Adobe® Photoshop® Intensive

 

Lesson Info

Using Selections Part 2

This time, we're going to do a similar effect, and I'll go ahead and pop in a full screen mode so you can appreciate this one by pressing f twice lets us see this on a nice black background, which is great for assessing what you've just done see if you like it. So this is what we're going to create is basically the same effect, so we're going to draw another selection on the inside of that frame we're going tio select the couple photo and we're going to copy it, our clipboard, they were going to use the same paste into command because that's going to give us that automatic layer masking so that the photo only shows inside of the selected area on the frame, and then we're going to use another selection tool that works by selecting color k pixels that are similar in color to the one you click on. We're going to use the magic wand to get rid of the outside area of this frame because it was originally on a white background, and then we're going to add our inner shadow to the frame. We're g...

oing to add a regular drop shadow to the outside of the frame, then we're going to make our canvas bigger and we're going to rotate it, and we're going to putting on a nice colored background that I smashed from her hair color. See, I used that eye dropper trick when you mouse away from the color picker because I do this kind of creative framing, two photos a lot, one reason, because I have the attention span of a gnat and plain alleges just bore the heck out of me, so I'm always trying to figure out, you know, how can I spice this thing up? So I do a lot of of collages of this kind, and I'm always trying to figure out what color to make my background because, you know, now I need a background because I've obviously framed photo and I want to hang it on a wall, so snatching the color that already lives in the image to me is one of the easiest ways to make sure that it matches. You know, I don't have to try to remember the color theory I had eleven years. You go ok, someone a press f one more time to get out of full screen mode, and I'm going to close this image well, let's, take a pic in our layers panel real quick here to see what we've got going on so the bottom most layer in our layer stack remember layers have the power to cover up or hide whatever's underneath them. This is our solid color phil adjustment layer. Okay, you know that that's what it is because the layer thumbnail is telling you that it's an adjustment layer because it's got a little slider and then inside that little square you can see the color that that layer is filled with. And as we decided yesterday, every adjustment layer comes with a layer mask and that's hanging out right here. But as you can see it's solid, why? So there isn't anything that's being masked, everything is visible on that later. Next layer up, we've got our frame and you can see in the layer thumbnail here that it used to have a white center and it also had a white edge around it. So the layer mass that we have to it's right everywhere that's black is showing you that the layer content is being hidden in those areas. Ok, we also have a drop shadow on this layer see how the layer styles they happen in their own little space and you can toggle them offer on with a little visibility I so let's cruise on up and see what else we have appear. We have another image layer and you can see that these two have also been rotated at the same angle ok, so we're going to select her activate rather both layers the same time and we're going to rotate them together and we can see we've got a layer mask over here this one happened automatically from using that paste into command in the paste special menu and then we have a nice inner shadow on that as well. So let's zoom out and let's build this baby so every hearing your exercise files I'm goingto shift click to activate both I start couple in the I saw a picture frame and dragged them into my photo shop work space and it doesn't really matter which selection you create first you could create the rectangular selection first or you come over here and copy the couple to the clipboard first I'll go ahead and start that way, but it really doesn't matter what order you do it in so our keyboard shortcuts again for selecting everything within a document or on that layer rather is command a on a mac or control a on a pc it stands for select all if you are not a fan of keyboard shortcuts, then you can go to the select menu and select all is a command and that men use well. So now that we have it selected let's, go ahead and copy it to your clipboard by pressing comand see on a mac or control c on a pc control cnpc that's lunacy so now that we've got it copied let's click the tab of the picture frame document that we have open and now it's time for us to create our selection once again, so I'm gonna go ahead and zoom into this so I can see the edge where I need to click on by pressing commands plus or control plus on a pc that zooms in one level and now we need to go to our tools panel and we need to activate the rectangular marquis tool, so I'll give that a click and now whichever way you want to do it if you want tio start your selection from the inside out, then you're going to hold down the option key or ault on a pc and then draw diagonally outward or if you want to go corner to corner, we're going to click in the corner, click and hold down your mouse button and then drag diagonally outward now I didn't click in exactly the right spot, so while I'm still holding down my mouse button and I'm gonna press my space bar and move my mouth up into the lift so that I catch all of the white now I'm gonna keep dragging downward until I get it right there we go, so now I'm ready tio use thie edit menu to paste our couple photo so you can try it up to the edit menu go down to paste special and we're gonna choose paste into and this time our photo is really, really being ok it's a lot bigger than our frame, so obviously we need to resize it well, we can do that by summoning the free transform command that we used yesterday so it lives in the