ADOBE PHOTOSHOP

2023

FOR BEGINNERS & POWER USERS

A-Z Tutorial Guide on Adobe Photoshop 2023

HELEN BROOKS

Copyright © 2023 HELEN BROOKS

All Rights Reserved

This book or parts thereof may not be reproduced in any form, stored in any retrieval system, or transmitted in any form by any means—electronic, mechanical, photocopy, recording, or otherwise—without prior written permission of the publisher, except as provided by United States of America copyright law and fair use.

Disclaimer and Terms of Use

The author and publisher of this book and the accompanying materials have used their best efforts in preparing this book. The author and publisher make no representation or warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this book. The information contained in this book is strictly for informational purposes. Therefore, if you wish to apply the ideas contained in this book, you are taking full responsibility for your actions.

Printed in the United States of America

TABLE OF CONTENTS

TABLE OF CONTENTS

PART ONE

GETTING STARTED

System Requirements for Photoshop 2023

Installing Photoshop 2023

Features of Photoshop 2023

One-Click Delete and Fill

Lasso Tool and Delete and Fill Selection

THE INTERFACE

Menu Bar

Tool Options Bar

Photoshop Toolbar

Photoshop Panels

Opening files

Showing and hiding panels

Moving panels

CUSTOMIZING THE WORKSPACE

Switching Workspaces

Panels

Interface Preferences

Appearance

Color Menu Items

Custom Keyboard Shortcuts

Workspace General Preferences

Options

Changing the zoom level

Saving Your New Workspace

CREATING A NEW DOCUMENT

Create a New Document in Photoshop Using Presets

Create A New Document in Photoshop and Save Your Custom Settings

PART TWO

WORKING WITH IMAGES AND LAYERS

PLACING IMAGES

Method 1: Copy & Paste

Method 2: Duplicate

Method 3: Linking and Embedding Images

PLACE FILES

Place PDF or Illustrator files in Photoshop

UNDERSTANDING LAYERS

Layer basics

Create an adjustment layer

Create a blank layer

Duplicate a layer

Delete a layer

Working with layers

Showing and hiding layers

Reordering layers

Editing layers

Using editing tools

Selecting layers before editing

Making changes to the text layers

CHANGING CANVAS AND IMAGE SIZE

RESIZE METHOD NO. 1: ADJUSTING THE SIZE OF THE IMAGE

RESIZE METHOD #2: RESIZING THE CANVAS

USING RULER

Measuring an Object using the Ruler Tool

Measuring Angle Using the Ruler Tool

Straightening an Image

Change a ruler’s zero origin

Change the unit of measurement

Position with the Ruler tool

Edit a measuring line

CROPPING

Rotating

Undoing changes

SAVING

Scenario 1

Scenario 2

Using Save As

Using Save for Web

PART THREE

THE SELECTION TOOLS

USING THE QUICK SELECTION TOOL

Using the Quick Selection tool like a pro with layers

Understanding Quick Selection Options

USING THE MAGIC WAND TOOL

How to select and mask in Photoshop with the Magic Wand Tool

USING THE ERASER TOOL

Eraser

Background Eraser

Background Eraser Options

Magic Eraser

Pencil Tool - Auto Erase Function

USING THE LASSO TOOLS

How to use the lasso tool

The variants of the lasso tool

How to Use the Polygonal Lasso Tool

How To Use the Magnetic Lasso Tool

Width

Contrast

Frequency

Creating Your Magnetic Lasso Selection

Switching Between Lasso Tools While Creating a Selection

Correction of Errors Caused by the Use of Magnetic and Polygonal Lasso Tools

How to End Your Lasso Tool Path

Options of the lasso tool

Removing unwanted selections

Manipulating selections

Adjusting the location of a selection marquee as it is being created

Moving a selection with the arrow keys

LAYER STYLE

Applying Layer Styles

Right-Clicking on a Layer

Double-Clicking on a Layer

Application Bar Menu

Use Preset Layer Styles Using Styles Panel

The Layer Style Dialog Window

Drop Shadow Layer Effect

Drop Shadow Example 1

Drop Shadow Example 2

Inner Shadow Layer Effect

Inner Shadow Example 1

Inner Shadow Example 2

Inner Shadow Example 3

Outer Glow Layer Effect

Using cloud documents

Adding a Border Using Photoshop

Step 1: Prepare the Image

Step 2: Open the “Stroke” Dialog Box

Step 3: Select the Stroke and Color

Step 4: Choose the “Location”

Step 5: Save the Changes

Step 6: Deselect

Optional Step 7: Alter the Border Size and/or Color

Creating a pattern

PART FOUR

INTRODUCTION AND WORKING WITH SHAPES, COLORS, AND TEXT

SHAPES

How do I find shapes in Photoshop?

CREATING SHAPES

Step 1

Step 2

Step 3

How to Make a Rectangle: Method #1

Step 1

Step 2

Step 3

Step 4

Step 5

How to Make a Rectangle in Photoshop: Method #2

How to Create a Circle in Photoshop: Method #1

How to Create a Circle in Photoshop: Method #2

How to Make a Triangle in Photoshop: Method #1

Step 1

Step 2

How to Make a Triangle in Photoshop: Method #2

How to Create a Polygon in Photoshop: Method #1

Step 1

COLORS

Color Modes

Color Model RGB (RGB)

CMYK Color Mode

Grayscale

Color Working Spaces

sRGB Working Space

The Adobe RGB Color Space

COLOR SETTINGS

The New Darker Dialog Box

The Default Color Settings Preset

TEXT

ADDING TEXT

Type tool tips

Rasterizing text

Transforming letters in text

Transforming blocks of text

Basic Formatting

Kerning and Tracking

Vertical and Horizontal Scaling

Paragraph Options

Basic Alignment

Hyphenation

Indent and Space between Paragraphs

SWATCHES

Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

Step 7

Step 8

Apply swatches to layers

Organize swatches into groups

Create nested groups:

GRADIENT

Apply a gradient fill

Live Gradients

APPLY GRADIENTS TO LAYERS

ORGANIZE GRADIENT PRESETS INTO GROUPS

SHOW LEGACY GRADIENTS

RESTORE THE GRADIENT SETTINGS TO THEIR INITIAL STATE

CHANGE HOW PRESET GRADIENTS ARE DISPLAYED

RENAME A PRESET GRADIENT

Gradient Editor Overview

SAVE A SET OF PRESET GRADIENTS AS A LIBRARY

LOAD A LIBRARY OF PRESET GRADIENTS

Create a smooth gradient

Specify the gradient transparency

Create a noise gradient

PART SIX

MASKING IN PHOTOSHOP

CLIPPING MASK

Create a clipping mask

Remove a layer from a clipping mask

Release clipping mask

TEXT CLIPPING MASK

Adding a Drop Shadow

LAYER MASK

Create a Layer Mask

About Type

Getting Started

Creating a clipping mask from type

Enter point type

Enter paragraph type

Resize or transform a type bounding box

Convert between point type and paragraph type

Creating type on a path

PART SEVEN

THE ADJUSTMENT LAYER

LEVEL ADJUSTMENT LAYER

Reading the Photoshop Levels

How to Adjust the Levels in Photoshop

Step 1 – Add a New Levels Adjustment Layer

Step 2 – Adjust the Black Input Level

Step 3 – Adjust the White Input Level

Reading the Input Level Numbers

Adjusting the Photoshop Output Levels

What’s happening in the Photoshop Levels Adjustment?

The Photoshop Midtone Level

CURVE ADJUSTMENT LAYER

Adjust image color and tone with Curves

Removing control points from a curve

Set Curve display options

Apply an Auto correction in Curves

HUE/SATURATION ADJUSTMENT LAYER

Change color saturation or hue

Modify the range of Hue/Saturation sliders

Adjust the color of skin tone

Adjust saturation in isolated areas

Change the color of an object

Improving a snapshot

Why Photoshop Snapshots Are Useful

Taking a Snapshot in Photoshop

Using Photoshop Snapshots in Your Editing

How Does a Snapshot Differ from A History State in Photoshop?

Adjusting facial features with Liquify

Launch the Liquify application and load your picture into it.

Drag the sliders to adjust various facial features

Using an Alpha channel to create a shadow

About alpha channels

LAYER MASKING IN ADJUSTMENT LAYER

Add an adjustment layer

Add a black-to-white gradient to the adjustment layer mask

PART EIGHT

THE CORRECTION TOOLS

RED EYE TOOL

DODGE AND BURN TOOLS

SPOT HEALING BRUSH TOOL

Step 1: Create a Blank Layer

Step 2: Zoom In

Step 3: Select Spot Healing Brush

Step 4: Size the Spot Healing Brush

Step 5: Choose Brush Type

Step 6: Check Sample All Layers Box

Step 7: Remove Spot

How to Remove a Line

Spacing

Blend Mode

Tips for using the Spot Healing Brush tool

Spot vs. Line

Change Direction

Change Size of Brush

Remove Smaller Sections

Spot Remove Again

Spot Healing Brush vs. Healing Brush and Clone Stamp Tool

PATCH TOOL

Use the Patch Tool in Photoshop to Tidy Up Images

Step 1: Open the Photograph

Step 2: Select the Area You Want to Remove

Step 3: Clear the Space

Use the Patch Tool to Replicate an Object

Step 1: Open the Photograph and Create a Layer

Step 2: Copy the Shape

Step 3: Move the Shape

Step 4: Adding the Finishing Touches

CLONE STAMP TOOL

Remove Unwanted Objects with the Clone Stamp Tool

Step 1: Open the photo and zoom in

Step 2: Select a clone source

Avoid patterns to make the cloning look natural

Remove Skin Imperfections with the Clone Stamp Tool in Photoshop

Step 1: Open the photo and duplicate the background layer

Step 2: Select a clone source

Step 3: Select brush mode

Step 4: Paint Over the Imperfection

FILTERS

Apply a filter from the Filter menu

Filter Gallery overview

Display the Filter Gallery

Zoom in or out of the preview.

Explore a different part of the preview.

Hide filter thumbnails

Apply filters from the Filter Gallery

Blend and fade filter effects

Tips for creating special effects

Creating edge effects

Applying filters to layers

Applying filters to individual channels

Creating backgrounds

Combining multiple effects with masks or duplicate images

Improving image quality and consistency

Improve filter performance

BLUR

Step 1: Create a Duplicate Copy

Step 2: Open the Blur Tool

Step 3: Set Blur Tool Options

Step 4: Paint Blur on the Image

How to use a Blur Filter (Motion Blur)

Step 1: Create a Duplicate Copy

Step 2: Convert to Smart Object

Step 3: Select a Blur Filter

Step 4: Enter Blur Settings

Blur Background Using Blur Gallery Effects

Step 1: Create Blur Layer as Smart Object

Step 2: Open Blur Gallery

Step 3: Set a Focus Point

Step 4: Set Effects and Noise (Optional)

Gaussian Blur in Photoshop

Step 1: Duplicate the Background to Stay Safe

Step 2: Create a Path Around Your Object

Step 3: Convert the Path to a Selection

Step 4: Apply Gaussian Blur to the Selected Area

Radial Blur Effect

Step 1: Crop Original Image and Make a Duplicate Layer

Step 2: Select and Make the Subject a New Layer

Step 3: Add the Radial Blur

Step 4: Refine the Radial Blur

Tip 1: Use Multiple Layers to Compare Radial Blurs

Tip 2: Make Sure Your Images Are Smart Objects

Frequently Asked Questions

Conclusion

INDEX

PART ONE

GETTING STARTED

In this part, we will get familiar with the many components that make up the Photoshop interface. Since this, you will be able to learn everything else in Photoshop much faster because you will have a better understanding of how the various tools, panels, and menu’s function.

