When you drag the selection, only the selection border moves, not pixels in the image. The can change frde brush size and opacity as you paint; for example, you may need a Left Bracket key [ smaller brush to paint the areas between tree tops. Leave all four files open for the next exercise. See Photoshop Help for more information. You also use the Actions panel to save and load action files.
 
 

 

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However, many designs call for full paragraphs of text. Using guides for positioning You will add paragraphs to the cover in Photoshop. In a real design environment, the text might be provided to you in a word-processing document or the body of an email message, which you could copy and paste into Photoshop. Or you might have to type it in. Expand the Notes panel, if necessary, to see all the text.

Close the Notes panel. Align the top and right edges using the guides you just added. This, in turn, provides richer linguistic support and advanced Illustrator CS5 Glyphs typography control. Here are some highlights of OpenType. Dimmed features are unavailable for that typeface; it into an Illustrator a check mark appears next to features that have been applied. All that remains to do is add the volume number in the upper-right corner.

Pressing the Shift key as you begin dragging ensures that you create a new text box instead of selecting the title. Your vertical text now appears as the layer named VOL 9. Use the Move tool to drag it to the right, if necessary. Click OK if you see the Maximize Compatibility dialog box. Keeping a layered version lets you return to the 07Working. Review answers 1 Type in Photoshop consists of mathematically defined shapes that describe the letters, numbers, and symbols of a typeface.

When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file. You can add and edit the text, change the orientation of the type, and apply anti-aliasing as well as move, restack, copy, and change the options for layers.

To convert the letters on any text layer to a clipping mask, select both the text layer and the layer you want to show through the letters, and then choose Create Clipping Mask from the Layers panel menu.

This lesson will take about 90 minutes to complete. You can draw vector shapes and paths in your Photoshop images and add vector masks to control what is shown in an image.

You can use Photoshop to work with either type of graphic; in fact, you can combine both bitmap and vector data in an individual Photoshop image file. Bitmap images, technically called raster images, are based on a grid of dots known as pixels.

Each pixel is assigned a specific location and color value. In working with bitmap images, you edit groups of pixels rather than objects or shapes.

Because bit- map graphics can represent subtle gradations of shade and color, they are appropri- ate for continuous-tone images such as photographs or artwork created in painting programs. A disadvantage of bitmap graphics is that they contain a fixed number of pixels. As a result, they can lose detail and appear jagged when scaled up onscreen or printed at a lower resolution than they were created for. Vector graphics are made up of lines and curves defined by mathematical objects called vectors.

A path is a curved or straight line segment you draw using the Pen tool or Freeform Pen tool. Tool tips from the Photoshop evangelist Each tool in the Tools panel has a single-letter keyboard shortcut.

Type the letter, get the tool. For example, press P to select the Pen tool. Press Shift with the shortcut key to cycle though any nested tools in a group. Paths can be open or closed. Open paths such as a wavy line have two distinct endpoints. Closed paths such as a circle are continuous. Paths that have no fill or stroke do not print when you print your artwork. Select the Favorites folder, and then the Lessons folder.

If so, click as well as ways to use Smart Objects. Correct number of Too many points points Creating paths with the Pen tool You can use the Pen tool to create paths that are straight or curved, open or closed. Understanding the elements of a path and how to create them with the Pen tool makes paths much easier to draw. To create a straight path, click the mouse but- A A ton.

The first time you click, you set the starting point. Each time that you click thereafter, a straight line is drawn between the previous point and the current point. To draw complex straight-segment paths with the Pen tool, sim- ply continue to add points. B B To create a curved path, click to place an anchor point, drag to create a direction line for that point, and then click to place the next anchor point.

Each direction line ends in two direction points; the positions of direction lines and points determine the size and shape of the curved segment. Moving the direction lines and points reshapes the curves in a path.

Curved line segment B. Direction point C. Direction line D. Selected anchor point E. Sharply curved paths are connected by corner points. When you move a direction line on a smooth point, the curved segments on both sides of the point adjust simultaneously, but when you move a direction line on a corner point, only the curve on the same side of the point as the direction line is adjusted.