edit menu she could choose edit free transform or you compress his keyboard shortcut, which is the faster way to roll and that is command tea on a mac or control t on a pc and as soon as you do that you get those familiar re sizing handles all the way around the couple photo however you can't see him because the photo is so big we can't see it so there's a keyboard shortcut that we mentioned yesterday, but it bears repeating that will make photoshopped resize your document just enough so you can see all for corner handles because they're really hard to grab if you cannot see them. So that command lives in the view menu and it's called fit on screen or you can just memorize command zero or control zero and watch the document here as photo shop resize is it just enough where I can see all four of those corner points now you can grab the bottom right corner point just hover your mouse over it and it's going to turn into a double sided arrow and if we click and hold out our mouse button and drag diagonally inward, then we're going to be re sizing the couple photo and unless you want them to get what the job you need to hold down the shift key and it doesn't matter when you press the shift key ok as you saw, I didn't press it until I had already started re sizing the document, but as long as you still have your mouse button held down you can press the shift key and it will snap to be proportional so you we'll be stretching whatever it is that you're re sizing you can also you can also click and drag within the bounding box to move the eye them around because for this one, what I want to do is I want to have a little bit of red of the background of the photo on the right side of the frame it's just going to give this couple a little room to kind of not that they're moving inside the frame but I don't want to have them right up against the frame because it kind of feels like they're boxed and so I want to give the couple a little bit of breathing space on the right hand side because that red background is so pretty it's nice high contrast to our gold are gaudy gold frame and I think that's even when I typed in and I stopped to find these frames was gaudy gold frame and there is a slew of and you won't believe how many shots of empty picture frames there are, which is fabulous for doing creative stuff like this, you know? Ok, so since I moved the couple around to get my composition right, I've still I haven't yet accepted my transforms I've still got those re sizing handles so I can tweak it. You can also zoom back in at this point if you want that does not affect your transform mocks at all okay, so soon as you get it just right, go ahead and press return on your keyboard or enter to tell photoshopped hey, I'm finished re sizing because it does have a one track mind it won't do anything else while you have this active re sizing box on your screen. All right? So now let's, go ahead and add our inner shadow like we did last time I'll see him a little bit more so you can see so we still have the couple layer active we're going to go down to the bottom of the layers panel and choose effects in her shadow and because I clicked the make default button when I entered my settings the last time there's still there, which is is handy, so I'm just gonna go ahead and press ok now what we need to do next is we need tio give ourselves some more canvas space because what we want to do is we want tio also hide this white background on the outside of the frame, okay? We didn't do that on the last one, so we're going to add an extra step on this one so we need tio maker canvas bigger we need to mask off this wide area and then we're going to rotate both of these guys together. Well, for the rotation toe happen together we need to lock the couple photo to its lair mask. Okay, right now they're not locked. Okay, so the way you can lock these two together is see this empty space right here between the layer content the male in the layer mask them now if you click it, you get a little chain link icon and that locks those two together because when we do get ready to rotate it here in just a minute if we didn't lock the content of the layer to the mask, then the mask one of the other would rotate but not both and it would look really funky. Okay, so you gotta lock those two together, so don't forget that step. So now zoom back out when we also since our frame layer is a background layer because we started out with that document, it's got a little padlock on it. We all know from yesterday with one of our fabulous internet questions that if you use the crop tool to increase campus eyes on a locked background layer then you're going to get a background color you're still going to end up with color around that which is not what we want we want transparency so we need to make sure that we double click this layer to unlock it before we choose the crop tool to add more campus space it's all zoom out let's go ahead and do that just give it a quick double click and if you want to rename it you can I can name this one frame or you can just let it roll with layer zero what every like press okay now many zoom out of my documents so that I can see off or edges off four corners rather and now we're ready to grab the crop tool so let's go ahead and press see to grant the crop tool or you can activate it over here in your layers panel this guy right here are your tools panel rather and now I'm going tio click and drag to draw box all the way around the image and you can start your clicking and dragging beyond the document. It doesn't really matter because it's going to snap to the documents and is anyway so just click and drag diagonally to draw box now we're going to increase that box size by pressing and holding down the option chiana matt or ault on a pc and that's going to resize all four corners at the same time and we're just gonna arbitrarily add a little extra space around there and impress return when you're finished so now we've got our extra space so our next task is to create a selection of the white that's around the frame kills him in a little bit more so what we've been using so far