Cropped Pixels option if you want to crop nondestructively, so that you can revise the crop later. Crop handles appear, and a crop shield covers the area outside the cropping region, to help focus your attention on the cropped area. Ratio is the default value. A crop overlay appears. Click the Straighten icon in the options bar.

The pointer changes to the Straighten tool. Click at the top left corner of the photo, press the mouse button as you drag a straight line across the top edge of the photo, and then release. Photoshop straightens the image so that the line you drew is parallel with the top of the image area. You drew a line across the top of the photo, but any line that defines either the vertical or horizontal axis of the image will work.

Drag the corners of the crop grid inward to the corners of the photo itself to crop out the white border. If you need to adjust the position of the photo, click and drag it within the crop grid.

Press Enter or Return to accept the crop. The image is now cropped, and the cropped image fills the image window, straightened, sized, and positioned according to your specifications. It can also automatically separate multiple photos scanned in one image. Click Curves in the Adjustments panel to add a Curves adjustment layer. Select the White Point tool on the left side of the Properties panel.

The White Point tool defines what color value should be made a neutral white. Once defined, all other colors and tones shift accordingly. When done correctly, this is a quick way to remove a color cast and correct image brightness.

To set an accurate white point, click an area of the image that should be the brightest neutral area of the image that contains detail. Clicking it removes the color cast and lightens it, dramatically improving image contrast and color. Click the Levels icon in the Adjustments panel to add a Levels adjustment layer. Typically, Curves is used for edits that are more specialized or complex. The Levels histogram in the Properties panel displays the range of dark and light values in the image.

Right now, you just need to know that the left triangle represents the black point the point Photoshop defines as the darkest in the image , the right triangle represents the white point the lightest in the image , and the middle triangle represents the midtones.

Drag the left triangle black point under the histogram to the right, where significant shadow tones start to appear. Our value was Drag the middle triangle a little to the right to adjust the midtones.

Our value was. But only flatten if you no longer need the flexibility of adjusting the edits you previously made using separate layers.

The adjustment layers merge with the Background layer. He teaches workshops internationally as well as online on the care and identification of photographs. Find out more at gawainweaver. However, when dealing with works by famous artists, museums, galleries, and collectors need to preserve original objects to the greatest degree possible despite deterioration or accidental damage.

Professional art conservators are called upon to clean dust and soiling from print surfaces, remove discoloration and staining, repair tears, stabilize prints to prevent future damage, and even paint in missing areas of a work. Carleton E. This print was removed from its mount to remove the stains and then remounted.

In Photoshop, you can use a Curves adjustment layer to remove the color cast from an image. Likewise, you can use the Spot Healing Brush in Photoshop to spot out specks of dust or dirt on a scanned image. In Photoshop, you can remove a crease or repair a tear in a scanned image with a few clicks of the Clone Stamp tool. After digitization, the original print can be safely stored away, while the digital version can be copied or printed for many family members.

Often, we first clean or unfold family photographs to safely reveal as much of the original image as possible, and then we repair the remaining discoloration, stains, and tears on the computer after digitization. Note The Healing Brush tool works similarly to the Spot Healing Brush tool, except that it requires you to sample source pixels before retouching an area. The Spot Healing Brush tool quickly removes blemishes and other imperfections. It samples pixels around the retouched area and matches the texture, lighting, transparency, and shading of the sampled pixels to the pixels being healed.

Zoom in to see the crease clearly. In the Tools panel, select the Spot Healing Brush tool. In the image window, drag the Spot Healing Brush down from the top of the crease. You can probably repair the entire crease with four to six neat downward strokes. Zoom in to see the white hair in the upper right area of the image. Then use the Spot Healing Brush to paint over the hair.

Zoom out, if necessary, to see the full sky. Then click the Spot Healing Brush wherever there are unwanted spots you want to heal. Save your work so far. Type 4 into the Structure slider. The Structure menu determines how closely the patch reflects the existing image patterns.

You can choose from 1 to 7, with 1 allowing the loosest adherence to the source structure and 7 requiring the strictest. Drag the Patch tool around the boy and his shadow, as closely as possible. You may want to zoom in to see him more clearly. Photoshop displays a preview of the content that will replace the boy.