System Requirements for Photoshop 2023

Before you install Adobe Photoshop 2023, you need to find out whether your computer satisfies either the recommended or the minimum requirements for system specifications.

Operating System: Windows 10/11 (most updated versions only)

Memory (RAM): 8 GB of RAM is required.

Hard Disk Space: 4 GB of free space is required for full installation.

Processor: Intel Pentium i3, Multi-core GHz or higher.

Installing Photoshop 2023

Go to the Creative Cloud website, then once you're there, choose Download from the drop-down option. If you are prompted to do so, sign in to your account on Creative Cloud.

If you are using Windows, you can be asked to save the file that you downloaded. If you are using macOS, you can be asked to provide permission before the download can take place.

You can get started with the installation by doubling-clicking the file that you got from the website.

If you want to complete the installation, be sure to follow the directions that are shown on the screen.

Immediately after a successful installation, the Creative Cloud desktop software begins loading alongside Photoshop.

Features of Photoshop 2023

The selecting capabilities of the desktop edition of Photoshop 2023 (version 24.0.0) have been significantly enhanced. These include influential individuals. Delete and Fill with a Single Click, as well as Delete and Fill using the Lasso Tool. Let's see what they're capable of in the real world, shall we?

One-Click Delete and Fill

This function operates very much in the same way that you anticipate it operating. If you are using the Objection Selection Tool, the majority of the time all you have to do to make your selection is just hover over the item you want to choose. This will give it a crimson hue. This seems to be quite similar to the masking choices available in Lightroom.

After then, you need to press the Shift key together with the Delete key. This action immediately nullifies the selection. Photoshop will complete the filling of the backdrop.

Making a gigantic vehicle that fills up half of the picture is ludicrous. There is just not a great deal of material available to put together a convincing history. But you are aware of the situation. It's always entertaining to test the limits of these things and see what happens.

It seems to operate better when the backdrop is more consistent throughout. However, it also works remarkably well in a wide variety of complicated settings, as we will see in the following illustration.

Lasso Tool and Delete and Fill Selection

This new Delete and Fill Selection capability are compatible with the Lasso Tool as well.

It is sufficient to just create a selection around the region that you want to be removed from the map. After then, utilize your mouse's right-click button. This results in a menu that has quite a few different options to choose from. Select "Delete and Fill Selection" from the menu. Poof. Gone.

You can, of course, choose to use the Object Selection Tool instead of the Lasso Tool if that is more convenient for you. In the end, it's still a choice to make. In any case, you need to use your right mouse button to click on the selection to bring up the menu.

THE INTERFACE

When you first launch Photoshop, the interface should be something like what is seen above. Yours may appear a little bit different, but it should be very comparable.

Your currently open picture will appear in the document window, and you can open several different photos in Photoshop all at once.

Menu Bar

The location of the menu bar on the screen is fixed at the very top. There are 11 menus, and behind each one is several alternatives.

To learn more about the options, just click on each menu item. You'll see that some of the choices are grayed out, which indicates that you cannot choose them at this time.

This will change from situation to situation based on what you are doing. If you have a section of a picture chosen, for instance, you will see that the majority of the menu choices located under Select are accessible to you. On the other hand, if nothing is chosen, the majority of these will be disabled and grayed out.

For instance, down below you can see the items that are available to choose from the Filter menu. This contains some options under its sub-menu, some of which are 3D, Blur, Distort, and Sharpen. Each of these objects can be found on its very own submenu.

As can be seen, the menu bar has a large number of different instructions to choose from.

Tool Options Bar

This bar, whose function is suggested by its name, provides us with choices and settings that can be used in conjunction with the tool that we are now working with. The choices change depending on the tool that you are currently using; for instance, if you are working with the Type tool, the options that display in this bar will be exclusive to the Type tool. If you are using the Paintbrush tool, the only choices that will appear on the menu will be for manipulating the Paintbrush.

Photoshop Toolbar

The workspace's toolbar is located on the left-hand side, and it is where all of the tools that we need to create, edit, and otherwise interact with our photographs are kept.

We are free to move it anywhere we choose, and we can choose to see it either as a narrow, long toolbar with a single column or as a broad, shorter toolbar with two columns.

Photoshop Panels

Panels are located on the right-hand side of the screen, and similar to the toolbar, they can be dragged out of their location and relocated anywhere inside the workspace. They provide a great deal of further functionality.

Opening files

Instead of starting from scratch by making a new picture that is blank, you should most of the time start by opening an existing photo. You can open and modify pre-existing image files with Photoshop, including JPEG, PNG, and PSD (Photoshop document) files.

1. Select File > Open.

A modal dialog box will show up. Find the file you want to open on your computer, then click the Open button when you're done.

2. The file will appear in Photoshop.

If you do not presently have Photoshop open on your computer, you can open the file by locating it, right-clicking it, and then selecting Open With > Adobe Photoshop from the context menu that appears.

Showing and hiding panels

You will also be able to see and make changes to the information on the current file by using the other panels that are located inside the workspace. In the Layers panel, for instance, you can examine the document's many layers. Click the Window menu, then pick the panel you want to display or conceal from the drop-down list that appears (currently visible panels are indicated by a checkmark). In the picture that follows, you can see that we activated the History panel by selecting it from the Window menu.

You can expand or collapse panels by using the double arrows on the toolbar. If you wish to temporarily conceal a panel without removing it from the workspace, this feature can come in handy for you.

You can also use the Tab key on your keyboard to reveal or conceal all of the panels that are now active.

Moving panels

If you wish to relocate a panel, you can do so by clicking and dragging it to a different section of the workspace. This allows you to modify where the panel is located.

If you do intend on following through with our guide, we strongly suggest that you leave the majority of the panels in their default locations for the time being. Simply pick Window > Workspace > Reset Essentials from the menu bar to return the panels to their original locations.

It is important to keep in mind that the procedure can change based on the version of Photoshop that you are using. For instance, to reset the panels in Photoshop Elements, go to the Window menu and choose Reset Panels.

CUSTOMIZING THE WORKSPACE

The whole of Photoshop's working area is referred to as a workspace. It is what includes all of the menus, tools, and panels in the interface. To put it more simply, it refers to almost anything that can be seen and clicked on inside Photoshop.

It is thus about time that you stopped using the "Essentials" and learned how to design your personalized workspace, in which you keep just the tools and panels that you need visible. Photoshop comes with a lot of helpful tools, but the workspaces that come with it aren't as handy as people make them out to be. They may be suitable for novices, but expert retouchers and photographers operate in very specialized capacities; as a result, deleting tools and panels that are not being utilized can significantly increase productivity.

If you wish to make changes to the way Photoshop works for you, you can modify the application's default settings. The vast majority of these choices are very complex, but we'd like to walk you through a few simple tweaks that you can find useful.

Workplaces by Default Adobe has provided you with six pre-made workspaces that are designed for a variety of creative professions.

These workspaces are as follows:

Essentials

3D

Graphics and Web

Motion

Painting

Photography

Switching Workspaces

You can navigate between the many workspaces in Photoshop by using the drop-down menu that is located in the top-right corner of the program. You also have the option of creating new workspaces, modifying the ones that are already there, or deleting them.

The following is a list of some of the many various items that can be customized:

Panels

Interface Preferences

Appearance

Screen Modes

Interface Text

Color Menu Items

Keyboard Shortcuts

General Preferences

Let’s take a more in-depth look into each of these areas. 

Panels

Every single panel, in addition to the Toolbar, is an item inside the interface that can be moved and clicked on. It is simple to move panels; all you need to do is click on the darker bar at the top of a particular panel, and it will "undock" from its current location. You'll see that we can rearrange the panels by clicking on the top bar, holding down the stylus button while dragging, and bringing the panel to the edge of the window. This action can be performed by bringing the stylus button to the edge of the window. A region indicated in blue, which is referred to as a "drop zone," will light up to indicate that it is possible to put it here. When you let go of the button, it will "dock" into position.

You also have the option of having any tools or panels entirely free-floating in the world. The double arrow button, which can be seen in the picture that follows, can also be used to entirely collapse panels until just icons are visible:

Interface Preferences 

Go to Edit > Preferences > Interface, or press Ctrl + K (Windows) or + K to access the Interface Preferences menu. We can adjust Photoshop's look, language, and text size, as well as the colors and borders of the screen mode here in the options. You have the option of increasing or decreasing the size of the text shown in the user interface in this section.

Appearance

Color Theme: We have the choice of selecting from four different levels of grayscale, ranging from very dark to very bright. Through the same Preferences settings dialog box, we also can alter the colors that are used by default for the different screen modes and Artboards.

Text: The language of the interface, as well as the font size and scale, can both be changed using these choices.

Screen Modes: This can be accessed via the Toolbar Button Labeled "Screen Mode" By switching between different screen modes, we can alter how we see our workspace. This can range from the default mode to full-screen mode, or we can choose to show or hide certain panels. You can cycle between the various modes by clicking the Screen Mode button or hitting the "F" key on your keyboard.

In any of the Screen Modes, if you find that you have mistakenly hidden the Tools panel, you can easily bring it back into view by moving your mouse pointer over the left side of the screen. You can quickly access your Tools panel by using the "Tab" key on your keyboard.

Color Menu Items

Because of the color function, it is possible to call attention to certain menu items by coloring them in a certain way. Because we will most likely be using the same tools throughout the retouching process, it is a fantastic idea to color highlight the menu items that you use the most and then organize them according to color. This makes it visually simpler to distinguish them from the other items on the extensive menu lists.

Custom Keyboard Shortcuts

Through the Keyboards & Shortcuts menu, Adobe has made it easy for you to personalize the key bindings that you use.

Menu > Workspace > Keyboard Shortcuts and Menus or Alt + Shift + Ctrl + K (Windows) or Alt + Shift + +K (Mac OS X) to access this feature.

Workspace General Preferences

Workspace can be customized by selecting Edit > Preferences > Workspace (on a PC) or + K. (Mac)

We have a few additional customization choices available to us based on these settings. In addition to that, there is a button labeled "Restore Default Workspaces." If you click this button, it will do exactly what it says it would do, which is to revert the default workspaces (and only the default workspaces) to their initial configurations.

Options

•       Auto-Collapse Iconic Panels – Checking this box will cause open iconic panels to be collapsed automatically if you click on another part of Photoshop.

•       Auto-Show Hidden Panels: Displays any concealed panels when the vehicle rolls over.

•       Open documents using tabs: Instead of opening many windows.

•       Enable Floating Document Window Docking - This option, when disabled, will prevent your currently open document from being docked back into the interface. Instead, it will remain floating.

•       Enable Narrow Options Bar - This will enable narrow bars, but it will only function on somewhat tiny displays. Unless you are editing the photo on a laptop, using this feature will very certainly give the impression that nothing has changed.

To adjust the default unit:

When you create a new document, its dimensions will be measured in inches by default. We suggest adjusting this option to pixels if you are not mainly editing photographs for print. You can find the setting in the image editing menu.

1. Navigate to the Edit menu, then choose Preferences, then Units & Rulers. Choose Photoshop > Preferences > Units & Rulers if you're working on a Mac.