is the rectangular marquis tool which is great for hand drawing a selection well if we look inside that tool set at the other marquee tools none of them are really suitable for creating a selection of the outside of the frame ok so those aren't gonna work for us so let's look at what else we have you also have a set of lasso tools the lasso tools let you hand draw a selection as well ok that's not going to work for us either knew but he wants to be hand drawn a selection around those curves of that frame no way no how and lists again you're getting paid by the hour and then you might consider it so funny shot has another set of selection tools that work on color so if we look at the area we have to select it is a solid color so a selection tool that works based on color is going to work perfectly for us so those guys live in this little tool set right here all zoom in so you can see it depending upon if you've used these tools before you the icon you see may either be the quick selection tool or the little magic one I love the magic one but I wish you could go swish and flick in that hell harry potter did switch and flick yeah ok so you can actually use either one but let's go ahead and start with the magic one tool ok it's been around the longest the quick selection tool was new in cs four I believe ok, so if you're using cs three, you will not see the quick selection tool but you will have the magic wand so let's start out with that so let's, go ahead and give it a click and if you don't, if that tulse that doesn't pop open for you, click and hold down with your mouse button for just a second and then it should pop open so this cruise over in check magic wand I was in back out now I'm in a mouse over to the color that I want to select and I'm going to click one time and because I've got such good contrast between the color of the frame and the color I want to select, which is why it's hard to get more contrast in that it works really really well ok zoom back out of my documents so we can see the outside edges while it looks like I have a perfect selection going on, I don't really trust it that it's perfect, because what if there's a little bit of that white still left over out here just the faintest hairline of white? I don't want to chance that, okay, so what I want to do is click outside of that why and add that whole area to my selection just in case I didn't get all the white okay, so any time you create a selection and you've released your mouse button, you can hold down the shift key and anything else you click or draw on within ian selection tolls will be added to that selection. Okay, so let me do zoom in real quick so you can see the icon change see my magic wand cursor right here if I hold down the shift key, see that little plus sign that appears underneath it that was she know that the tool is an ad to selection mode, so any thing that you click on or if we were using one of the marquee tools, click and drag to draw on is going to be added to that initial selection so that's, how you can select more than one thing at a time tells him back out, so while holding down the shift key, I'm going to click outside of my marching hands. See how they expanded to encompass the whole document I'll do that one more time I'll press commands your control zied under you so now I go back to my original selection I still got the magic juan activated hold down the shift key you get the little plus son underneath the magic wand and you're going to click in this area because my goal is to I want to increase the size of my selection to make dang sure that none of that white is leftover hanging around okay? So as soon as your selection looks like this and encompasses the outside edge of the whole document we're going to add a layer mask and we can do that by clicking the circle within a square icon at the very bottom of the layers panel it's this guy right here so give it a single click and the exact opposite of what we want to mask was massed ok, so I have two choices at this point I actually did this on purpose if this happens to you and I'll be honest with you it happens to me nearly every time I'm asked something it always does the opposite of what I want but in see us for we got a masks panel I think it was see us for it's either cia's foresee us five we got a new panel called masks in one of the fabulous new buttons in that panel is invert, which I wish it does, said reverse, because that seemed like it would be more explanatory to me. In other words, you can flip flop your mass with a click of a single button, so don't worry, don't panic if when you add a layer mask after you've created selection, it does the exact opposite of what you intended to do. It's no big deal, because you can flip flop that thing instantly. So now we're going to open our masks panel it's actually open already over here on the right hand side of our screen if you don't see this tab, go ahead and choose the window menu and just slide down to masks and turn that panel on. And like I said, this is in I want to say, see us for, but it's either see us forces five only so if you're on cia story, you're not going to have this panel, so go ahead and click masks and I'll zoom back out saying, see the whole thing, see the invert buttoned down there, just give that a click, and then we actually get the mass that we want. Okay, all right, now we're ready to add our background. In our drop shadow and rotate everything together. So let's, go ahead and add are solid color background because I find that, though, that checkerboard transparency pattern is a little bit distracting to me, so I like going ahead and and seeing the peace are on top of the background that it's really going to live on. So let's, go ahead and do that I'm gonna collapse my masks panel just to get it out of the way, and I'm gonna do that by double clicking in the light gray area or the dark gray area rather to the right of those tabs, and that just collapses it. Okay now, let's, go ahead and add are solid color phil layer? We can do that by choosing the layer menu. New phil layer, solid color photo shop asked what you'd like