Adobe® Photoshop® Intensive

Lesson 29 of 68

Vector Shapes: Creating an Oval Vignette

 

Adobe® Photoshop® Intensive

Lesson 29 of 68

Vector Shapes: Creating an Oval Vignette

 

Lesson Info

Vector Shapes: Creating an Oval Vignette

And now, let's, go back to some of those fabulous collages and let's see how we made them. This is the first one that we're going to make here, and while I'm on the layer that the vector shaped lives on because I've used one of the oval shaped tools to make a mask. Okay, while I'm on that layer, you actually see the path outline. Okay, five z man, you can see the shape that I originally drew. This will not print the gray outline of a path, never print so you don't have to worry about oh my gosh, this weird thing is gonna happen when I print photo shop is just letting you know hey, you do a vector shape here you've got a path sitting here, it's just being friendly, letting you know that it's there if I click on any other layer that doesn't include that shape, the outline goes away. Ok. So now let's close thiss and let's open the two original images that I used cleverly named. I stopped crowd and I stopped guitarists. Guitar goddess should like a lot of these images. One of our one of th...

e the nice internet folks that I know is listening out there. Ok, so the first step to this is we need to get both images into the same document well, we've looked at a couple of different ways to do that this morning we did a select all of one image copy it to the clipboard and then paste it into the other document we've also been dragging and dropping from our layers panel of one open document into another it doesn't matter how you get those images into the same document just matters that you do so I'm gonna go ahead and use this select all copy paste routine so command a to select all or control a on a pc comand see to copy it to your clipboard or control c on a pc go back to the other document going to make it a little bit bigger and now we're just going to do a straight paste we don't want to pay you into because we are not trying to fill a selection with the photo we just want to do a straight paste so command v on a mac or control v on a pc soon as you have both images in the same document then you want to activate the layer that you want a mask so our goal here is to create an oval that lets us see through to the crowd shot below yes I could use my elliptical marquee for this but we are talking about victor shaped tools hance forthe we're going to use the shape a lips tool so we're going to give that a click and I want to put the tool in path drawing mode okay so your next step after you've activated thie elliptical shape tool you're going to trot back up to the options bar and you want to click this second icon right here it looks like the new head of a fountain pen is drawing a square okay, so you want to put this pin this shaped hole in path mint because we don't want it to create a layer filled with color we're only using the vector shape to get at the shape we're not going to feel it with pixels so give that but in the clique now come over to the document and click and drag diagonally to draw the oval now I've still got my mouse but in hell down and remember the space bar trick that we used with the elliptical or the rectangular marquis rather well the space bar trick works here too if you don't get the shape in the right spot while you're still holding the mouse button down press and hold the space bar and then as you wiggle your mouse around you're moving the path that you're drawing the shape okay so you can get that where you want it I want to catch a cz much of the guitar as I can so I'm going to place it oh out here and then if you want to continue drawing and I'm still holding down my mouse, but and I'm not yet let it up so you can keep, you know, playing around with the shape if you want and again, if you want to create a perfect circle, all you have to do is press and hold down the shift key, and it will snap back to being a perfect circle. So let's say that I've got this about right, but let's get to me, so I'm gonna go ahead and release my mouth spent in, and nothing happens other than I have the outline of the shape and that's all I want, I just needed the outline of it, so now I can come over to my layers panel and add a layer mask. But instead of just clicking the added layer mask button like we've been doing it's, the little circle within a square icon at the bottom of the layers panel that would add a pixel based mask, which means we would have no opportunity to resize the mask itself without losing edge quality. If you resize the kind of masks that we've been using in this class thus far, you don't ever resized them because they can get jagged on the edges because they are made from little squares of color. That can get jagged if you're using a vector shaped tool just to get at the shape for a mask, you can give yourself some extra flexibility and your document if you add a victor, may I ask so because we started out with a vector shaped tool, we have the opportunity this time to add a vector mask, which gives us the ability to resize that masked later on if we want tio without losing any edge quality. So the way you add a vector mask is you hold down the command key on a mac or control on a pc, and you click the mass button unnoticed when I press command or control on my system appears he had a tool tip changes between add layer mask and add vector mask, so while it says veteran mask, I'm going to give it a single click. Zoom back out and we have a mask around the shape that we drew. Okay, so the photo is being hidden everywhere you see gray victor masks aren't black the gray okay that's because you cannot paint on a vector mask to edit it. It is unedited ble other than using free transform on the mask itself to change the size of it. So the next thing we want to do is I want to move that whole mess over to the right because I want my oval centered on my crowd shot so I'm gonna quick a switch to the move tool you can either press veed activated that's his keyboard shortcut or just click it in the tools panel and then click and drag to move that part of the image over to the right now what we want to do is I want a feather the edges of that oval because I wanted to be a soft transition between the two images this is also one of the things that you get from using a vector tool is you get the ability to feather it after you've created it which you do not have with any of the regular selection tools that we've used from asking so far in this class so with the mask active over here in my layers panel I'm going to open up the masks panel and again this was new in either see us foresee us five at the masks panel so if you don't see it you're