When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path, or select all of the anchor points in a path to edit the entire path. Use the Direct Selection tool to select and adjust an anchor point, a path segment, or an entire path. To end an open path, click the Pen tool in the Tools panel.

To create a closed path, position the Pen tool pointer over the starting point, and click. Closing a path automatically ends the path.

After the path closes, the Pen tool pointer appears with a small x, indicating that your next click will start a new path. If you deselect an existing Work Path in the Paths panel and then start drawing again, a new work path will replace the original one, which will be lost. To save a work path, double-click it in the Paths panel, type a name in the Save Path dialog box, and click OK to rename and save the path.

The path remains selected in the Paths panel. Photoshop reconfigures panels for the Design workspace. Paths option B. Pen Options menu C. Make sure you can see the whole template in the image window, and be sure to reselect the Pen tool after you zoom.

Release the mouse. Do the same for points D and E. Click point G, and drag up from point G to its red dot. Do the same for point H. Alt-click or Option-click to create another corner point at point H. Click Point Q, and drag the handle to the corresponding red dot to create the curve around the tail of the fin. You can convert any selection made with a selection tool into a path. You no longer need this layer. Converting paths to selections Just as you can convert selection borders to paths, you can convert paths to selec- tions.

With their smooth outlines, paths let you make precise selections. As Selection button at the bottom of the Paths panel to convert the active path to a selection. A new layer appears in the Layers panel, called Layer 2. Click the 08Working. A bounding box appears around the spaceship. Select the Background layer to make it active.

Now the foreground color is white. Foreground Color button options bar, select the Shape Layers option. Switch Foreground 6 Create the shape by clicking and dragging as follows: And Background Colors button t Click point A, drag a direction line up and to the left of point B, and then D.

Background Color button release. Deselecting paths You may need to deselect paths to see the appropriate options in the options bar when you select a vector tool.

Notice that the border between the white kidney shape and the background has a grainy quality. What you see is actually the path itself, which is a nonprinting item.

About shape layers A shape layer has two components: a fill and a shape. A B C In the Layers panel, the Retro Shape layer sits above the Background layer, because the background was selected when you started to draw.

Fill thumbnail three items along with the layer name: two thumbnail B. Layer mask link icon C. Mask thumbnail images and a link icon between them. In this thumbnail, white indicates the area where the image is exposed, and gray indicates the areas where the image is blocked. Subtracting shapes from a shape layer After you create a shape layer vector graphic , you can set options to subtract new shapes from the vector graphic. You can also use the Path Selection tool and the Direct Selection tool to move, resize, and edit shapes.

Currently, that layer is hidden. When you release the mouse button, the star shape becomes a cutout, allowing the sky to show through.

Notice that the star has a grainy outline, reminding you that the shape is selected. Another indication that the shape is selected is that the Retro Shape vector mask thumbnail is highlighted outlined in white in the Layers panel. Notice how the thumbnails have changed in the panels. In the Layers panel, the left thumbnail for the Retro Shape layer is unchanged, but the mask thumbnails in both the Layers panel and Paths panel show the retro shape with the star-shaped cutout.

Working with defined custom shapes Another way to use shapes in your artwork is to draw a custom or preset shape. Doing so is as easy as selecting the Custom Shape tool, picking a shape from the Custom Shape picker, and drawing in the image window.

Rename the new layer Pattern, and then press Enter or Return. Pressing Shift constrains the shape to its original proportions. Your poster background is now complete. Regardless of how often you scale, rotate, skew, or oth- erwise transform a Smart Object, it retains its sharp, precise edges. You can import vector objects from Adobe Illustrator as Smart Objects. If you edit the original object in Illustrator, the changes will be reflected in the placed Smart Object in your Photoshop image file.

Adding the title he toy-store name was created in Illustrator. A new layer, title, appears in the Layers panel. When you commit to the transformation, the layer thumbnail icon changes to reflect that the title layer is a Smart Object. Or, select the Move tool , and select Show Transform Controls in the options bar. Pressing the Shift key restrains the rotation to degree increments.