A modal dialog box will show up. Pick the drop-down menu next to the Rulers section, then click the Pixels option, and then click OK. For the changes to take effect, you can need to close Photoshop and then launch it again.

To change the size of the text:

If you'd want the text on the Photoshop interface to be bigger or smaller, you can change the text size in the program.

1. Go to the Edit menu, and then choose Preferences > Interface. You can access the Interface preferences in Photoshop by going to Edit > Preferences > Interface on a Mac.

2. Within the Text section, open the drop-down box that is located next to UI Font Size, and then pick the required size. For the changes to take effect, you can need to close Photoshop and then launch it again.

Changing the zoom level

When you are modifying a picture in Photoshop, you will often find that you are seeing the image at a size that is less than 100% of its original dimensions. This is because the majority of current digital cameras are capable of taking very detailed photographs. Because of the sheer size of these pictures, the majority of computer monitors are unable to show each pixel on the screen at the same time. The fact that you will have more information to work with when editing the picture is a positive development and should be seen as such. Simply using Ctrl+ or Ctrl- (holding the Ctrl key while pressing the + or - key) will allow you to zoom in or out of the current view. To do this action on a Mac, use the Command+ or Command- key combination.

You can see an example of a document scaled down to 44.4% of its full size in the following illustration. It should be brought to your attention that the current zoom level is shown in the bottom-left corner of the screen as well as at the very top of the document window.

In comparison, the next illustration displays the same picture scaled to 100 percent (full size). Take note that this zooms level only displays a portion of the picture for your viewing pleasure. You have the option to see additional portions of the picture by using the horizontal and vertical scroll bars if you so want.

Pressing Ctrl + 0 will zoom the picture such that it fills the window of the page. To begin, hit the Command key plus 0 on your Mac.

Certain zoom settings, such as 33.33% and 66.67%, can cause the picture to seem pixelated on your screen, however, this is entirely dependent on the graphics hardware in your computer. If this occurs, you can want to try zooming in to just 25 or 50 percent instead.

Saving Your New Workspace

When you have reached a point where you are satisfied with your workspace, all which is required of you is to save it. This can be accomplished by using the drop-down menu for the workspace, which can be found in the top right corner of the screen or through the Window menu. Selecting "New Workspace..." will cause a new window to appear, in which you will be able to give your newly created workspace a name.

In addition to this, you will have three more choices to store shortcuts for the menu, the toolbar, and the keyboard. If you don't double-check everything that could be relevant, some of your edits might not be saved.

After being saved, your newly created workspace will be accessible through the drop-down menu labeled "workspace."

CREATING A NEW DOCUMENT

The New Document dialog box is where we go to initiate the creation of a new document in Photoshop. This dialog box can be accessed in some different ways.

1. From the Menu Bar that runs along the top of the screen, choose "File" > "New."

OR

2. Use the shortcut on the keyboard, which is either Cmd + N (Mac) or Ctrl + N (Win). When working in Photoshop, we find this particular keyboard shortcut to be very useful and end up using it quite often; thus, it is important to make an effort to commit it to memory.

OR

3. From the Home or Start screen of Photoshop, choose the File menu and then select New from the drop-down menu.

Any one of these available options brings up the dialogue window labeled "New Document.

Enter the width and height of your document, as well as the resolution, into the appropriate boxes. For images that are seen on a screen, the typical resolution is 72 pixels per inch, whereas the typical resolution for graphics that are printed is 300 pixels per inch.

Pick a color mode from the menu. The RGB color space is the standard for graphics shown on screens, whereas the CMYK color space is the standard for printed pictures.

Simply open your new file by clicking the Create button.

Create a New Document in Photoshop Using Presets

Utilizing a preset while generating new files is an efficient way to save time. A preset is nothing more than a setting that determines the measurements of width and height, as well as the orientation (portrait or landscape), resolution, and color mode. There are more possibilities, but these are the ones that we are most likely to be interested in.

Other possibilities exist.

1. Before selecting a preset, you must first determine the purpose of the document you want to create; for instance, will it be seen online or on a screen, will it be printed, or will it be a photograph? Simply choose the category you're interested in from the list at the top. I've gone with the Print option for this demonstration.

2. Within the dialog box, you will see that there is a set of four defaults. To see more presets, use the View All Presets + option from the menu.

Now we can see an additional group of thumbnails, each of which represents a different Print preset. You can go through all of them by using the scroll bar that is located along the right side.

3. Select the A5 preset by clicking on it. Take note of how the Preset Details, such as width and height, adjust themselves on the right-hand side.

4. If you are satisfied with this default setting, click the Create button. The New Document dialog box disappears, and Photoshop launches with your brand-new document already loaded.

Create A New Document in Photoshop and Save Your Custom Settings

Let's say you wish to create a document in a size that isn't presently offered as a default option.

What are your options? Here is how to plug in your settings and preferences.

1. From the Menu Bar that runs along the top of the screen, choose the "File" > "New" option. The identical New Document dialog as previously pops up when you click the button.

2. In the area labeled "Preset Details" on the right-hand side of the screen, enter the numbers "10 inches" for the width and "3 inches" for the height. Then adjust the color mode to "CMYK." We alter the units of measurement by selecting the desired option from the drop-down menu that is located to the right of the field labeled Width.

Now, let's imagine that we are aware that this is a document size that we can wish to utilize again; in that case, it is a smart idea to store it as a preset.

3. Select the Save Preset icon from the menu.

4. Give it a name by entering it in the area labeled "Preset name" located at the top of the page. (At first, it will say something along the lines of Untitled.) You can make it simpler for yourself to remember what the preset is by giving it a name that is descriptive of what it does. I referred to mine as the Jen - Banner - 10 x 3

After that, click the Save Preset button once again.

The newly stored preset can be found in the Saved category at this time. This implies that you can return to it at any time, and it will speed up your workflow since you won't have to fill in the data each time you want a document of that size. Additionally, it will allow you to return to it at any time.

5. After you have selected your new file, click the Create button to open it in Photoshop.

And with that, a whole new document has been created in Photoshop. Take note that it is NOT necessary to save your setting each time.

PART TWO

 WORKING WITH IMAGES AND LAYERS

In this part, you will understand the step in placing in pictures which involves the copying, pasting, and duplicating of images. You will have a good understanding of layers, its basics, and the steps involved in it such as creating, duplicating, reordering, showing, hiding, and deleting a layer. This part discusses the use of ruler and how to change your canvas and image size and much more!

PLACING IMAGES

Method 1: Copy & Paste

Launch the File menu, and then choose Open from the menu. Click OK when you have finished browsing to find the picture you wish to enter. You might also use the keyboard shortcut Command + O (if you're using Photoshop on a PC, use Ctrl + O).

It is expected that Photoshop would generate a new document tab just for your picture and then immediately transition to that tab.

If you want to choose all of the pixels in your picture, use the normal keyboard shortcut for "Select All," which is Command + A (or Ctrl + A on a PC).

If you've successfully picked all of the image's pixels, you should see a selection marquee appear around the window's perimeter. This is an indication that the selection is complete.

The contents of your selection can be copied onto your computer's temporary clipboard by using the common keyboard shortcut Command + C (Ctrl + C on PC). Once they have been chosen, you can use this shortcut to copy the contents of your selection.

Next, go back to the primary Photoshop document you were working on, and then press the Command and V keys simultaneously on your keyboard to paste the contents of your clipboard into the primary document.

The pixel data that you copied before will be pasted onto a new layer that Photoshop will automatically generate and fill up for you. You are now in a position to begin adding a mask to the image to conceal the backdrop or to make any other necessary modifications to complete your project.

Method 2: Duplicate

There is a different method available in Photoshop that you can use to insert a picture if you do not like utilizing shortcuts on the keyboard or the temporary clipboard.

To open a file, choose Open from the File menu. Click OK when you have finished browsing to find the picture you wish to enter. Photoshop will establish a new document tab just for your picture, and when you switch to it, it will open there.

Find the Layers panel, which should be at the bottom-left corner of the user interface by default. A typical photograph ought to just contain one layer, which usually gets called Background and, in some instances, utilizes the picture filename itself.

To duplicate a layer, open the Layers panel, right-click on the layer's entry, and choose the Duplicate Layer option.

It should come as no surprise that Photoshop will launch the dialog box titled "Duplicate Layer," which provides you with a wide variety of choices for what to do with the duplicated layer.

Enter a descriptive name in the as: box (if you find this perplexing, don't worry; you're not the only one; they mean "Duplicate this layer with the name"), and then use the dropdown menu next to Document to choose the document that you want to insert this picture into.

If you have not yet produced the document that will serve as your target, you can click New and have Photoshop produce a new document for you that has the same dimensions.

Method 3: Linking and Embedding Images

Although the first two approaches I described are the most frequent ways to insert one picture into another using Photoshop, they are not the only alternatives available to you.

Linking and Embedding are two alternative techniques that are used to include external files in a Photoshop project as Smart Objects. These techniques are similar, but not identical, to one another. Let's take a more in-depth look at how everything operates, even if at first glance they could seem to be rather similar to one another.

You are looking at a placeholder thumbnail instead of the real picture that was inserted into your Photoshop project when you use the Place Linked command to insert an image. The thumbnail is a representation of the original file.

Because of this, you won't be able to make changes to the linked file while working on your main Photoshop project; rather, you will have to access the file that was connected in the first place.

You will need to click the "refresh" button on the link to get the updated placeholder thumbnail in your main document after making changes to the source file.

The Place Embedded function in Photoshop enables you to "embed" another picture into the document you are working on at the moment. When you enter a picture into Photoshop, the program generates a new Smart Object that contains the image, and then makes it visible inside the original document.

In contrast to a Linked file, an embedded smart object can be edited in Photoshop using any of the standard commands that apply to smart objects. However, any changes you make to the original file will not be reflected in the edited version of the embedded smart object.

PLACE FILES

The Place command allows you to insert a picture, piece of artwork, or any other file type that Photoshop can read into your project as a Smart Object. When working with Smart Objects, you can change the size, position, skew, rotate, or distort the object without the quality of the picture being affected.

1. Launch Photoshop and choose the file that will serve as the final resting place for the artwork or photograph that was inserted.

2. Do one of the following:

•       In Photoshop, choose the file that you wish to insert by going to the File menu, then clicking on the Place button.

Note: You can also drag a file into an open Photoshop picture from either the Windows or Mac operating systems.

•       (Bridge) Make a selection of the file, then go to the File menu and choose Place > In Photoshop.

3. The Place PDF dialog box displays whenever you place a file that is either a PDF or an Illustrator (AI) file. Choose the page or picture that you wish to insert, make your cropping adjustments, and then click the OK button.

The artwork that was put appears inside a bounding box that is located in the middle of the Photoshop picture. The artwork keeps its original aspect ratio; but, if it is bigger than the Photoshop picture, it is scaled down to fit. This only occurs if the artwork is larger than the image.

Note: In addition to the Place command, you can also add Adobe Illustrator artwork as a Smart Object by copying and pasting the artwork from Illustrator into a Photoshop project. This allows you to use Adobe Illustrator artwork in conjunction with the editing capabilities of Photoshop.

4. (Optional) You can either reposition or change the artwork that has been placed by performing any of the following:

•       To reposition the placed art, either place the pointer inside the bounding box of the placed art and drag it, or in the options bar, enter a value for X to specify the distance between the center point of the placed art and the left edge of the image. Alternatively, you can click and hold the shift key while dragging the pointer to reposition the art. To define the distance between the central point of the inserted artwork and the top border of the picture, you will need to input a value for the Y variable.