Release the mouse button when the patch is positioned where you want it. The selection changes to match the area around it. The boy is gone, and where he stood is a section of the bridge wall and of a building. The effect was pretty impressive, but not quite perfect.

Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. Tip You may need to set a larger brush size when editing higher resolution images. Make sure that the Aligned option is selected. Move the Clone Stamp tool to an area where the top of the bridge wall is smooth.

Drag the Clone Stamp tool across the top of the bridge wall in the patched area to even it out, and then release the mouse button. Each time you click the Clone Stamp tool, it begins again with a new source point, in the same relationship to the tool as the first stroke you made. That is, if you begin painting further right, it samples from stone that is further right than the original source point. Deselect Aligned if you want to start from the same source point each time.

Select a source point where the bottom of the bridge wall is even, and then drag the Clone Stamp tool across the bottom of the wall where you patched it. Select a smaller brush size, and deselect Aligned. Then select a source point over the rightmost windows in the lowest row on the building you patched. Click across to create accurate windows there. Repeat step 6 to make any adjustments you want to apply to the lowest area of the building and the wall that runs in front of it.

If you like, you can use a smaller brush size to touch up the stones in the patched portion of the wall. Save your work. There are several ways to sharpen an image in Photoshop, but the Smart Sharpen filter gives you the most control. The colored dots you see are artifacts of the scanning process. The Threshold value determines how dissimilar the pixels should be before they are eliminated. The Radius value determines the size of the area searched for dissimilar pixels. The default values are great for tiny dots of color like the ones in this image.

Now that the artifacts are gone, you can sharpen the image. In the Smart Sharpen dialog box, make sure that Preview is selected, so you can see the effect of settings you adjust in the image window. You can drag inside the preview window in the dialog box to see different parts of the image, or use the magnification buttons below the thumbnail to zoom in and out. Make sure Lens Blur is chosen in the Remove menu. Lens Blur provides finer sharpening of detail and reduced sharpening halos. Gaussian Blur increases contrast along the edges in an image.

Motion Blur reduces the effects of blur that resulted from the camera or the subject moving when the photo was taken. Drag the Radius slider to about 1. The Radius value determines the number of pixels surrounding the edge pixels that affect the sharpening.

The higher the resolution, the higher the Radius setting should usually be. Your image is ready to share or print!

Extra credit Converting a color image to black and white You can get great results converting a color image to black and white with or without a tint in Photoshop. Click Open. Adjust the color sliders to change the saturation of color channels. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the targeted adjustment tool in the upper left corner of the Properties panel, position it over a color you want to adjust, and drag horizontally. We darkened the bike and made the background areas lighter. If you want to colorize the entire photo with a single hue, select Tint in the Properties panel. Printer resolution may be expressed in dots per inch dpi , because device dots do not always correspond to image pixels. As long as a selection is active, only the area within the selection can be edited.

Reposition a selection marquee. Move and duplicate the contents of a selection. Deselect a selection. Constrain the movement of a selected area. Adjust the position of a selected area using the arrow keys. Add to and subtract from a selection. Rotate a selection. Use multiple selection tools to make a complex selection. You first use one of the selection tools to select the part of an image you want to change. Then you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area.

You can make selections based on size, shape, and color. There are four primary types of selections: Geometric selections The Rectangular Marquee tool selects a rectangular area in an image. The Elliptical Marquee tool , which is hidden under the Rectangular Marquee tool, selects elliptical areas. Freehand selections The Lasso tool The Polygonal Lasso tool traces a freehand selection around an area. The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings.

In the Favorites panel, click the Lessons folder. Study the 03End. Move the thumbnail slider to the right if you want to see the image in more detail. Note If Bridge asks you if you want to import preferences from a previous version of Bridge, click No.

The project is a shadowbox that includes a piece of coral, a sand dollar, a mussel, a nautilus, and a plate of small shells. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start. You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. The image of the sand dollar in the 03Working.

Select the Zoom tool in the Tools panel, and then zoom in so that you can see the sand dollar well. Select the Quick Selection tool in the Tools panel. The Quick Selection tool finds the full edge automatically, selecting the entire sand dollar. Leave the selection active so that you can use it in the next exercise. The rest of the image is not affected by those changes. To move the selected area to another part of the composition, you use the Move tool.