Finishing up As a final step, clean up the Layers panel by deleting your guide template layers. It should look similar to the following image. Try this: 1 Double-click the Smart Object thumbnail in the title layer. If an alert dialog box appears, click OK.

Illustrator opens and displays the Retro Toyz Smart Object in a document window. A 2-point black stroke appears around the Retro Toyz type. Click OK if an alert box appears. Review answers 1 If you need to create an intricate selection, it can be easier to draw the path with the Pen tool and then convert the path to a selection. Vector graphics are made up of shapes based on mathematical expressions and are appropriate for illustrations, type, and drawings that require clear, smooth lines.

You can change the outline of a shape by editing its path. Regardless of how often you scale, rotate, skew, or otherwise transform a Smart Object, it retains sharp, precise edges.

A great benefit of using Smart Objects is that you can edit the original object in the authoring application, such as Illustrator, and the changes will be reflected in the placed Smart Object in your Photoshop image file. You can also add layers from other documents. If necessary, drag the thumbnail slider at the bottom of the window to enlarge the thumbnail. Your goal in this lesson is to create a package prototype by assembling artwork from various files, layering the artwork, adding perspective, and then refining the design.

Notice that even though the layer is selected, it remains hidden. You will clip the phone art image so that it fits within the freeform shape in the Mask layer below it. You will import this new image into the Start file. But first, you need to flatten the image to one layer. You can merge the layers in other ways. Press Enter or Return. Now only the box is visible, not the artwork.

Click the last corner to complete the plane. When you complete the plane, a grid appears on the front of the box, and the Edit Plane tool is automatically selected. You can adjust the size of this grid at the top of the dialog box using the Edit Plane tool. As the grid appears on the side of the box, the grid on the front face disappears, but its blue border remains.

Putting the Vanishing Point results in a separate layer preserves your original image and lets you use the layer opacity control, styles, and blending modes. But you can customize shortcuts to fit your workflow. Scroll down to Place, and select it. An alert appears, warning you that the F7 key is already in use. You can no longer edit the text with the Type tool. Click Place. Drag the handles to adjust the logo so that it matches the perspective of the box.

You may need to rotate the logo. Leave the settings at their defaults, and click OK. Now the logo has sharp, deep edges, to give the box the appearance of more depth. You will select the type and change its color to make it more legible. You used the Polygonal Lasso tool because the lines of text form a slightly irregular shape. You could also use the Rectangular Marquee tool. Resize the artwork to fit in the lower-left corner of the box front, and then press Enter or Return to place the file.

Adjustment layers can be added to an image to apply color and tonal adjustments without permanently changing the pixel values in the image.

If you decide to return to the original pixel values, you can hide or delete the adjustment layer. When you finish, make sure that all layers but Full Art are visible. A layer comp is a snapshot of a state of the Layers panel. Name the new layer comp Black Box, and type a description of its appearance in the Comment box: 3D box, black top and side shape with full-color art. Type Full Image, and enter a description: 3D box, blue top with full-color art.

You can also use layer comps to record the layer position in the document or the layer appearance, including layer styles and blending modes. Type Box Type for the name, and click OK.

Layer groups help you organize and manage individual layers. You can expand a layer group to view its layers, or collapse the group to simplify your view. You can change the stacking order of layers within a layer group. Layer groups can function like layers in a number of ways.

You can select, dupli- cate, and move entire groups, as well as apply attributes and masks to the entire layer group. Any changes you make at the group level apply to all the layers within the group. When you flatten a file, all layers are merged into a single background, greatly reducing the size of the file. Click OK when prompted to discard hidden layers. Now the file sizes in the lower-left area of the work area are similar to the smaller number that you saw earlier. Note that flattening fills transparent areas with white.

Merging layers and layer groups Unlike flattening a layered image, merging layers allows you to select which layers to flatten or leave unflattened. Stamping layers You can combine the benefits of flattening an image while keeping some layers intact by stamping the layers.