•       To scale the placed art, either drag one of the corners handles of the bounding box or input numbers for W and H into the options bar. You can also do both of these things. Holding down the Shift key while dragging will confine the proportions of the object.

•       To rotate the inserted artwork, either move the pointer outside the bounding box so that it changes into an arrow with a curve and then drag it, or enter a number (in degrees) for the Rotation option in the options bar. The artwork revolves around the point in the middle of the artwork that was put. To make a change to the position of the center point, either click a handle on the Center Point symbol in the options bar or drag it to a new spot.

•       To skew the placed art, hold down Ctrl (Windows) or Command (Mac OS) and drag a side handle of the bounding box. This will allow you to skew the art.

•       To warp the art that has been inserted, choose Edit > Transform > Warp from the menu bar, and then select a warp style from the pop-up menu located in the options bar.

If you choose Custom from the drop-down option next to Warp Style in the pop-up menu, you can warp the picture by dragging the control points, a section of the bounding box or mesh, or an area included inside the mesh.

5. If you are inserting an Adobe Illustrator, EPS, or PDF file, adjust the Anti-alias option located in the options bar to reflect your preferences. Choose the Anti-alias option while rasterizing to merge the pixels around the border of the image. During the rasterization process, deselecting the Anti-alias option will result in a transition between edge pixels that has a sharp edge.

6. Do one of the following:

•       To commit the artwork that has been put to a new layer, click the Commit button in the options bar or hit Enter (on Windows) or Return (on Mac OS).

•       To cancel the placement, either hit the Esc key on your keyboard or click the Cancel button in the options box.

Place PDF or Illustrator files in Photoshop

When you put an Adobe Illustrator or PDF file, you can utilize the dialog box titled "Place PDF" to select parameters for where the artwork will be placed.

1. Place a PDF or Adobe Illustrator file into the open Photoshop document that will serve as the final destination.

2. Choose either Page or Image from the drop-down menu labeled Select in the Place PDF dialog box. This step is dependent on the components of the PDF file you want to import. If the PDF file contains more than one page or picture, click the thumbnail of the page or image you wish to insert in the appropriate location.

•       Note: To change the size of the thumbnails shown in the preview window, go to the menu labeled "Thumbnail Size." The Fit Page option causes the preview window to only display one thumbnail at a time. If there is more than one item, a scroll bar will be shown.

•       To choose which parts of the PDF or Illustrator (AI) document are to be included, go to the Options tab and select Crop To from the drop-down box.

The Bounding Box function cuts the page down to the smallest rectangular zone that yet retains all of the page's content and visuals. Choosing this option will get rid of any unnecessary white space.

The Media Box will crop to the page's initial dimensions when selected.

The Crop Box crops the PDF file to the clipping zone, also known as the crop margins.

The Bleed Box Crops should be performed to the area that is indicated in the PDF file to accommodate limits that are inherent in production processes like cutting, folding, and trimming.

The Trim Box function crops to the area that is given for the completed size of the page that is desired.

The Art Box will crop the document to the area that you have selected in the PDF to import the contents of a PDF file into another program.

•       To exit the Place PDF dialog box, choose OK from its menu.

•       Use the options bar to make any required adjustments to the image's placement, scaling, skewing, rotating, warping, or anti-aliasing settings, if necessary.

•       Select the piece of artwork you want to install as a Smart Object on a new layer of the destination document, and then click the Commit button.

UNDERSTANDING LAYERS

The concept of layers can be seen as many panes of clear glass that are layered one on top of the other. Different aspects of each layer can be seen through the layers.

There are many different kinds of layers that you can use in Photoshop, and you can broadly classify them into two categories:

•       Content layers: These layers include a variety of content, including photos, text, and shapes, among other things.

•       Adjustment layers: These layers provide you the ability to make modifications to the levels underneath them, such as changing the level of brightness or saturation. Because they don't alter the look of the original picture in any way, editing using adjustment layers is considered to be a kind of non-destructive editing.

When working with layers, it might be good to toggle the visibility of particular layers to see the effect that they have on the picture. You can do this by clicking the eye symbol that is located next to the name of each layer.

To experiment with activating and deactivating the various layers, use the interactive below and click on the eye icons. It is important to take note of the fact that concealing content layers, such as the Background layer, has a more pronounced impact than hiding adjustment layers, such as the Adjust Levels layer.

You can be asking at this point why it is even necessary to employ layers of anything. Wouldn't it be simpler if you could just work with everything in your image at the same time? Because you can edit each layer separately from the rest of the image, layers grant you an incredible amount of flexibility as well as control over the final product. As soon as you feel comfortable using layers, you'll want to use them whenever possible.

Layer basics

The Layers panel allows you to not only view but also create and edit layers. In most cases, this will be located in the bottom-right corner of the screen; however, you can always go to Window > Layers to check that it is active if you prefer.

Create an adjustment layer

Adjustment layers are a good place to start learning about layers if you've never used them before. It is important to keep in mind that an adjustment layer does not contain any content; rather, its only purpose is to enable you to make modifications to the layers that are stacked below it.

1. Select the layer underneath the one you want the adjustment layer to display in the Layers panel. In this example, we will choose the layer labeled "Cake."

2. After clicking the Adjustment button located at the bottom of the Layers panel, choose the required adjustment from the drop-down menu that appears.

The adjustment layer will then become visible, and after that, you can use the Properties panel to make changes to the adjustment. Any adjustments you make will affect all of the layers that are lower in the stack than the adjustment layer. In the next sections, we will go through utilizing the Properties panel to make various alterations.

You can also construct an adjustment layer by making use of the buttons located inside the Adjustments panel.

Create a blank layer

You may find yourself in a situation where you need to create a new blank layer at some point. For instance, if you want to draw a picture using the Brush tool, you could create a new layer and then draw on that layer. This would allow you to draw on the image without affecting the original layer.

Click the button labeled "New Layer" which is located in the lower-right-hand corner of the Layers panel to create a new layer. The Layers panel will be updated to reflect the addition of the new layer.

Duplicate a layer

There will also be other occasions in which you will wish to replicate one of your layers. This makes it simple to experiment with various adjustments without impacting the layer that was originally there.

1. Select Duplicate Layer from the drop-down menu that appears when you right-click the layer...

A modal dialog box will show up. Select the OK button. The duplicate layer will show up at this point.

Delete a layer

You have the option of deleting a layer if you discover that you no longer need it. To do this, first, pick the layer you want to delete, and then click the Delete key on your computer. You also have the option to click and drag the layer until it is dropped into the trash can located in the bottom-right corner of the Layers panel.

Working with layers

Working with the different levels in your file can be done in a variety of different ways. You can adjust the stacking order, for instance, as well as display and conceal the various levels.

Showing and hiding layers

To conceal a layer, you need to click the eye symbol that is located next to the layer you want to hide. Simply clicking it one more will reveal the layer. You can see that we have disabled the Text layer by looking at the picture that is shown below; as a result, the text is no longer visible in the document window.

Reordering layers

The appearance of the document will be determined by the sequence in which the layers are layered. Altering the order in which the items are stacked could be necessary at times. Simply clicking and dragging a layer into the correct place in the Layers panel is all that is required to rearrange the layers in an image. You can see that we have pushed the Cake layer to the very top, which covers up the layers that came before it by referring to the picture that can be seen below.

If you right-click the Background layer of the picture and pick Layer from Background from the context menu, you will be able to rearrange the layers in the image. By doing so, the background will be converted into a standard layer, which enables the layer to be reordered.

Editing layers

The primary benefit of using layers is that each layer can be edited or adjusted independently from the others, without having any impact on the remainder of the file. You have access to a wide variety of editing tools, as well as the various sorts of layers that we discussed previously in this section. It is essential to keep in mind, however, that not all editing tools are compatible with every sort of layer. As you get more expertise with Photoshop, this concept will become simpler and easier to comprehend.

Using editing tools

When it comes to editing layers, you have the option of using tools from both the Tools panel and the Filter menu. Utilizing the Move tool, for instance, enables you to relocate individual layers anywhere inside your file. We are using it in the picture that can be seen below to bring the Rings layer closer to the bottom of the image.

Selecting layers before editing

Before making many different kinds of adjustments, you need to make sure that the correct layer is chosen first. If you don't, you risk accidentally changing the appearance of the wrong layer. When you use a tool like the Eraser, for instance, it will only affect the layer that you have chosen at the time. It is a good idea to make it a habit to check the Layers panel regularly to ensure that you have the appropriate layer selected. Getting into this habit might be useful.

Making changes to the text layers

Double-clicking the layer icon in the Layers panel allows you to modify a text layer by opening it for editing. After that, you have the option of changing the text, selecting a new font, or adjusting the size and color of the text.

CHANGING CANVAS AND IMAGE SIZE

One of the most typical requirements for picture editing is the modification of an image's size and resolution, which can be accomplished by resizing. Take, for instance:

•       Before you upload your picture to a website and share it with others, you can want to change the resolution of your photo.

•       You can also choose to modify the proportions of your picture to fit it into a certain format to print it or upload it.

After opening your photograph in Photoshop, go to the menu and choose Image > Resize Image from the drop-down menu. This brings up a new window or box.

It is essential to have a solid understanding of each of these different choices and how to effectively configure them. Let's take a more in-depth look at:

•       Image Size: This relates to how much space an image uses up on a hard disk, or how much "weight" the image has. Another way to think of it is how much room it takes up.

•       Dimensions: These are the measures of the picture, and they can be stated in pixels, inches, centimeters, or any other unit of measurement. To check the currently selected unit of measurement or to switch it, use the arrow to the right of the phrase Dimensions and click it.

•       Fit To: In this section, you can use the drop-down menu to choose one of many preloaded sizes, including the most popular sizes, such as 4x6 or 5x7 inches. Other preloaded sizes include custom sizes that can be created as well. You can also load and store your custom sizes for usage at a later time by making use of this feature.

•       Width and Height: These are dimensions that do not need an explanation. Nevertheless, there are a few things that I would like to bring to your attention. If you click on the chain symbol on the left, you will connect both values and guarantee that the existing aspect ratio is maintained even after the image is resized. Once linked, each modification you make to one variable will result in an automated adjustment to the other value. Another thing to keep in mind is that the dimensions' value does not affect which unit of measurement is used for width and height. Therefore, you have the option of setting the Dimensions to pixels while leaving the Width and Height settings unchanged - for instance.

•       Resolution: This value can be set to pixels/inch or pixels/centimeters; however, pixels/inch is the typical setting in most nations, including those that use the metric system. This is because pixels are measured in increments of one inch. The term "pixels/inch" describes the number of individual pixels that are contained inside a single inch. You are free to enter whatever number you choose here; however, the standard resolution for digital photographs is 72 pixels/inch, and the standard resolution for printed photos is 300 pixels/inch.

Resample: When this option is off, the Width, Height, and Resolution are ALL LINKED together. This means that if you modify any one of them, the others will adapt themselves correspondingly. When this option is enabled, the Width, Height, and Resolution are NOT LINKED together. When they are connected, lines will connect all three values, so you can easily see when they are connected. The lines will vanish when you enable the Resample feature, and the drop-down menu will become operational after that.