This image has only one layer, so the pixels you move will replace the pixels beneath them. If the sand dollar is not still selected, repeat the previous exercise to select it. Zoom out so you can see both the shadowbox and the sand dollar. Select the Move tool. Notice that the sand dollar remains selected.

Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist. The context menu that appears lists all layers where content exists under the pointer, so that you can select a different layer. One of the most useful things you may find in this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky.

As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1. Select the Elliptical Marquee tool , hidden under the Rectangular Marquee tool. Move the pointer over the plate of shells, and drag diagonally across the oval plate to create a selection, but do not release the mouse button.

If you accidentally release the mouse button, draw the selection again. In most cases— including this one—the new selection replaces the previous one.

Still holding down the mouse button, press the spacebar, and continue to drag the selection. Position it so that it more closely aligns with the plate. Carefully release the spacebar but not the mouse button and continue to drag, trying to make the size and shape of the selection match the oval plate of shells as closely as possible. If necessary, hold down the spacebar again and drag to move the selection marquee into position around the plate of shells.

When the selection border is positioned appropriately, release the mouse button. Leave the Elliptical Marquee tool and the selection active for the next exercise. If the plate of shells is not still selected, repeat the previous exercise to select it.

With the Elliptical Marquee tool selected in the Tools panel, press Ctrl Windows or Command Mac , and move the pointer within the selection. The pointer icon now includes a pair of scissors indicating that the selection will be cut from its current location. Note You can release the Ctrl or Command key after you start dragging, and the Move tool remains active.

Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving a selection with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selection border, but not the contents. When the Move tool is active, the arrow keys move both the selection border and its contents.

Before you begin, make sure that the plate of shells is still selected in the image window. Press the Up Arrow key on your keyboard a few times to move the oval upward.

Notice that each time you press the arrow key, the plate of shells moves one pixel. Experiment by pressing the other arrow keys to see how they affect the selection.

Hold down the Shift key as you press an arrow key. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjustments. As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection.

The Tolerance option sets the sensitivity of the Magic Wand tool. This value limits or extends the range of pixel similarity. The default tolerance value of 32 selects the color you click plus 32 lighter and 32 darker tones of that color.

You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. If a multicolored area that you want to select is set against a background of a different color, it can be much easier to select the background than the area itself.

Select the Rectangular Marquee tool , hidden under the Elliptical Marquee tool. Drag a selection around the piece of coral. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee. At this point, the coral and the white background area are selected. Select the Magic Wand tool , hidden under the Quick Selection tool.

In the options bar, confirm that the Tolerance value is This value determines the range of colors the wand selects.

Click the Subtract From Selection button in the options bar. A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Click in the white background area within the selection marquee.

The Magic Wand tool selects the entire background, subtracting it from the selection. Now all the white pixels are deselected, leaving the coral perfectly selected. Since only the edge pixels change, no detail is lost. Select the tool to display its options in the options bar. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection.

You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Feathering effects become apparent when you move, cut, or copy the selection.

To use the Select and Mask option, first make a selection, and then click Select and Mask in the options bar to open its dialog box. You can use the Select and Mask option to smooth the outline, feather it, or contract or expand it.

To define a feathered edge for a selection tool, select any of the lasso or marquee tools. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Tip Go slowly until you become comfortable with the Lasso tool. Starting at the lower left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. When you reach a corner or straight part of the edge, press the Alt Windows or Option Mac key, and then release the mouse button so that the lasso pointer changes to the polygonal lasso shape.

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Part of the Classroom in a Book series. Do not release the Alt or Option key. Begin clicking along the end of the mussel to place anchor points, following the contours of the mussel. Be sure to hold down the Alt or Option key throughout this process. This lets you create perfectly straight segments along the selection. The selection border automatically stretches like a rubber band between anchor points. When you reach the tip of the mussel, hold down the mouse button as you release the Alt or Option key.

The pointer again appears as the lasso icon. Carefully drag around the tip of the mussel, holding down the mouse button. When you finish tracing the tip and reach the straight segments along the lower side of the mussel, first press Alt or Option again, and then release the mouse button.

Click along the straight segments of the lower side of the mussel as needed. Continue to trace the straight and curved mussel edges until you arrive back at the starting point of your selection at the left end of the mussel. Click the starting point of the selection, and then release Alt or Option. The mussel is now entirely selected.