on an earlier version of photo shop so my masks panel is open I'm going to expand it by double clicking in the gray area next to its tab and if you don't see it at all you can always try to up to the window menu and choose masks here you're going to see several wonderful options one of them is called feather and as you already know from our animal why'd I fixing that means to soften the edges of the selection in this case are victor mask, so watch what happens as I dragged the slider to the right see how the edges become soft. This is unparalleled flexibility for tweaking things like this because prior to this masks panel and vector masks, you could not tweak feathering on the fly. It was a an experimental kind of thing. You never knew how much further to add to anything when you were masking like this because it was trial on air. If it didn't look right, then you would have to undo several times, recreate this election, feather it with another amount and then mask it and then see if it looked good. But we don't have to do that anymore because with a vector mask and this feather slider inside the relatively new masks panel you have on the fly non destructive feathering and that is just huge if you've ever done that kind of work before, this is major groundbreaking stuff. So for example, if I was preparing this for a client, I personally might think that twenty eight pixels you know looks pretty good for this feathering amount, but it may come back for my art director reclined say you know that that's not enough blur and went a little bit more softening around the transition point of those two images if you've saved this as a native photoshopped document then you can go back in and you can click to activate that vector mask, pop up in your masks panel, and that feather slider is still there. So if the client or art director decides they want the feather taken off, drag the slider to the left, you did not have to start over and do all that again. So it's really, really flexible way to go for creating these kinds of projects and great for an experimentation. You know, you can set the feather at twenty pixels or what have you would sit back and say, you know, I like that or not, you can, you know, really pump it up. Not that far, because you'll start seeing that the edges of the photo but it's, great for experimentation to see what look what looks best to you. Now. I mentioned we had re sizing capabilities, so if you click the mask part of the victor to activate it in you, some interest free transformed by pressing commander control t you can resize that mask, make it a little bit bigger if you want in the press return when you're finished that's just a screen redraw problem it's the patriot didn't disappear in that area, press return, and you've just resized your mask. If you do that with a pixel based mask you do risk losing quality around the edges but with the vector shape you can experiment with that mask size and feather mail all day long mask density in case you're wondering controls the opacity of the area that's hidden or the mask I haven't yet figured out a real good use for this so if we drag this slider to the lift we would start to see the part of the photo that's mast why this just doesn't say mask opacity I don't know but then maybe I wouldn't have a job explaining all of the cryptically labeled items in these these panels in boxes okay so that's how you do that so we're gonna go ahead and close this image and we're going to do the exact same thing again on a different image close all these guys up yes nice a quick question a number of folks have asked cantor and ville korean can you rotate a vector shape can you rotate that I believe you can yeah we can try it on this one so if I click the vector mask to activate it press commander control t to summon free transform and then if I have are my mouse first her outside of one of the corners I can indeed rotate see how the feathering and everything is updating on the fly it's really amazing really really amazing and again you do not get kind of flexibility with a regular pixel based mask, which is what we've been using thus far, so I'm gonna go ahead and escape to bail out of that. Ok, so this collage was set up in exactly the same way when we go ahead and double click to collapse my mask candle so let's, look at the layers panel here to see what's going on, so we've got one image that I didn't even bother unlocking it still block is a background layer that's fine. So that's the wedding shot said on the beach. So so the scene of the wedding and then I took a picture of the couple getting married and added a vector mask to it so I could experiment with feathering. They're gonna go ahead and zoom out, close this guy up and re creator, so I'm gonna choose I saw beach and I stock young couple dragged those into my photo shop environment, and here again I can use a select all and copy paste to get them into the same document, or you can use the arrange documents icon in the application bar at the top of your screen. Choose the two at preview, and then you can simply drag from the layers panel of one open document into the other one. There we go close this window because we don't need it anymore and we're going to do the same thing again but this time we're gonna we're going to use the same shape tool okay, so we'll go down here charge shape tools and used the ellipse tool but you can get creative and use one of those custom shapes if you want I find the ellipse to be more practical and useful but there are some pretty funky shapes in there that are fun to use so here again I'm in path mode because I don't want photoshopped to create a layer filled with color for me I'm just using the shape told to get at the outline so while you're in path mode go ahead and click in drag diagonally downward to create your shape or going to go ahead and press escape to get rid of that path you can also use thie trick we you use with the selection marquis to draw the shape from the inside out if that works better for you so we're going to hold down the option chiana mac are all on a pc in this time were drawing from the inside out no real advantage to one or the other it's just whatever feels more comfortable tio and I still have my mouth spending down I still have my option key down I want to move that shape up so I'm gonna press the space bar and then move my mouth up to position and how I want and then I can release all of those buttons. Now we're ready to add our victor mask again so we can either command or control click the layer mask icon at the bottom of the layers panel or if you've already got your masks panel open, see this little button right here looks like a nib of a fountain pen you can add a victor mask that way as well. This