Stamping flattens two or more layers and places the flattened image into a new layer, while leaving other layers intact. To reduce the file size, you could delete the original layers from the file. In the Save As dialog box that appears, click Save to save the file in Photoshop format. Review answers 1 Layer groups let you organize and manage layers.

For example, you can move all the layers in a layer group, and then apply attributes or a mask to the entire group. Select the first layer, and then press Alt or Option as you position the pointer between the layers, and click.

You can use them to apply changes to a layer, and you can modify or remove them at any time. Merging layers lets you choose which layers to flatten; this technique combines all selected or visible layers in one layer. Stamping combines the benefits of flattening an image with the benefits of keeping some layers intact; it flattens two or more layers and places the flattened image into a new layer, while leaving other layers intact. Choose from filters that blur, bend, sharpen, or fragment images, or that simulate a traditional artistic medium, such as watercolor.

You can also use adjustment layers and painting modes to vary the look of your artwork. In the Content pane, double-click the Lesson10 folder. Cropping images involves aesthetic choices about where and how much of the image to crop. You can use the Right Arrow and Left Arrow keys on your keyboard to nudge the crop box into position if necessary. Choose Photoshop for the Format, and rename the file Monument.

Cropped versions of Museum. Leave all four files open for the next exercise. If you choose a Snap To command, the guides behave like magnets: When you drag an object close to a guide and then release the mouse but- ton, the object snaps into place along the guide. Rulers appear along the top and left edges of the window.

A blue the context menu. All four images are visible, each in its own window. Photoshop places the Museum. Move the Monument layer to the center of the canvas, with its top edge aligned to the horizontal guide. Space it evenly between the image of the monument and the left edge of the postcard. Do the same for the Museum layer, placing it to the right of the monument image.

In the image window, use the Move tool to move the image out of alignment. Click the Commit Edits button in the options bar to accept the text. Photoshop creates a new text layer. Photoshop used the current settings in the Character panel for the new text. Select the gradient that looks like red and transparent stripes the next-to-last one in the menu.

Leave the other settings unchanged. You can use these techniques to improve performance: t Test filters and settings on a small portion of an image. For example, with the Stained Glass filter, you might increase cell size. Leave the other options at their default settings. Just make sure you see the selection border around the image before you start painting. In the options bar, select a pixel brush with a the brush opacity by Hardness of 0.

Choose Darken from the Mode menu. You on your keyboard. The can change the brush size and opacity as you paint; for example, you may need a Left Bracket key [ smaller brush to paint the areas between tree tops. But remember that ] increases it. An icon appears in the layer thumbnail, indicat- ing that the layer is now a Smart Object. Filters, called Smart Filters, are applied to Smart Objects nondestructively, so that you can continue to edit them later. If you need to remove an area of the selection, click the Subtract From Selection button in the options bar, and then click the area you need to deselect.

Change the following settings, and click OK: t Smooth: 25 t Feather: 30 t Shift Edge: hese settings will feather the edge of the skyline so that the selection will not have a hard edge. In the options bar, open the Brush Preset picker. Now that you have your brush set up, you need to load the selection you saved. Rename the layer Paint. Just make sure the selection remains active. To delete a layer, drag it to the Delete Layer button in the Layers panel.

You can edit the stars at any time by double-clicking the image thumbnail in the Layers panel to open the Smart Object. However, you can apply Smart Filters only to a Smart Object. You already converted the Capitol and Mall layer to a Smart Object. Photoshop opens the Filter Gallery, with the Cutout filter selected and applied to the preview. Smart Filters appear with the Smart Object in the Layers panel.

Click OK to close the Filter Gallery. Click OK in the informational dialog box. Select a filter you like, and then click OK to apply it. You can apply almost any filter, including third-party filters, as a Smart Filter. Choose Drop Shadow. A transparent border appears around the image. Name it Border. Postal Service postcard size. You can select any layer in the source image, but this image has only one layer.

See Photoshop Help for more information. Using actions is one of several ways that you can automate tasks in Adobe Photoshop. To learn more about recording actions, see Photoshop Help. Preparing to record an action You use the Actions panel to record, play, edit, and delete individual actions. You also use the Actions panel to save and load action files. Name the new set My Actions, and click OK. In the Open dialog box, navigate to the Lesson10 folder.