Leave the mussel selected for the next exercise. Note To make sure that the selection is the shape you want when you use the Lasso tool, end the selection by dragging across the starting point of the selection. If you start and stop the selection at different points, Photoshop draws a straight line between the start and end points of the selection.

Before you begin, make sure that the mussel is still selected. The mussel and selection marquee are enclosed in a bounding box. Tip You can constrain rotation to common angles such as 90 degrees by holding down the Shift key as you drag the bounding box.

You can verify the angle in the transformation values display next to the pointer, or in the Rotate box in the options bar. Press Enter or Return to commit the transformation. If necessary, select the Move tool , and drag to reposition the mussel, leaving a shadow to match the others. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border.

Select the Magnetic Lasso tool , hidden under the Lasso tool. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting.

Click once along the left edge of the nautilus, and then move the Magnetic Lasso tool along the edge to trace its outline. Or you can move the Magnetic Lasso tool over the starting point and click once. Select the Move tool to fit the entire image in the window. Make sure that you can see the entire screw head in your image window. Select the Elliptical Marquee tool in the Tools panel.

Move the pointer to the approximate center of the screw. Click and begin dragging. Then, without releasing the mouse button, press Alt Windows or Option Mac as you continue dragging the selection to the outer edge of the screw. Tip To select a perfect circle, press Shift as you drag. Hold down Shift while dragging the Rectangular Marquee tool to select a perfect square. The selection is centered over its starting point. When you have the entire screw head selected, release the mouse button first, and then release Alt or Option and the Shift key if you used it.

If necessary, reposition the selection border using one of the methods you learned earlier. If you accidentally released the Alt or Option key before you released the mouse button, select the screw again. Before you begin, make sure that the screw is still selected. Select the Move tool in the Tools panel. Position the pointer within the screw selection. The pointer becomes an arrow with a pair of scissors , indicating that dragging the selection will cut it from its current location and move it to the new location.

Drag the screw onto the lower right corner of the shadowbox. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Both resize proportionally by default. Press Enter or Return to commit the change and remove the transformation bounding box. Use the Move tool to reposition the screw after resizing it, so that it is centered in the corner of the shadowbox frame.

Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the screw is no longer selected, reselect it now, using the techniques you learned earlier. With the Move tool selected, press Alt Windows or Option Mac as you position the pointer inside the screw selection. The pointer changes, displaying the usual black arrow and an additional white arrow, which indicates that a duplicate will be made when you move the selection.

Continue holding down the Alt or Option key as you drag a duplicate of the screw straight up to the top right corner of the frame. Repeat step 3 to drag a fourth screw to the lower left corner of the frame. Copying selections You can use the Move tool to copy selections as you drag them within or between images, or you can copy and move selections using commands on the Edit menu. Photoshop has several copy and paste commands: Copy takes the selected area on the active layer and puts it on the clipboard.

Copy Merged creates a merged copy of all the visible layers in the selected area. Paste inserts the clipboard contents at the center of the image. If you paste into another image, the pasted content becomes a new layer. Paste Into pastes clipboard content inside the active selection in the same or a different image. The source selection is pasted onto a new layer, and the area outside the selection is converted into a layer mask. Paste Outside is the same as Paste Into except that Photoshop pastes the content outside the active selection and converts the area inside the selection to a layer mask.

If two documents have different pixel dimensions, the content you paste between them may appear to change size. This is because the content maintains its pixel dimensions as it is pasted into a document with different pixel dimensions. You can use either the Crop tool or the Crop command to crop an image. Select the Crop tool , or press C to switch from the current tool to the Crop tool. Photoshop displays a crop boundary around the entire image.

Then confirm that Delete Cropped Pixels is selected. When Ratio is selected but no ratio values are specified, you can crop the image with any proportions. Drag the crop handles so that the shadowbox is in the highlighted area, omitting the backgrounds from the original objects at the bottom of the image.

The shadowbox is complete! What is tolerance, and how does it affect a selection? To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

The Tolerance value determines how many color tones the Magic Wand tool will select. The higher the tolerance setting, the more tones are selected. Each layer can then be edited as discrete artwork, giving you tremendous flexibility as you compose and revise an image. Create, view, hide, and select layers. Rearrange layers to change the stacking order of artwork. Apply blending modes to layers. Resize and rotate layers. Apply a gradient to a layer. Apply a filter to a layer.