You will discover all of your available options under the Resample menu. It will be set to Automatic by default, which will enable Photoshop to evaluate the picture, determine how you want to resize it, and automatically choose the resampling technique that will provide the best results. The Automatic Resampling option often produces satisfactory results. When you want to expand a picture, you can also choose the Preserve Details or Bicubic Smoother option, and when you want to reduce an image, you can use the Bicubic Sharper option.

When there are tone gradients in the photo, the bicubic filter works quite well. Another choice that works well for keeping hard edges intact is the Nearest Neighbor method. Try out the different resample methods so you can have a better understanding of how much time each one requires and how much more or less accurate the results it produces.

RESIZE METHOD NO. 1: ADJUSTING THE SIZE OF THE IMAGE

The resizing option that is used most often is a size modification to the picture. To get started, go to the Image menu and choose "Resize Image" from the drop-down menu. Then, enter the necessary numbers. If you turn off the Resample option in Photoshop, the program will reorganize the pixels that are already there. Because the resolution was changed, the picture's width and height were reduced, but the image's overall size and dimensions remained the same. You can see this effect in the image below. This is because the number of pixels has remained the same, but the distance between individual pixels has increased.

If, on the other hand, you choose to Enable Resampling by clicking on the Resample box, your picture will be "stretched" as you resize it, which will result in the image's quality being degraded. When compared to the prior example, which did not use resampling, the change can be seen in the preview box. However, the previous example's preview box seemed to be identical to the original.

After you have determined and entered the values that you want, click the OK button to put the changes into effect.

RESIZE METHOD #2: RESIZING THE CANVAS

The use of borders is another method for resizing your picture. This approach helps place a frame around the picture or blank space for graphics and/or text since it allows you to do both.

To change the size of your canvas in Photoshop, choose Image > Canvas Size from the menu bar. This will cause a pop-up dialog box to appear, inside which you will be able to see the current size of the canvas as well as options for adjusting it.

You can enter new numbers using other units of measurement, such as percentages, pixels, or inches. To change the unit of measurement, open the drop-down menu by clicking on the down arrow, and then pick the unit you want to use. When you modify one of them, it will cause the other to adapt to match it automatically. To put it another way, you can't have the height measured in pixels while the breadth is measured in centimeters; doing so would be quite difficult to understand.

Keep in mind that altering the size of the canvas will not affect the actual size of the picture. If you enter a lesser number, the picture will be cropped, and if you enter a bigger value, a space will be added around it. Take note that the color of the additional space can be changed in the Canvas Extension section located at the bottom of the page.

You will also have an Anchor, which gives you the ability to specify how the additional pixels should be distributed around the screen. The anchor is placed in the center of the picture by default, which means that it will either crop the image or create space around it in an equal amount. Simply click on any of the areas included inside the square to make adjustments to the Anchor.

USING RULER

You can place pictures or objects more accurately with the assistance of rulers. Rulers are shown along the top and left sides of the current window when they are made visible. When you move the pointer, the ruler's markers update to reflect the new location of the pointer. You can measure from a particular place on the picture by adjusting the ruler origin, which is indicated by the mark (0, 0) on the top and left rulers. The position at which the grid begins can be established based on the ruler's origin.

To display or conceal the rulers, choose View > Rulers from the menu bar.

Measuring an Object using the Ruler Tool

Step 1: All that is required to use this tool is for you to either choose it from the toolbar as shown above or continually press the Shift and I keys on your keyboard until it appears.

Step 2: At this point, all you need to do to calculate the distance between two ends is click and hold your left mouse button at the beginning end of the distance you want to measure, then drag your mouse to the other end, and then let go of your mouse button. For illustration's sake, let's take a picture of an orange and measure it according to the guidelines below:

• The outcome can be seen in the table below. The space between the two extremities is roughly 120 pixels in width.

When you use the Ruler Tool, the Options Bar gives you some information that covers the values in the following table.

•       X, Y: The X and Y coordinates of the beginning of the line. For instance, if you start drawing the line at the one-inch location on the horizontal ruler and the three-inch location on the vertical ruler, the values of X and Y on the options bar will be 1.0 and 3.0, respectively. This is because the X and Y coordinates of the beginning of the line are located on the horizontal and vertical rulers, respectively. (The settings panel of Photoshop is where you make adjustments to the accretions for the X and Y values on the ruler.)

•       W: The X ordinate of the endpoint is different from the X ordinate of the start point in this case because of this difference. For instance, if the starting point is located 800 pixels to the left of the extreme left and the ending point is located 900 pixels to the left of the extreme left, then W would be equal to 100 (900 - 800).

•       H: There is a difference between the Y ordinate of your starting position and the Y ordinate of the destination point, as shown by this distinction. In the event where the starting point is located 800 pixels to the left of the extreme left and the ending point is located 1000 pixels to the left of the extreme left, the value of W in this scenario would be -200 (800-1000).

•       A: Either the angle formed by the initial line or the angle formed by the intersection of two lines.

•       L1 represents the whole length of the line. This other option illustrates the actual distance that separates the two endpoints. The value of L1 is 120 in the example that was just shown, which informs us that the distance that separates the two ends is 120 pixels. You can also get the length of the L1 physically by using the Pythagorean theorem, as well as the Width(W) and Height measurements (H).

•       L2: The total distance traveled along the second line. This alternate method can only be used if we also want to measure a second new line concurrently with the first line.

•       Ruler Tool: You can also use the Ruler tool to straighten your image after you have used the Straighten Layer feature. Simply draw a line with the Ruler between the two picture layers that you wish to align, and then click the Straighten Layer button that is located in the options bar once you have completed this step.

•       Clear: To delete your current measurements, use the Clear button on the toolbar.

Measuring Angle Using the Ruler Tool

Let us continue with the same example as before:

Step 1: All that is required to use this tool is for you to either choose it from the toolbar as shown above or continually press the Shift and I keys on your keyboard until it appears.

Step 2: After selecting a starting location for the first line, click and drag the cursor to the end of the line. Let's release the mouse button to make the first line.

Step 3: While holding down the Alt key (or the option key on a Mac), press the endpoint of the first line that you will use to calculate the angle. This will be your starting point.

The angle that is created by this is 75.2 degrees.

Straightening an Image

To demonstrate this, we will use a picture of an orange and a banana as an example.

Step 1: Position both of the photographs on the dashboard.

Step 2: From the toolbar, choose the Ruler tool to continue.

Step 3: Once you have chosen a starting place for the first line, click there and drag it to the endpoint. When you are ready to create the line, release the button on the mouse.

Step 4: After drawing the line, straighten the picture by selecting Straighten Layer from the options bar located at the very top of the screen. The following is the outcome that you will obtain.

•       The rulers, on their own, have a noticeable amount of adaptability. You can change their sizes, create more than one start and endpoint, and seal them in such a way that any newly added points have to be positioned together with the calculation marks for perfect accuracy. There are also horizontal and vertical cursors that follow and move alongside the screen. This ensures that you are always aware of the exact location of your mouse about the X and Y axes.

Change a ruler’s zero origin

1. Select View > Snap To, and then pick any combination of choices from the submenu that appears. This step is completely optional. When you do this, the origin of the ruler will be locked onto the guides, slices, or document limits. You also have the option to snap to the grid.

2. Place the cursor above the intersection of the rulers in the top left corner of the window, and then drag the pointer down onto the picture in a diagonal direction. The new starting point on the rulers is indicated by the appearance of a set of cross hairs.

Note: You can have the ruler origin snap to the ticks of the ruler by holding down the Shift key as you move it.

Double-clicking the upper-left corner of the ruler will bring up the option to reset the origin of the ruler to its default setting.

Change the unit of measurement

1. Do one of the following:

•       Double-click on a ruler.

•       To change the unit, either go to Edit > Preferences > Units & Rulers on a Windows computer or right-click the ruler and choose a new unit from the menu that appears.

•       To change the units that Photoshop uses, go to Photoshop > Preferences > Units & Rulers on a Mac OS computer, or control-click the ruler and choose a different unit from the menu that appears.

2. Choose the unit of measurement for the rulers.

•       Note: When you alter the units on the Info panel, it will also update the rulers to reflect the new settings.

3. Make your selection from the following choices for the Point/Pica Size:

PostScript (72 points per inch) (72 points per inch): Initializes a PostScript printer with a unit size that is suitable for printing to a PostScript device.

Traditional: Utilizes the standard printing point size of 72.27 points per inch.

4. Select the OK button.

Position with the Ruler tool

You can place pictures or objects more accurately with the aid of the Ruler tool. The Ruler tool determines the distance in the workspace between any two points that are selected by the user.

When you measure the distance between two points, a line that does not print is drawn, and the options bar and info panel display the following information:

The starting location (X and Y)

The horizontal (W) and vertical (H) distances traveled from the x and y axes

The angle measured relative to the axis (A)

The total length traveled (D1)

The two lengths traveled (D1 and D2) when you use a protractor

The unit of measure that is presently selected in the Units & Rulers preference dialog box is used for the calculation of all measurements, except for angles.

If your document already has a measuring line, using the Ruler tool will cause it to be brought into view if it is there.

Determine the distance between two places.

Choose the Ruler tool from the toolbox. (To make the Ruler visible, keep your finger pressed on the Eyedropper tool.)

Move the cursor from where you started to where you want to finish up. Keep the Shift key down to restrict the tool to 45-degree increments at a time.

You can make a protractor out of an existing measuring line by double-clicking the line and dragging at an angle from one end of the measuring line, or by using the Alt-drag (Windows) or Option-drag (Mac OS) keyboard shortcut. Keep the Shift key depressed to limit the tool's rotation to multiples of 45 degrees.

Edit a measuring line

1. Choose the Ruler tool from the toolbox.

2. Do any of the following:

To adjust the length of the line, just drag one of the ends of an existing measuring line.

•       To move the line, position the cursor such that it is on the line some distance from terminus, and then drag the line.

•       To delete the line, either position the cursor on the line some distance from either terminus and drag it out of the picture, or choose Clear from the tool options bar. Alternatively, you can use the Delete key on your keyboard.

Note: You can choose an image feature that should be horizontal or vertical, then select Image > Image Rotation > Arbitrary from the menu after dragging out a measure line on the feature. In the Rotate Canvas dialog box, the appropriate rotation angle that is necessary to rectify the crookedness of the picture is automatically input.

CROPPING

In Photoshop, you can crop a picture in primarily two different methods. You have the option of making a selection using the Rectangular Marquee tool or cropping the image with the tool. Both of these approaches accomplish their goals in quite different ways; hence, you can decide that you like one of them more than the other.

To crop an image (Method 1):

1. In Photoshop, open the picture you want to crop and go to the Tools panel to pick the Crop tool.

The portion of the picture that you wish to preserve can be selected by clicking and dragging it and then releasing the mouse button.

If required, make adjustments to the cropping handles.

You can crop the picture by using the Enter key on your computer. There is also the option to double-click the picture.

To crop an image (Method 2):

1. Select the Rectangular Marquee tool from the Tools panel in Photoshop while the picture is still active in the program.

2. In the menu bar of the Control panel, look for the option labeled Style (also called Mode in some versions). If you want the picture to have a certain aspect ratio, choose Fixed Ratio from the drop-down menu, then write in the dimensions you want it to have. If that is not the case, you need to make sure that the Style is set to Normal. For this demonstration, we will crop the picture such that the aspect ratio is 4:3.

The portion of the picture that you wish to preserve can be selected by clicking and dragging it and then releasing the mouse button.

If it is necessary, you can click the border of the selection box to shift it to the location of your choosing.