Now there are five tabs, representing five open files in Photoshop. Use the History and sharpen, and make sure panel to delete any that My Actions is selected states after you opened in the Set menu. Adobe Illustrator Classroom in a Book release. Brian Wood. Classroom in a Book offers what no other book or training program does–an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.

The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. They work closely with the Adobe product development teams and Adobe’s Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and experienced users get up to speed quickly on Adobe software products.

Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Help others learn more about this product by uploading a video!

About the author Follow authors to get new release updates, plus improved recommendations. Adobe Creative Team. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. This book covers a lot of topics and in decent detail. As an absolute beginner this is a wonderful resource. I purchased the printed version so I could easily refer back to spots in the book should I have any issues.

Plus, I prefer having the book near my laptop as I read. The topics range from using artboards to 3d rendering. Each lesson tells you how long approximately it should take you for each lesson.

These were typically on target, a few I spent additional time trying out what was just taught on a few chapters. In a few instances, you will see a shaded box which is a citation from Adobe Help. It was good to know if you had issues, Adobe Help would go in more detail than the book did.

It was slightly annoying too to think most of the items could be in the free Adobe help but at least the book is a nice little compilation in an easy to follow fashion. There were a few spots I got stuck in the book but I did not reset my Illustrator preferences as they instruct at the beginning of each chapter- so be certain you do this.

Overall, I feel more confident in using Illustrator. I do suggest this book for beginners. It even goes over what is new in CS5. One person found this helpful. The Illustrator is a complicated program but this book does a good job of explaining various features through lessons. While following the instructions in the book, I realized how difficult it is for them to describe every step precisely and clearly, in part because the book has to address both PC and Mac users and the program menus and tool settings change depending on the screen resolution of the user computer.

For example, the book asks the reader to click the word Transform but some readers may not see the Transform in the described panel because of their limited screen resolution. So the book describes another way of selecting the Transform. In addition, the Illustrator is highly customizable, so the book reminds the reader to start with the default settings, not just once but over and over again.

Select any other tool in the temporarily changes into an eyedropper. Tools panel to deselect the text so that you can see the color applied to it. Set the tip of the eyedropper on the swatch you want, and click to select it.

Now the text appears in the lighter violet color. Resetting the default colors does not change the color of the text in the image, because that text is no longer selected. Nice job! For the real world, Photoshop gives you the power to step back and undo actions so that you can try other options. Photoshop features many kinds of layers, some of which contain images, text, or solid colors, and others that simply interact with layers below them.

Both files appear in the Preview panel. In the start file, the tie is solid; in the end file, it is patterned. Notice the listings in the Layers panel.

A clipping mask works somewhat like a selection in that it restricts the area of the image that can be altered. With the clipping mask in place, you can paint a design over the tie without worrying about any stray brush strokes disturbing the rest of the image.

In the list of brushes, select the Soft Round Pressure Size brush. Illustration: Pamela Hobbs Oops! You could use the Step Backward command to undo additional steps one at a time. Several previous actions are undone. Now the History panel restores the earlier listing of dimmed actions. By default, the Photoshop History panel retains only the last 20 actions. Using a context menu Context menus are short menus that contain commands and options appropriate to specific elements in the work area.

Usually, the commands on a context menu are also available in some other area of the user interface, but using the context menu can save time.

Context menus vary with their context, of course, so what appears can be a menu of commands or a panel-like set of options, which is what happens in this case.

You may need to scroll up or down the list in the context menu to find the right brush. If the tie area is hidden behind the Brush tool context menu, click another area or double-click your selection in the context menu to close it.

When you finish making changes to your tie design, give yourself a pat on the back for finishing another project. More about panels and panel locations Photoshop panels are powerful and varied. Rarely would you need to see all panels simultaneously. You can open a closed panel or close an open one by selecting the panel name in the Window menu. To reopen them, press Tab again. You can drag panels to or from the panel dock.