Add text and layer effects to a layer. Add an adjustment layer. Save a copy of the file with the layers flattened. This lesson will take less than an hour to complete. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork. Working with layers is analogous to placing portions of a drawing on clear sheets of film, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without affecting the other sheets.

When the sheets are stacked, the entire composition is visible. When prompted, click Yes to delete the Adobe Photoshop Settings file. Study the 04End. This layered composite represents a postcard.

You will create it in this lesson as you learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. The layer thumbnails are automatically updated as you edit the layers. The Layers panel lists five layers for the 04Working. Tip Use the context menu to hide or resize the layer thumbnail.

Notice the layer thumbnail and the icons shown for the Background layer: 1. The lock icon indicates that the layer is protected. The eye icon indicates that the layer is visible in the image window. If you click the eye, the image window no longer displays that layer. The first task for this project is to add a photo of the beach to the postcard.

The Layers panel changes to display the layer information for the active Beach. Notice that only one layer appears in the Beach. An image can have only one background layer. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. To convert a background layer into a regular layer: 1.

Click the lock icon next to the layer name. The layer name changes to a numbered default layer name. Rename the layer. To convert a regular layer into a background layer: 1. Select a layer in the Layers panel. Renaming and copying a layer To add content to an image and simultaneously create a new layer for it, drag an object or layer from one file into the image window of another file.

Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files. Select the Beach.

Select the Move tool , and use it to drag the Beach. Tip If you hold down Shift as you drag an image from one file into another, the dragged image automatically centers itself in the target image window.

The Beach layer now appears in the 04Working. Tip Need images for a project like this one? Close the Beach. The 04Working. Some of the layers are visible and some are hidden. The eye icon next to a layer thumbnail in the Layers panel indicates that the layer is visible.

Click the eye icon pineapple. Select the Beach layer. To select the layer, click the layer name in the Layers panel. The layer is highlighted, indicating that it is active.

Changes you make in the image window affect the active layer. To make the opaque areas on this layer more obvious, hide all layers except the Beach layer: Press Alt Windows or Option Mac as you click the eye icon to the Beach layer. The checkerboard indicates transparent areas of the active layer.

The Layer Style dialog box opens. Specify the following settings: 1. Size: 5 px 2. Position: Inside 3. Blend Mode: Normal 4. Click OK. A white border appears around the beach photo. The stacking order determines how the image is viewed—you can change the order to make certain parts of the image appear in front of or behind other layers. The beach image is almost entirely blocked by images on other layers.

In this case, the postmark is too dark on the flower. Select the Postage layer, and then click the arrow next to the Opacity field to display the Opacity slider. You can also type 25 in the Opacity box or scrub the Opacity label.

The Postage layer becomes partially transparent, so you can better see the layers underneath. Notice that the change in opacity affects only the image area of the Postage layer. Duplicating a layer and changing the blending mode You can apply different blending modes to a layer.

Blending modes affect how the color pixels on one layer blend with pixels on the layers underneath. Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. With the Pineapple copy layer selected, choose Overlay from the Blending Modes menu in the Layers panel. Tip Notice that the image changes as you move the mouse over the options in the Blending Modes menu.

This is a quick way to preview the effect of each blending mode. The Overlay blending mode blends the Pineapple copy layer with the Pineapple layer beneath it to create a vibrant, more colorful pineapple with deeper shadows and brighter highlights.

Select the Postage layer, and choose Multiply from the Blending Modes menu. The Multiply blending mode multiplies the colors in the underlying layers with the color in the top layer. In this case, the postmark becomes a little stronger. Resizing and rotating layers You can resize and transform layers. Click the Visibility column on the Beach layer to make the layer visible. A Transform bounding box appears around the beach image. The bounding box has handles on each corner and each side.

Watch the Width and Height percentages in the options bar. 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 Rotation box in the options bar. Click the Commit Transform button in the options bar. Tip You can also commit a transformation by clicking outside the transform bounding box.