to name it I'm gonna go ahead and let this steak color feel one it's not very exciting, but it'll work. So here we are in our a color picker. Now we need to tell photoshopped what color we want to feel that layer with. Well, I'm gonna go ahead and scoot this dialogue out of the way because my goal here is to mouse over to the document, and I'm going tio click on a color that I want to pick up okay, so I like that color right here and I'm all zoom in so you can see it my mouth or my cursor rather turns into an eyedropper, so I'm snatching or stealing and color that actually lives in the image and I'm just picking up a color from her hair. You don't have to pick out the same color I am, you can experiment. Maybe you know the color of her eye shadow would like nyu's I'll go hands email that we got a nice gray background here. Go ahead and press ok when you're finished and if you don't like the color that you originally picked, the beauty of using this solid color phil adjustment layer is that you can double click the layer thumbnail to reopen the color picker and you can continue experimenting with different colors that you can pick up in the image we can even pick up the orange of her lipstick and that fun. I was so excited when I figured that out because choosing colors for backgrounds like that it's kind of difficult, so glad impress ok now we want to drag the solid color phil layer to the bottom of our later stack because it's covering up our frame right now so let's go ahead and click and drag from the layer thumbnail do try to get into the habit of grabbing these these, uh guys by their layer thumbnail when you want to move him around in the layer stat because it if you drag and other places unexpected things can happen and that will just make you panic all right, so they were looking pretty good so let's add a drop shadow to our frame layer and remember when you're working with multiple layers in a document like this, you always need to take a peek in your layers pain will make sure that you're on the layer that you want to effect ok so let's go ahead and single click that frame layer to activate it and when you do it highlights itself it's blue on a mac I think it's like green on the pc so now we're gonna go back down to the effects button at the bottom of the layers panel give it a click and this time we're going to choose drop shadow the same layer style dialogues box pops open but over here on the left hand side you can see that a set of inner shadow we are on drop shadow now so I have a little secret to show you about drop shadows many of you guys ever tried to use this angle slider to control the the angle of your shadow so that really controls the angle of the light that's shining down to give you your shadow. This thing drives me absolutely insane there is no way in heck I know what angle I want my shadow to be whatever that class was in school, I must have been absent for it, so let me show you the trick to it. First farm, I make my shadow a little bit bigger, someone a pump up the size so we can all see it and I'm I'm going to make it a little bit darker by increasing opacity and there we go. All right, so we've got a shadow we can see well, instead of messing with this angle or typing in that is that degree of your shadow mouse over to your document and your cursor turns into a narrow clique and dragged the shadow around. I squealed when I learned about this because I've been using that angle slider and it was driving me absolutely insane and I accidentally master over to my document and clicked, and I said how ali, I could move that sucker around by dragging it, which is much more in my opinion, visual way to do it, so go ahead and dragging around until looks good to you. I'm going to say about there and click ok when you're finished now we're looking really good really, really good and again, if you decide hey, that that drop shadow museum in a little bit drop shadows a little dark after you've created it, you don't have to start over all you have to do is come over here in your layers panel and give that style see how drop shadows sitting right there just give that style itself a double click and you'll re open that dialogue box that lets you tweak it so now I might say, oh yeah, that looks good, but yeah, I got a little I gotta look crazy with the opacity there, so you confined to knit? Go ahead and click ok when you're happy with it. Now our last step on this project is to let's let's rotate the frame just a little bit felt looks like it's, you know, a little cricket on the wall just as a little bit more visual interest to the peace, so go ahead and zoom animal document so we can see all of it now what we want to do in our layers panel is we want to activate both the frame layer in the couple air at the same time, so we already have the frame layer active, so we're going to hold down the shift key and we're going to click the couple layer when both of those air highlighted, you know that they're both active and don't worry that that the the layer styles didn't highlight okay that's a given ok, they're attached to that layer okay, so they will they will update themselves according to whatever you do to the layer that they're attached to. So now we want to summon our old friend free transform this time will do with the keyboard shortcut, suppressed, command tea on a mac or control t on a pc, and we get our re sizing handles. Now it might be confusing to you because we have this extra space over here. Why is our re sizing bounding box so big? Well, that's, because it's working on the whole layer, not just the mask, the whole thing. Okay, so to rotate with free transform, you just need to make sure that you're hovering just outside of one of those corner points in your cursor will turn into a little curved arrow. See how it's changing if I click and drag their I'm re sizing that if I have her outside of that corner point than my arrow is curved, and as soon as it's curved, then you can click and drag to angle it. So you can england, however, let you like press return when you're finished and we've got a creative role world photo frame.