You can arrange panels in other ways, as well: t To move an entire panel group, drag the title bar to another location in the work area. To expand a panel, click its icon or the double arrow.

You can also pull the lower-right corner in or out. Double-click again to restore it to the the Color, Character, and Paragraph panels. You can open the panel menu even when the panel is collapsed. 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. You can move the options bar to another location by dragging the grab bar at the far left end of the panel. In fact, following exercise.

If prompted, click Yes to apply the workspace. Photoshop returns to the default workspace. You can choose workspaces from the Window menu or from the pop-up menu in the Application bar. Say, for example, that you do lots of web design, but no digi- tal video work. You can specify which menu items to display in the workspace. You can hide commands that you use infrequently, or highlight commonly used commands to make them easier to see.

Photoshop displays the View menu commands and subcommands. Photoshop removes them from the menu for this workspace. Choose Red from the pop-up menu to highlight this command in red. RGB Color is now highlighted in red. In the New Workspace dialog box, give your workspace a name, select the Menus and Keyboard Shortcuts options, and then click Save. For now, return to the default workspace configuration.

Once you know the basics, you can complete the Adobe Photoshop CS5 Classroom in a Book lessons either in sequen- tial order or according to the subjects you find most interesting.

Finding resources for using Photoshop For complete and up-to-date information about using Photoshop panels, tools, and other application features, visit the Adobe website. You can narrow your search results to view only Adobe Help and support documents, as well.

For additional resources, such as tips and techniques and the latest product infor- mation, check out the Adobe Community Help page at community. You can easily obtain these Preferences in the updates through Adobe Application Manager, as long as you have an active Adobe Application Internet connection. Adobe Application Manager be notified of updates, automatically checks for updates available for your Adobe software. Click Done to accept the new settings.

Horizontal selection using an adjust- areas. Type T able round brush tip. The Eraser tool erases The Background Eraser The Magic Eraser tool The Gradient tool creates pixels and restores parts tool erases areas to trans- erases solid-colored areas straight-line, radial, angle, of an image to a previously parency by dragging.

The type tools create type The type mask tools The path selection tools The shape tools and Line on an image. Review answers 1 You can scan a photograph, transparency, negative, or graphic into the program; capture a digital video image; or import artwork created in a drawing program.

You can also import digital photos. To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or hold down the mouse button on the tool in the Tools panel to open a pop-up menu of the hidden tools. You can also use keyboard shortcuts or the Navigator panel to control the display of an image. Photoshop also includes a link to the Adobe Systems Photoshop web page for additional information on services, products, and tips pertaining to Photoshop.

This lesson steps you through the process of acquiring, resizing, and retouching a photo intended for a print layout. For many images, you can achieve your desired outcome with just a few clicks in Adobe Camera Raw, which is installed with Adobe Photoshop. For others, you may start in Camera Raw to adjust the white point, for example, and then move on to Photoshop for more advanced retouching, such as applying filters to selected parts of an image.

Organizing an efficient sequence of tasks Most retouching procedures follow these general steps: t Duplicating the original image or scan Working in a copy of the image file makes it easy to recover the original later if necessary.

Otherwise, the settings without risking damage to the results of one process may cause unintended changes to other aspects of the image, original image. Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring.

To illustrate one application of retouching techniques, this lesson takes you through the steps of correcting a photograph intended for four-color print publication.

Resolution is determined by pixel dimensions, or the number of pixels Pixels in a photographic image along the width and height of an image. An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi. Image pixels are translated directly into monitor pixels.

In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions. For example, when you display a 1×1-inch, ppi image on a ppi monitor, the image fills a 2×2-inch area of the screen. Higher resolution images output to higher image size in inches, resolution printers generally produce the best quality. Mac OS. To enlarge the thumbnails in the Content panel, drag the humbnail slider at the bottom of the Bridge window to the right.

In the 02Start. You’ll fix all of these problems in this lesson, starting with the color and tone of the image. As you make changes to the image, Camera Raw saves those changes in a separate file that is associated with your original image file. You can return to the original at any time when working in Camera Raw. Adjusting the white balance changes all the colors in the image. To set an accurate white balance, select an area that should be white or gray.