Choose Image > Crop from the menu. The picture is going to be cropped.

While you are making a decision, you also have the option to move the selection box as a whole. To do this, you will need to click and drag to choose the region you want to select, but you cannot let go of the mouse at any point throughout the process. The next step is to move the selection box to a new spot while simultaneously holding down the spacebar on your keyboard and navigating with the mouse. When you are finished, you can let go of the spacebar.

Rotating

In Photoshop, rotating a picture is a very simple process. You can rotate photos in either a clockwise (CW) or counter-clockwise (CCW) direction, flip the image horizontally or vertically, and even rotate by an arbitrary amount to choose a certain orientation. On the other hand, the majority of today's digital cameras can automatically alter the rotation of photographs, so you probably won't need to make use of this function very often.

1. With the picture already open in Photoshop, choose Image > Image Rotation and then choose the appropriate rotation setting from the drop-down menu that appears.

2. The picture will be turned in its new orientation.

Undoing changes

If you make a mistake, you can reverse your most recent edit by pressing the Ctrl and Z keys on your keyboard (or the Command and Z keys on a Mac). Simply pressing Ctrl+Shift+Z (or Command+Shift+Z on a Mac) will allow you to undo the most recent update.

The process of undoing things in previous versions of Photoshop is a little bit different. To reverse the most recent change you made, use the Ctrl and Z keys on your keyboard (or the Command and Z keys on a Mac). On the other hand, if you hit Ctrl+Z once again, the modification will be undone. To roll back many changes at once, choose Edit > Step Backward from the menu bar or press Ctrl+Alt+Z (or Command+Option+Z on a Mac). Alternatively, you can use the Undo key on your keyboard.

SAVING

When you want to save a file in Photoshop, you have some choices and file formats to choose from, including the following:

•       PSD: This is the file format that is used by default for Photoshop documents; however, you won't always use it for every picture that you create. It will store all of the information in the picture, including the layers as well as any other data that can be present, allowing you to quickly modify the image at a later time. Because PSD files are intended to be opened in Photoshop, you will also need to save a copy of the picture in a common file format, such as JPEG, to be able to share it with other people.

•       Common file formats: You have the option of saving photographs in some widely used file formats, such as JPEG and PNG. Because these file formats can be read and altered on almost any kind of computer and mobile device, they are well suited for distribution to multiple users at the same time. However, in contrast to PSD files, these formats are not as helpful if you want to continue changing the file, and they also are unable to keep layer information. If you wish to continue editing the file, you should use PSD files instead.

•       Save for Web: You will want to use the Save for Web tool if you want to post a picture on the Internet, such as on a website or blog. This is because you will need to save the image in a format that is compatible with the Internet. You will have an easier time downloading and viewing these photographs online if you save them using this program once they have been formatted specifically for the web. The ability to resize photos is one of the many useful options that are included in Save for Web to assist users in preparing images for use on the web.

The picture that can be seen below displays three distinct iterations of the same image file: the initial JPEG file, a PSD version that has been altered, and a final JPEG version that has been scaled and saved for use on the web. The file size of the Web version is much less than that of either the original or the PSD version.

In the end, the choice for storing the picture that you choose will be determined by what you need to do with the image. Let's take a look at a few different situations to help illustrate why you would pick one kind of savings over another.

Scenario 1

Let's imagine you've been given the task of designing a brand-new header picture for a website owned by a firm. You have been provided with an image to incorporate, and you need to add some text that includes the name of the firm. You should save this kind of project as a PSD file since you may alter and change it in the future.

You will be able to simply resume altering the file at a later time if you do it this way. You should also make a new JPEG version of the final picture by using the Save for Web function since it will likely be uploaded to the internet at some point in the future.

Scenario 2

Let's imagine you've decided to show some of your close friends some of the pictures you took on your most recent trip. Before you share them with others, you would want to do a few fast edits in Photoshop, such as cropping and rotating the images. In this scenario, you can make the required modifications to the original picture files in Photoshop, then save a new version of the altered photographs as JPEGs. You probably do not need to save a separate PSD version of each picture since none of these modifications are really difficult.

As can be seen, the method of file preservation that you choose will change depending on the project that you are working on. Take some time to think about the format of the files that will be required before you save a picture. This procedure will start to seem more intuitive and natural the more experience you have with Photoshop. The quicker you get at it, the better.

Using Save As

You can save files in the PSD format, along with other popular formats like JPEG and PNG, by using the Save As command in your editing software.

To save a file using Save As, do the following:

1. While the picture is still visible in Photoshop, go to the File menu and choose Save As.

A modal dialog box will show up. First, choose a place for the file, then start typing the name of the file you want to save. You should save the document under a new name to prevent inadvertently overwriting the previous version of the file.

After selecting the appropriate file format from the Format menu, click the Save button. For the sake of this demonstration, we will save the picture as a JPEG file. Be sure that the Layers option is selected before you attempt to save the file as a PSD format. However, you won't have access to this choice in the vast majority of the other formats.

2. Select "Save" from the menu.

3. When you save a file using certain file types, such as JPEG and TIFF, you will have access to extra choices. To save the picture, first, choose the amount of quality that you want, then click the OK button.

If you have already saved your project as a PSD file, you can always save your work by selecting File > Save or using Ctrl+S (or Command+S on a Mac). If you haven't previously saved your project, you can do so by selecting File > Save. If, on the other hand, you are dealing with a different format, such as JPEG, we advise you to use the Save As command so that you do not overwrite your original file.

Try this!

Launch Photoshop, load the sample file, and experiment with saving it in a variety of file types, including PSD and JPEG. Take note of how the PSD format maintains the distinct layers, in contrast to the JPEG format, which does not.

Using Save for Web

When you utilize the ability to Save for Web, you will be prompted to choose a few choices about the picture that you are saving, including the following:

File format: Save for Web gives you the option to choose from many different file formats that are suitable for use on the web. When it comes to picture file formats, JPEG is by far the most used choice. PNG-24 will maintain the image's full quality, whereas PNG-8 is mostly used for images and drawings that make limited use of color. PNG-24 is the superior format. In most cases, you won't be required to work with the GIF or WBMP file formats.

Image size: The Save for Web dialog box gives you the option to resize the image right there and then. The size of the picture file can be decreased by reducing the size of the image itself. On the other hand, if you upload your photographs to a service like Facebook or Tumblr, the images will likely be automatically resized for you, so you won't need to do anything to adjust their dimensions.

Quality: If you are saving the image in JPEG format, you have the option of saving it at a variety of various quality levels. You can wish to try out a few different settings before settling on the optimal combination of high quality and manageable file size.

Try this!

To change the quality of the JPEG compression, use the slider in the interactive that can be seen below. Keep in mind that increasing the quality level will also result in a larger file size. Make an effort to locate a configuration that produces pleasing visuals while minimizing the overall size of the saved file.

To save for the Web:

1. Go to the "File" menu and choose "Save for Web."

The Save for Web dialog box will show up at this point. Choose the kind of file and quality level that you want to save.

2. If necessary, change the size of the picture by entering the new measurements you want under the heading Image Size. When you input the new width for the picture, the height should automatically change to keep the same aspect ratio as before.

3. You have the option of using the 2-Up view to examine the original picture in conjunction with a preview of the updated version. You can be certain that you have not significantly degraded the quality of the original by using this straightforward method. Take a look in the bottom-left corner of each preview window to see the size of the file.

4. Select the Save option. There will be a new dialogue box that appears. After providing the file with the appropriate name and selecting a place for it, click the Save button. You should save the document under a new name to prevent inadvertently overwriting the previous version of the file.

PART THREE

THE SELECTION TOOLS

This part explains the selection tools available on Photoshop. The tools comprise of the quick selection tool, magic wand tool, eraser tools, and lasso tools. You will understand how they work and how to apply them in your photos. Also, you will learn about the layer styles, the drop shadow layer effect, inner shadow layer effects, and the outer glow layer effects.

USING THE QUICK SELECTION TOOL

When you're working on an image in Photoshop, there are occasions when you'll simply want to edit a certain section of the photo, such as the face of a certain person or the backdrop by itself. If this is the case, the Quick Selection tool will be your best ally in this situation.

You can choose an area of the photo to work on with the Quick Selection tool, just like you do with other selection tools. The Quick Selection tool, on the other hand, makes use of colors to help you choose just the content that you want, in contrast to other tools that need you to manually select the part.

When you are editing a photo, the Quick Selection tool analyzes the colors in the image to determine the boundaries between individual objects. It does this by comparing the colors in the two areas.

As a result, the Quick Selection tool works most effectively on photographs that have a wide variety of colors and contrasts. It works very well for picking backdrops, items that are by themselves, and other things that can be easily distinguished from everything else in the surrounding area.

1. Launch Adobe Photoshop and open a picture. Simply go to the toolbar on the left side of the screen and choose the Quick Selection tool from there. It is the fourth choice from the top and resembles a paintbrush being used to make a dotted line. If you instead see an icon that looks like a magic wand, right-click on it, and then pick the "Quick Selection Tool" option from the context menu.

2. Make sure that the "Add to selection" option is chosen at the top of the screen. This mode is represented by the same brush-and-dotted-line symbol as in step 1, but it also has a + sign above it. If you pick this option, when you use the Quick Selection tool to click on a picture, it will add to the selection you have already made rather than requiring you to start from scratch.

3. At the very top of the screen, you'll also see the option to adjust the size of the selected brush. You should strive to make the brush smaller than the area or the item that you are trying to choose, since if the brush is too big, it will select portions of the region or object that you do not want to select.

4. Select the area of the picture that you want to crop by clicking on it. To increase the size of your selection, either click another area or click one area and then drag your mouse across the canvas as if you were using a paintbrush. You'll notice that the selection becomes bigger as you move the mouse around.

5. If you have inadvertently picked portions of the picture that you do not want, it is now time to delete those elements of the image. Choose the "Subtract from selection" option by clicking the symbol that looks like a paintbrush and dotted line but has a minus sign next to it at the very top of the screen. Because of the increased need for precision and delicacy in the brushwork, you can also find it helpful to make the brush a little bit smaller.

6. Identify a portion of the image that has a selection that you do not want. When you click the selection, be sure to keep your cursor inside the area that you do not want to be included in the selection. For instance, if you want to choose the sky above a structure, maintain the tool below the roofline. This will allow you to make the selection. While you click and drag carefully, keep an eye on how the selection shifts.

7. To choose only the area you want, switch between the "Add" and "Subtract" selection modes while also adjusting the size of the tool until you have the region you want chosen. This can need more than one attempt, particularly if the picture does not contain a lot of colors that contrast with one another.

8. If you have made a selection that you no longer desire, right-click anywhere inside it and pick "Deselect" from the menu that appears.

After you have made your selection, you are free to draw or erase inside that selection without having to be concerned that your work will extend beyond the boundaries of the selection and into the remaining portion of the image. Any filters that you apply will only affect the part that has been chosen. The same principle applies to other tools, such as Patch, Paint Bucket, and Spot Healing, among others.

If you have Quick Selection turned on, you can access further customization choices for your selection by right-clicking the part you have highlighted. Choose this option, and your selection will be inverted so that everything other than what you have highlighted will be chosen. This option is one of the available ones.

Using the Quick Selection tool like a pro with layers

Imagine the layers in Photoshop as individual sheets of paper that are stacked one above the other. This is how you sort the information about what is on top of what. You need to be familiar with how to make use of them if you want to undertake any kind of sophisticated work in Photoshop.