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. Adding empty layers to a file is comparable to adding blank sheets of film to a stack of images. 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. In the Tools panel, click the foreground color swatch, select a sky blue color from the Color Picker, and click OK. The Background Color remains white. Tip If you expect to use a certain color frequently in multiple documents, add it to your Creative Cloud Libraries.

Create a swatch of the color in the Swatches panel, and then drag the swatch to a library in the Libraries panel. Now that color is available to any Photoshop document that you open.

You can add a layer to an image by dragging an image file from Bridge, or from the desktop in Explorer Windows or the Finder Mac. If Photoshop fills your monitor, reduce the size of the Photoshop window: 1.

On 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 Photoshop, select the Pineapple copy layer in the Layers panel to make it the active layer. Blending modes Blending modes affect how the color pixels on one layer blend with pixels on the layers beneath them.

The default blending mode, Normal, hides pixels beneath the top layer unless the top layer is partially or completely transparent. Each of the other blending modes lets you control the way the pixels in the layers interact with each other. Often, the best way to see how a blending mode affects your image is simply to try it. You can easily experiment with different blending modes in the Layers panel, watching the image change as you move the mouse over different options in the Blending Modes menu.

As you experiment, keep in mind how different groups of blending modes affect an image. Change the actual color values of the image, try Hue, Saturation, Color, or Luminosity. Create an inversion effect, try Difference or Exclusion. The following blending modes often come in handy, and can be good places to start your experimentation: Multiply does just what the name implies: It multiplies the color in the underlying layers with the color in the top layer.

Lighten replaces pixels in the underlying layers with those in the top layer whenever the pixels in the top layer are lighter. Overlay multiplies either the colors or the inverse of the colors, depending on the underlying layers.

Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the underlying layers. Luminosity replaces only the luminance of the underlying colors with that of the top layer.

Difference subtracts darker colors from lighter ones. In Explorer Windows or the Finder Mac , navigate to the Lessons folder you downloaded from the peachpit. Then navigate to the Lesson04 folder. Select Flower2. Tip You can drag images from a Bridge window to Photoshop as easily as you can drag from the Windows or Mac desktop.

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. Position the Flower2 layer in the lower left corner of the postcard, so that about half of the top flower is visible.

Click the Commit Transform button in the options bar to accept the layer. Tip You can also commit a transformation by pressing Enter or Return. Do the following in the Character panel: 1.

Select a font style we used Regular. Select a large font size we used 36 points. Select a large tracking value 5. Click the Faux Bold button 7. Click the All Caps button. Then click the Commit Any Current Edits button in the options bar. Note If you make a mistake when you click to set the type, simply click away from the type and repeat step 4.

This layer is at the top of the layer stack because no layers were selected when it was created. The text has been rasterized converted to pixels. In the Tools panel, select the Gradient tool. The Background Color should still be white. In the options bar, make sure that Linear Gradient is selected.

In the options bar, click the arrow next to the Gradient Editor box to open the Gradient Picker. Tip To list the gradient options by name rather than by sample, click the menu button in the gradient picker, and choose either Small List or Large List.

Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. With the selection still active, drag the Gradient tool from the bottom to the top of the letters. If you want to be sure you drag straight up, press the Shift key as you drag. When the pointer reaches the top of the letters, release the mouse button. The gradient extends across the type, starting with orange at the bottom and gradually blending to white at the top. These styles are easy to apply, and they link directly to the layer you specify.

Like layers, layer styles can be hidden by clicking their 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. In the Layer Style dialog box, make sure that the Preview option is selected, and then, if necessary, move the dialog box so that you can see the Island Paradise text in the image window. In the Structure area, select Use Global Light, and then specify the following settings: 1.

Blend Mode: Multiply 2. Angle: 78 degrees 4. Distance: 5 px 5. If you set a lighting angle in one of these effects, every other effect with Use Global Light selected inherits the same angle setting.

Angle determines the lighting angle at which the effect is applied to the layer. Distance determines the offset distance for a shadow or satin effect. Spread determines how gradually the shadow fades toward the edges.

Size determines how far the shadow extends. Click OK to accept the settings and close the Layer Style dialog box. Tip If you expect to use a layer style frequently in multiple documents, add it to your Creative Cloud Libraries. Select a layer using the style, click the Add Content button at the bottom of the Libraries panel, make sure Layer Style is selected, and then click Add.