Selecting a white balance is a good start. You can use either the Crop tool or the Crop command to crop an image. Both methods permanently delete all the pixels outside the crop selection area. Drag the tool to the upper-right corner of the photo, and click again. Photoshop straightens the photograph. For Width, type 3. As you drag, the marquee retains the same proportion as the dimensions you specified for the target size 3. When you release the mouse button, a cropping shield covers the area outside the cropping selection, and the options bar displays choices about the cropping shield.

If you need to adjust the size of the marquee, drag one of the corner handles. You can also use the arrow keys on the keyboard to adjust the marquee in 1-pixel increments. Replacing colors in an image Use the Color Replacement tool to paint over one color with another. When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over.

In the Color Picker, select a color of green. Make sure Anti-Alias is selected. You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals.

You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs. If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning.

Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed. It automatically samples from around the retouched area. Photoshop fills a selection with pixels that match the surroundings.

Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the content-aware fill feature make this process easy. We used the default value, 1. If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. In addition, you can adjust the radius of the region to which each pixel is compared.

If your final destination is print, experiment to deter- mine which settings work best for your image. Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode. For more information about converting between color modes, see Photoshop Help.

Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign. Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area. We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail.

Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi. Content-aware fill replaces a selection with content that matches the surrounding area. You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection. Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area.

Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors. Move the thumbnail slider to the right if you want to see the image in more detail.

Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection. 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.

Leave the selection active so that you can use it in the next exercise. To move the selected area to another part of the composition, you use 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 layers that are under the pointer appear in the context menu.

Manipulating selections You can reposition selections as you create them, move them, and even duplicate them. One of the best things about 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 but- ton at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells.

Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving 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 selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window. Notice that each time you press the arrow key, the bowl of shells moves one pixel. 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 adjust- ments. Either command hides the selection border around the bowl of shells. If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time.

If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments. Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands.

Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask.

This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range.

As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. 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. A minus sign appears next to the wand in the pointer icon.

Anything you select now will be subtracted from the initial selection. Now all the white pixels are deselected, leaving the coral perfectly selected.

Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool. 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. Make sure you can see the entire mussel in the window. 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. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool. Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. Leave the mussel selected for the next exercise.

Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar.

Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges. 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.

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. Or you can move the Magnetic Lasso tool over the starting point and click once.

Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels. Since only the edge pixels change, no detail is lost.

Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. 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. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it. 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.

Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds. A black background appears under the selection, and the selection edges disappear. We used a value of 4. Increase the brush size to select it more quickly.

Remember that you can add or subtract from the selection using the buttons in the options bar. Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start.

To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each.

You can close each file without saving. Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. 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 pixel values.

When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view. You will create it now, and, in doing so, 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. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected.

No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard. Notice that only one layer appears in the Beach. Please note that many of our lesson materials can be very large especially image and video files. You will be able to see the size of any file for download adobe photoshop cs classroom in a book.

The Adobe Photoshop CS6 Classroom in a Book disc includes the lesson files that you’ll need to complete the exercises in this book as well as other content CS Complete.

 
 

– Adobe Illustrator CS5 Classroom in a Book(BBS).pdf by Adobe Creative Team – PDF Drive

 
 

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Login Join User. By anonymous. The 15 project-based lessons in this book show readers step-by-step the key techniques for working in Illustrator CS5. Readers learn how to create vector artwork for virtually any project and across multiple media: print, websites, interactive projects, and video.

In addition to learning the key elements of the Illustrator interface, they’ll learn how to integrate their artwork with Adobe Flash movies, Adobe InDesign layouts, and Adobe Flash Catalyst software to add interaction to their designs.

This completely revised CS5 edition covers new perspective drawing tools, variable-width watercolor strokes, multiple artboards with video-specific presets, the new realistic Bristle brush and Shape Builder tool, and the ability to maintain consistent raster effects across media. Welcome to my AH blog!

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