If you are going to utilize the Quick Selection tool, but you are unsure whether or not the result is going to look decent, it is a good idea to duplicate all of your existing layers before you begin. This is the standard practice for graphic designers and photographers working professionally, and it is also the most effective strategy to safeguard your work.

When you duplicate a layer, the original version of the picture is preserved, and you can use it as a reference at any time. If you so want, you can even combine the two different versions of the picture.

1. Go to the Layers palette, which is located on the right side of the screen, and drag your existing layer(s) to the "Create a New Layer" button, which is located at the bottom of the screen and is shaped either like a plus sign or a sticky note.

2. To conceal your original layers, you need to click the eye symbol that is located next to them.

3. To pick the newly cloned layer, click on it, and then continue with the editing process.

Utilize the eye symbols to reveal or conceal your layers according to your preferences. If you wish to view the old layers for reference, you can use the eye icons.

Understanding Quick Selection Options

You can make adjustments to the layer that is presently chosen thanks to the extra Quick Selection Options.

1. Sample All Layers

The "Sample All Layers" option will be the first one that you see after the "Add to Selection" and "Subtract from Selection" choices. Instead of selecting just the layers that are presently active, the tool will generate a bespoke selection from all of the layers in the document.

If you make choices from various layers inside an image, you can use the Sample All Layers option to combine those separate selections into a single selection so that they can be edited together.

2. Auto-Enhance: It is the optimal option for smoothing down the jagged edges that are produced whenever items are selected in Photoshop. Your selection borders will have a more jagged and blocky appearance as a result of the tool's automated enhancements. You are free to make use of the tool if you are not making all of your choices using a stylus.

The modification is performed only via the use of software, and there are no accessible customization possibilities.

3. Refine Edges: If the outcomes of Photoshop's automatic functions do not meet your expectations, you can utilize the Refined Edge option to make changes to the contrast and radius settings manually. This will cause your choices to seem more flawless.

You can paint inside the portion of your selection that you've selected by using a tiny brush. To continue to smooth out the edges of your selection, just drag along the inside edges of the selection. You can make your selection seem smoother by adjusting the options for Edge Detection, which are located in the menu. This will lower the degree of sharpness that is there.

USING THE MAGIC WAND TOOL

Using the Magic Wand Tool in Photoshop is a fast and simple technique to pick and mask particular elements of a picture. This gives you the option to modify one part of your image while keeping other parts of your image unaltered. If you want to demonstrate a product in a variety of settings by showcasing it against different backdrops, or if you want to eliminate a background so that your product can stand on its own, the Magic Wand Tool is an excellent choice.

The Magic Wand Tool allows users to pick a section of a picture that has a single color at a time. The Magic Wand Tool provides you with some different possibilities once you have decided so that you can further refine that pick.

How to select and mask in Photoshop with the Magic Wand Tool

Step 1: Open your product photo and duplicate the background layer

Launch Photoshop and choose the file that contains the picture you want to edit from the drop-down menu.

Open the Layers palette in by selecting Window > Layers when you have your picture open in the program. Make sure that the Background layer is selected in the Layers panel. To duplicate the Background layer, go to the Layer menu and choose the Duplicate Layer option.

You will be allowed to give the copied layer a name of your choosing once it has been replicated. If you give your layer a name that suggests the backdrop has been removed (for example, "isolated"), your file will be simpler to use for other people on your team who can need to use it in the future. For example, "isolated" is a good example of such a name.

Step 2: Hide the background layer

Simply go to the Layers palette on your computer and click on the eye symbol that is located just to the left of the picture thumbnail. While you begin to make changes to your copied layer, your original backdrop will not be seen and will not be a source of distraction as you make these changes.

Step 3: Configure the Photoshop Magic Wand Tool

Select the Magic Wand Tool from the menu of available tools located on the left side of your screen, or press the letter "W." If the Magic Wand Tool is not readily apparent, it may be concealed by the Quick Selection Tool. In this instance, you should click and hold on to the Quick Selection Tool, then choose the Magic Wand Tool from the drop-down menu that appears.

Once you have the Magic Wand Tool chosen, you will see that there are numerous settings inside the tool that can be adjusted. These parameters allow you to regulate how much or how little is selected at one time.

You can change the behavior of the Magic Wand Tool by using the choices that are located at the very top of your screen.

•       Single-Selection: This is the option that you wish to have chosen the first time you use the Magic Wand Tool.

•       Add To Selection: This is the option that you will immediately have access to when you use the Magic Wand Tool while holding down the SHIFT key.

•       Subtract from Selection: This feature enables you to subtract pixels from your selection whenever you click on a portion of that selection.

•       Intersect with Selection: This creates a new selection that only contains pixels that were included in a prior selection.

•       Sample Size: If you're using a more recent version of Photoshop, you can change the size of your sample. The Magic Wand Tool has its settings adjusted so that it will only select the color of a single pixel at a time. Increasing the sample size causes the Magic Wand Tool to take into account, as part of its selection criteria, an average of the colors of the pixels that surround the sample. The Sample Size field has been left in its default state, which is Point Sample, in our example.

•       Tolerance: If you want to select a larger area at once, you can adjust the Tolerance setting on the Magic Wand Tool. In most cases, you will want to set your tolerance to a number that falls somewhere in the range of 15 to 30. In this particular illustration, Tolerance is created at 20.

Step 4: Make your selection

The Magic Wand Tool can be used in two different ways to choose the topic of an image: first, it can be used to select the backdrop, and then it can be used to select the subject itself. Your choice of approach will be determined in large part by whether or not the majority of the backdrop in your picture is a single color.

Method 1: Select the background

You can use the Magic Wand Tool to choose the background of a picture and then invert the selection if the backdrop is a solid color or very close to being a solid color. This works best if the background is a solid color.

1. Ensure that you are operating inside the duplicated layer (it should be highlighted in the Layers palette).

2. Using the Magic Wand Tool, click anywhere inside the backdrop wherever you like.

3. While holding down the SHIFT key, click on sections of the backdrop that weren't part of the first selection. For example, the shadows beneath the oranges in the illustration aren't part of the initial selection.

4. To make a selection of only the topic, pick inverse by hitting the SHIFT+CTRL+I (or SHIFT+COMMAND+I on a Mac) keys on your keyboard.

Method 2: Select the subject

If the backdrop of your picture has a variety of hues, you might choose the topic of your photograph rather than the background.

Select Subject is a feature that can be found in Photoshop. Regardless of how complicated the topic of your photograph can be, this clever function will analyze it and choose it for you.

Here’s how to use Select Subject to remove the background:

Verify that you are operating in the layer that you have replicated (it should be highlighted in the Layers palette).

While holding down the Shift key, choose the Magic Wand Tool from the Tools menu. Do not click anywhere on your picture.

At the very top of the program, you'll see a button labeled "Select Subject." You should have a general idea of the topic matter at this point.

Navigate to the top of the screen and choose the "Subtract from Selection" option. After that, select any parts of the selection that do not pertain to the topic by clicking on them (such as the shadows under these tangerines). The removal of these regions from the selection will result from this action.

If your backdrop is complicated but your topic is mostly one color, you can still use the Magic Wand Tool to choose your subject even if you are working in an earlier version of Photoshop. To choose the topic, you would proceed in the same manner as in Method 1. After you have completed your choice, the only thing that will be different is that you won't be able to pick the opposite option.

Step 5: Refine the edges of the selection

You will find a button labeled Select and Mask at the very top of the program window, just to the right of the one labeled Select Subject... To proceed, press the button.

(If you are working with an earlier version of Photoshop, you need to go to the Select > Refine Edge menu option to use this feature.)

Your window will be replaced by a screen that features several spot-adjustment tools on the left and a variety of global controls on the right.

There is a button labeled View located at the very top of this screen on the right side, just under the tab labeled Properties. Simply click this and make sure the On Layers (Y) checkbox is checked before continuing. At this point, you can see your topic in isolation, devoid of any backdrop at all.

You can experiment with quite a few features in this section, but the ones that will help you isolate an image of a product the most are the Smooth function in the Global Refinements section and the Refine Edge Brush Tool on the left side of the screen. Play around with these features as much as you like.

Smoothing out any jagged or uneven edges on your pick can be accomplished by dragging the Smooth slider to the right.

You will be able to spot-pick particular parts of your picture by using the Refine Edge Brush Tool, which can be accessed by selecting the letter "R." To use, choose the tool by clicking on it, and then paint over the parts of your selection that aren't quite perfect yet.

When you are through making your decision, go to the bottom right-hand corner of your screen, click on Output Settings, and then pick Output to > Layer Mask from the drop-down menu that appears. Select the OK button.

By employing a layer mask, you have successfully separated your subject from its backdrop at this point.

Step 6: Insert a new background into your image

•       Launch the file that has the fresh backdrop you wish to display behind your goods and choose it.

•       To select the full picture in the document that will serve as your new backdrop, press CTRL+A (or COMMAND+A on a Mac) on your keyboard. On a Mac, you would use Command+C instead of CTRL+C to copy the selection.

•       Return to the section of the file that contains the topic that you have just isolated. Choose the Background layer that has not been changed. After that, use the CTRL+V keys on your keyboard (or the COMMAND+V keys on a Mac) to paste the new background into the file.

Your masked subject and the old backdrop should be visible underneath the new background, which should be added as a new layer. You are now able to make the background layer that was there originally visible again.

If your original photo was shot against a white backdrop, you can bring the shadows from the original photograph into the new picture by changing the blend mode of the background layer in the new image to Multiply.

You can add more layers to create various backgrounds, and you can use the eye symbol that is located next to each layer to compare how the backdrop looks with your topic.

To display your topic against a consistent backdrop, you can also construct layers and fill them with solid colors (even white).

USING THE ERASER TOOL

As Photoshop has so many tools, it is easy to get confused about which one should be used to create a certain effect or carry out a specific job. You've undoubtedly seen the little eraser that's located in your toolbar and have entertained some curiosity regarding it. The Eraser Tool in Photoshop offers a few advantages, but it also has a few drawbacks that you should be aware of.

When you choose the Eraser tool, you will be presented with three different alternatives to pick from: the Eraser, the Background Eraser, and the Magic Eraser. When working with the Pencil tool, you can also use the auto-erase feature.

It is essential, however, to keep in mind that the Eraser tool is a destructive instrument. When you use the Eraser tool, whatever work you perform thereafter cannot be undone since it will be permanently deleted. There is no way to retrieve it unless you repeatedly instruct Photoshop to "Undo" your previous actions. If you notice that you made a mistake after you have already saved your work, then it is likely that you will need to begin the process again. Imagine a physical eraser when you use the Eraser tool. In the actual world, if you delete anything, it is permanently removed from existence.

If you don't want to work in a harmful manner, you could be wondering how you can get rid of things that you don't want to be a part of your image. Adding a layer mask to the layer that you want to modify and then using the Brush tool to mask out what you want to conceal is all that is required to do this. Using a layer mask will allow you to swiftly correct any errors that you can have made. You can also see what is being hidden by looking at the layer mask. You can accomplish the same result as using the Eraser tool by using a standard brush and masking it with black. This will give you the same result.

Eraser

Select the Eraser tool from the toolbar.

Choose the color of the backdrop that you would want to use instead of the currently active background or the layer that has its transparency locked.

Based on the effect you wish to achieve, choose the appropriate mode from the brush, pencil, or block menus. Blocks have square shapes with sharp corners, pencils have the appearance of lines that have been drawn on them, and brushes have rounded edges.