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

Introduction: Nitty Gritty Basics + Layers
Workspace Overview
Q&A: Workspace
The Truth About Resolution and File Formats
Changing Resolution Without Changing Quality
Q&A: Resolution and File Formats
Resizing with the Crop Tool
Cropping with the Ruler Tool
Resizing with Content-Aware Scale
Resizing for Print/Web
Layers and Layer Types
Duplicating, Moving, and and Aligning Layers
Q&A: Layers
Creating Reflections
Layer Alignment Tools
Simple Slimming Technique (Resizing Layers)
Colorizing a Black and White Image
Creating a Solid Color Fade with Fill Layers
Layer Masks: Hand Painted Image Collage
Layer Masks: Gradient Mask Collage
Layer Blend Mode Collage (Include Load Images as Stack)
Using Selections Part 1
Using Selections Part 2
Q&A: Selection Tools
Color Selections: Fixing Animal White Eyes
Tightening Up Layer Masks
Painting Selections with QuickMasks
Using Vector Drawing Tools
Vector Shapes: Creating an Oval Vignette
Vector Shapes: Rounded Edges to Photo
Use Channels to Create Selections
Tough Selections Around Hair & Fur
Refine Edges Part 1
Refine Edges Part 2
Creative Edges on Photos
Embellishing with Vector Art
Creative Vector Photo Frames
Editing Smart Objects
Smart Objects Template: Creating Dark Edge Vignette
Smart Objects: Selective Blurring
Smart Objects: Selective Sharpening
Sharpening with the High Pass Filter
Q&A: Sharpening
Auto Color Adjustments
Shadows and Highlights
Using Levels
When to Use Smart Objects
Using Curves
Lightening and Darkening with Blend Modes
Enhancing Eyes and Teeth
Changing Colors with Hue/Saturation
Changing Colors by Hand Painting
Faux Dodge/Burn: Reduce Wrinkle
Color to Black and White
Healing Brush
Content Aware Fill
Using Text in Photoshop
Designing with Baseline Shift
OpenType Fonts
Placing Text Behind an Object
Barely There Text: Faded and Hollow Text
Pushing Photos Through Text
Adding Texture to Your Text
Convert Text to Paths
Combine Images using Advanced Blending
Realistic Photo Aging
Faking HDR
Wrapping Texture Around an Object
 
 
 
 

Reviews

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