Now that style is available to any open Photoshop document. In the Layers panel, the layer style appears nested in the Island Paradise layer. An Effects heading is listed first, and under that, 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.

Make sure that eye icons appear for both items nested in the Island Paradise layer. In the Structure area of the Layer Style dialog box, specify the following settings: 1. Size: 4 px 2. Position: Outside 3. Click OK to apply the stroke. 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 individually. When a blending mode is applied to a group, Photoshop treats the group as a single merged object.

Experiment with blending modes to get the effect you want. Then change the following settings in the Structure area: 1. Distance: 13 px 3. Do not click OK. With the Layer Style dialog box still open, click the word Satin on the left to select it and display its options.

Then make sure Invert is selected, and apply the following settings: 1. Color next to Blend Mode : Choose a color that enhances the flower color, such as a fuschia hue 2. Distance: 22 px Note Be sure to click the word Satin.

The Satin layer effect applies interior shading to create a satiny finish. Click OK to apply both layer styles. For example, if you add a Color Balance adjustment layer to an image, you can experiment with different colors repeatedly, because the change occurs only on the adjustment layer. If you decide to return to the original pixel values, you can hide or delete the adjustment layer. Select the Flower2 layer in the Layers panel.

In the Properties panel, apply the following settings: 1. Hue: 43 2. Saturation: 19 3. The effect is interesting, but you want to change only the Flower2 layer. Note Be sure to click the layer name, not the thumbnail, to see the appropriate context menu.

An arrow appears in the Layers panel, indicating that the adjustment layer applies only to the Flower2 layer. Extra credit Using an effect more than once in a layer style A great way to add visual impact to a design element is to apply multiple instances of effects such as strokes, glows, or shadows.

Open 04End. Now for the fun part! You can adjust your second drop shadow to change options such as color, size, and opacity. In the Drop Shadow options area, click the color swatch, move the pointer outside the Layer Style dialog box so that the pointer changes into an eyedropper, and click the bottom flower to sample its purplish color. Then match the Drop Shadow settings as shown below, and click OK.

You can edit the text and watch how the layer effect tracks the change. Select the Island Paradise layer in the Layers panel. Tip You can search for layers in the Layers panel by layer type, layer name, effect, mode, attribute, and color. In the options bar, set the font size to 32 points, and press Enter or Return. This worked because in Photoshop, you can change settings for an entire type layer by selecting it in the Layers panel, as long as a type tool is selected. As you edit the text, the layer styles are applied to the new text.

The elements are almost all arranged correctly in the composition. Select the Postage layer, and then use the Move tool to drag it to the middle right of the image, as in the illustration.

Flattening combines all the layers into a single background layer. 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. In the Duplicate Image dialog box, name the file 04Flat. Leave the 04Flat. Choose Flatten Image from the Layers panel menu. Only one layer, named Background, remains in the Layers panel. This lesson only begins to explore the vast possibilities and the flexibility you gain when you master the art of using Photoshop layers. A layer comp is simply a definition of the settings in the Layers panel.

Whenever you want to preserve a specific combination of layer properties, create a new layer comp. 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. 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.

To view the different layer comps, click the Layer Comp box for each comp in the Layer Comps panel in turn. Layer comps can be an especially valuable feature when the design is in flux or when you need to create multiple versions of the same image file. If some aspects need to stay consistent among layer comps, you can change the visibility, position, or appearance of one layer in a layer comp and then sync it to see that change reflected in all the other layer comps.

Extra credit Exploring design options with Adobe Stock Visualizing different ideas for a design project is easier when you can experiment with images. The Libraries panel in Photoshop gives you direct access to millions of Adobe Stock images. In the Lesson04 folder, open 04End. In the Layers panel, select the Beach layer. In the Libraries panel, make sure the search field is set to Search Adobe Stock, type ukulele into the field, and locate a vertical image of a ukulele on a white background with no shadow.

Drag the ukulele image into the document. Apply the changes to finish importing the image. Adobe Stock search results 5. Choose Current Library from the search field menu. The image is now in your library. Click the to clear the search. Now remove the background. With the ukulele layer selected, choose the Magic Wand tool in the Tools panel, and click anywhere within the white background. Stock image in document 7.

 

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