creates a regular pixel based mask. This one creates a vector mask so you khun single click that same out and here again we're going to feather this so that it looks all nice and soft and fluffy and romantic. This is where everybody should say, um, so I'll go ahead and collapse my mask panel now while I'm on the slayer, like I said earlier, I am seeing that outline of that path once again, that does not print if you click on any other layer that doesn't contain a vector shape or a path, then you will not see that outline. So the last thing I can do to make this collage complete is I can move the happy couple down a little bit on the scene, so I'm going to click to activate that layer because you always have to tell photo shop a what layer do I want to defect go grab the move tool in scoot these guys down a little bit now what if you wanted to read position the couple inside the mask let museum into my layers panel remember when we were creating the real world picture frames at the top of the day and we had to tell photoshopped hey please lock the mask that I made with what's actually on the layer well when you're adding a vector mask like this they come automatically locks together because photoshopped it seems if you want to move one you want to move the other one too well that's not always the case if you want to reposition the photo inside the mask you have to unlock them so just like we clicked in the empty space between those two thumbnails earlier in the day to add the lock you do the exact same thing to delete the lock so we're gonna temporarily unlock these guys by clicking on the chain link one time and it disappears now you need to tell photo shop which piece you want to move do you want to move the mask or the content we want to make the content so we're already on the content because it's got that little bracket or on a pc that extra wide outline so now when I zoom back out I already have the move tool activated over here in the tools panel now when I click and drag I'm moving around what's inside the mask but I'm not moving the mask do be cognizant of the edges of your photo if I dragged too far down see how I'm encountering the top edge of the photo itself you obviously don't want to do that so just be aware of that so we're going to move them back up impress f a couple of times to enter full screen mostly capri she ate the full beauty of the romantic collage so that's a useful technique, huh? You have any questions on that one? Um southtown southpaw would like to know if it's possible to get rid of the outline around this shape that's a vector mask? I don't think so okay, I don't think so let me I look back on it and see I thought maybe command eight your control age might hide that outline, but I'm going to invoke something else you can use commander control age to hide the program or hide show selections and guys and things like that so I don't really want to mess with it on this, but it might be possible to press command ager control h to try to hide that, but I'm not not entirely sure that would work but try not to let it bother you seriously don't get hung up on that kind of stuff it's not going to print ok see you just click on any other layer if you're trying to see it visually to see if you like it or not in that outline kind of drives you crazy just click on another layer at a question from amplify creativity fromthe shape section which was is there a way to make your own shape and then save it in there? Yes, yes, you can yeah, so you would, uh, create the shape and then you could click on the path and I think you go up under the custom shaped hole and I think he can use a little fly out many to say save currently active shape um geneco's lens would like to know if you can specify an exact pixel size as in type in exactly how many pixels tall it is rather than dragging it with the mouse to resize negative. Okay, I'm not sure if you talked to this, but could you just explain caribou twenty six was asking what is the difference between a vector and a non vector? Yes that's gonna beginning. Yeah, I was actually going to save that until we get into some are objects but let's go ahead and popper open troops here we go. Okay, if we look at a pixel based image and wheeze him and really far you get pixels right? We talked about that yesterday if you were to open up a vector shape in the native program that created it you will never get pixels you will get a syriza points and pass and photoshopped does have a pin tool and you can create these kinds of victor shapes straight from photo shop okay I'm not gonna teach the pin tool in this class because that is a class all to itself but these were drawn using the pin tool so you will never get pixels if you you know in in an illustration like this because it's simply not made from pixels it's made from points and pass so that's what uh victor shape our true victor illustration looks like and you create them with the pen tool okay so you got a pencil right here oops right here in photo shop so if you wanted to do that you could certainly do that. The cool thing about victor's is that because there are no pixels involved you khun scale them infinitely without ever losing quality so I could take this illustration and that could blow it up building size and the edges would be is crisp and clear as they are in the small original so scale ability is the big thing about vectors most logo's that even counter our illustrations there victors because if you think about all the different sizes that a logo needs to be it could need to be billboard size but then you've got letterhead right so it needs to be really, really small in your business cards and letterheads but then you might want to make it big for sign it. So that's. Why? Most logos are created as an illustration as a vector because you get that flexibility with being able to scale it to infinite sizes. But that the reason there's no quality losses because there's no pixels in there, it's points and passed that are telling the computer what shape to draw and what color to fill it with. Olga had asked. If you use a vector shape for a logo, will it include a path that you can turn into a clipping path? Yes, you could sew a clipping path is pretty much the same thing as a mask. Clipping bath is kind of old, older terminology for drawing and outlined around the thing, and then telling photo shopped to make a clipping path out of it, which basically masks or hides the background that you drew the path around. So masking is kind of the same thing. So, yes, you can mask, which is what we've been doing.

Class Description

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

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

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