The opacity and flow controls can be found in the settings toolbar. These controls are necessary when working in the brush or pencil modes. Opacity is a measure of how thoroughly you wish to remove the pixels from view. For instance, setting the opacity to 100% would entirely erase, whilst setting it to a lesser level will just partly delete pixels.

While still holding down the shift key, move the cursor over the regions that you wish to delete.

The Eraser tool is just a brush in disguise. Just as with any other brush, you can adjust the size, the amount of hardness, and the spacing. Alternatively, you have the capability of switching the mode from Brush to either Pencil or Block. The Eraser tool, on the other hand, will remove the pixels that you do not want in your picture rather than drawing on them. Those pixels have been irreversibly removed from the image and can only be restored using the "Undo" command.

If you do not unlock the background layer, it will seem as if you are truly painting with the color of the background, although you believe you are removing content from the layer. If you remove the lock that is on your layer, you will be able to conceal it, and you will then be able to view the checker pattern that is beneath. Because I haven't unlocked the layer in the picture below, we are just seeing white where the checker pattern should be. This is because the layer is still locked.

I was able to unlock the layer by double-clicking on it, and now that I have done so, I can go back and use the eraser to access the checker pattern.

In addition, if you have duplicated the layer that you are now working on, you need to make sure that the duplicate layer has been hidden as well; otherwise, you won't be able to see the impact that the Eraser has. The letter "E" is the shortcut key for the Eraser tool.

Background Eraser

Navigate to the Layers panel in your editing program and select the layer that includes the parts of the image that you wish to delete.

While still holding down the eraser tool, choose the background eraser option from the menu that appears.

Select a brush and make the appropriate adjustments to its parameters for size, angle, roundness, and spacing.

Select a mode for the Limits.

•       Using the Discontiguous eraser mode removes the sampled color from everywhere it occurs under the brush.

•       The contiguous setting removes the sampled color from regions that are related to one another.

•       When you use Find Edges, connected regions that contain the sample color will be erased, but the shape of the edges will be preserved.

Use the slider to choose the degree of tolerance you want to use. A low tolerance, on the other hand, seeks colors that are extremely similar to the sample color; high tolerance, on the other hand, erases a larger range of colors.

Select the Protect Foreground Color option to assist you in preventing accidental deletion of the foreground colors.

Pick an Appropriate Sample Size Option

•       If you choose the Continuous option, the eraser tool will continue to sample colors even as you move it about.

•       Deleting a color more than once will only remove the color that was selected originally.

•       Deleting any regions that have the background color will cause Background Swatch to delete those areas.

The Eraser tool and the Background Eraser tool are two separate applications. The tool and the pointer will both transform into a circle with a plus sign in the center as soon as you make a click. The Background Eraser tool gets its color sample from the area that is right beneath the plus sign in the middle of the circle. This is the default setting for the tool. Therefore, Photoshop will remove all of that color from the area that is covered by the bigger circle.

Even if the circle extends to a section of the picture that you do not want to delete, Photoshop won't delete it until the small plus symbol meets the different color. This is true even if the circle goes beyond the area of the image that you want to delete. The picture that you can see below shows what happened when I used the Background Eraser by mistake. I erased the dog along with the plus sign. Because it is continually sampling the pixels and colors, if the plus sign comes into contact with the puppy, it will delete him.

Be sure to take note of how effectively it is erasing around his ears before the accident. Keep in mind that even though I've been clicking and dragging to remove things from the picture, everything that has been removed is the result of only one action. To correct the error that I made at the top of the puppy's head, I will have to reverse everything that I have done up to this point.

Background Eraser Options

The first option is to alter the size of the "brush" that is being used.

The second option (which begins with two eyedroppers and a gradient), allows you to pick whether you want the Background Eraser to function continually, once, or via a swatch. You can make your selection by clicking on the second option.

•       Continuous is the kind of representation that was employed for the image of the dog. When attempting to remove a backdrop with several colors, using the continuous option is likely to provide the best results.

•       Clicking it once will remove the color that you instruct it to remove by using the mouse. After you have clicked the picture, Photoshop will remember the color that was where the plus sign was when you clicked it, and it will delete that color when you begin moving the circle around the image.

•       The Background swatch option enables you to choose a color swatch for the Background in the Tools palette. After doing so, the Background Eraser will only remove the specified color from the image.

The next section is called Limits, and it consists of three different options: Find Edges, Contiguous, and Discontiguous.

•       The Contiguous option will only delete pixels that are physically touching the pixel that is represented by the plus sign. The Contiguous option might be difficult to work with when you need to delete anything that has obstacles, such as hair or branches.

•       If you choose the Discontiguous option, all pixels that are the same color as the one you are erasing will be removed, even if they are not in the same location as the +.

•       Find Edges performs exactly what its name suggests it would do: it deletes any edges that it discovers.

The next section for the Background Eraser is titled "Tolerance." The only thing that this indicates is that Photoshop will remove more nuances of the sampled color when the Tolerance level is increased. If the color of the backdrop is similar to the content that you don't want to delete, then you'll need to set the Tolerance to a low value. Beginning at a lower point and gradually increasing to a higher level is a recommended best practice.

•       The "Protect Foreground Color" feature in Photoshop enables users to pick the color that should be preserved while erasing by allowing them to choose the "Foreground" color from the "Tools" palette. If what you're seeking to preserve is comparable to the backdrop, but differs in color by just a few tones, then you should make sure that the box labeled "Protect Foreground Color" is ticked.

Magic Eraser

In the toolbar, locate and choose the Magic Eraser tool.

Select a value for the Tolerance parameter. A low tolerance will delete colors that are quite close to the one you've selected, whereas a high tolerance will remove a great number of colors.

Choose the Anti-Aliasing option to get clean edges.

Either pick "Contiguous" or deselect it, depending on whether you want to delete just the pixels that link to one another or all of the comparable pixels.

Select Sample All Layers from the menu to get a sample of the color that was wiped from visible layers.

Select an opacity level and adjust it.

Select the area of the layer that you wish to delete by clicking on it.

The Magic Eraser tool functions in a manner that is similar to that of the Magic Wand tool in that it chooses a more extensive region based on the contrast in pixels. The operation of the Magic Eraser is identical to that of the Magic Wand tool, followed by the deletion keystroke. It seems to be rather simple to use the Magic Eraser. The only thing you need to do is click on the location where you want anything removed, and Photoshop will get rid of all the pixels in that region that are the color of whatever it is that you selected.

In the picture that you're seeing now, the outcome you see is what happened when I used the Magic Eraser and clicked the mouse once on the red backdrop. Take note of how the selection is choppy and how there is still a trace of red border around the cup after it is done. The picture that follows is an untouched version of the coffee cup that has been included so that you can see all of the red that was not removed by Photoshop.

Note that you cannot use the Eraser tool on Smart Objects unless the picture is first converted to raster. This is an important point to keep in mind.

Pencil Tool - Auto Erase Function

Determine which colors will serve as the backdrop and which will serve as the foreground.

Select the Pencil tool from the toolbar.

Select the option to automatically erase from the toolbar.

Position the tool over the part of the picture where you want to paint the background or the foreground color, and then drag it there.

When you utilize the Auto Erase feature of the Pencil tool, you will have the ability to paint the background color over sections of the drawing that are now being rendered in the foreground color.

Remember that the region will be erased and appear as the background color if the center of the cursor is positioned above a color that is part of the foreground when you begin dragging the pencil tool across it. This is something you should keep in mind as you work. However, if the center of the cursor is hovering over a region that does not already contain the color that has been defined as the foreground color, that region will be painted with the color that has been assigned as the foreground color.

USING THE LASSO TOOLS

There are several different kinds of selection tools available in Photoshop, and one of them is called the lasso tool. It lends a hand in the process of freehand selecting. In Photoshop, the selection tool that is perhaps the simplest both to use and to comprehend is called the Lasso tool. This tool comes in quite helpful when attempting to choose the intricate and minute parts of a picture. For instance, picking out someone's eyes, nose, flower pot, or other body parts, etc.

The letter "L" is the keyboard shortcut for the standard Lasso tool. When we hit the letter "L," Photoshop will automatically switch to the default lasso tool. In addition, you can get to it by selecting the Lasso tool from the Photoshop toolbar and clicking on its icon. It seems to be a lasso made of rope.

The following is a screenshot taken from Adobe Photoshop showing the lasso tool's logo:

How to use the lasso tool

If we follow the instructions that are provided, using the lasso tool is quite simple:

Open either a document or a picture in Photoshop.

Choose the "lasso" tool from the toolbar.

After picking the lasso tool from the toolbar. Now, press the mouse pointer down on the area of the document from which you want to draw, and then simply create a selection with the assistance of the cursor, exactly as if you were drawing on paper with a pencil by clicking on the location where you want to start drawing. The moment you let go of the mouse cursor, our artwork will transform into a selection, as seen in the figure below:

To make a selection all that is required of us is to bring our cursor back to the same location from where we began, and then it will make the selection for us. The lasso tool will automatically complete the selection by drawing a straight line between the points from where we started and where it ended. However, we do not need to return to the same point each time because if we release the pointer at any other point, the lasso tool will complete the selection.

Similar to how it is shown in the picture below:

The lasso tool will be selected automatically, but you can change the settings to use one of the other lasso tools instead. If you then right-click on the lasso icon, you will be presented with a list of the many available lasso tools.

Note: This occurs sometimes when our "Caps lock" key is engaged. When you use the lasso tool, the cursor will transform into a plus sign. This occurs because the caps lock is turned on, and the operation of the lasso tool is unaffected by this behavior. The fact that the symbol has been altered causes some people to get perplexed, but there is no need for concern.

The variants of the lasso tool

Below is the list and explanation of Lasso Tools in Photoshop:

1. Lasso Tool (default): It is the most fundamental tool for selection, and you can use it to make freehand selections.

2. The Polygonal Lasso Tool: You can use this tool to choose box forms, flat edges, and other similar features. The lasso tool draws a line that is perfectly straight between each mouse click that you make. Simply construct a beginning point or anchor point by clicking and releasing your mouse cursor on any boundary of the region you want to pick. This will result in the creation of a starting point or anchor point. If you move your mouse around, you will see that a line (similar to a string) is now linked to your cursor. When you click on a second point, this line will automatically connect the two spots you just selected. Carry on with this method until you have selected the whole of the region that you want, and then re-join this line or string to the starting point. Using the polygonal lasso tool in this manner will result in the region being selected.

3. The Magnetic Lasso Tool: This is an edge detection tool in addition to its other names. In comparison to the normal lasso tool and the polygonal lasso tool, this tool has a higher level of automation. When you travel around an area or item that you wish to choose, it will automatically identify the edge of that area or object as you move around it. After that, it will snap the selection outline to the edge and hold it like a magnet.

How to Use the Polygonal Lasso Tool

If you want to cut a shape out of a picture that has a lot of straight edges, the best tool for the job is the Polygonal Lasso Tool, which you can find in the Edit menu of Photoshop. You can get to it by going to your toolbar, clicking and holding on the icon for the Lasso Tool, and then releasing the mouse button. A fly-out menu will be made available to you, from which you can select the Polygonal Lasso Tool. Alternately, you can switch between the different Lasso Tools by holding the Shift key and simultaneously pressing the L key. This will cause the tool to cycle through all of its available options.

To begin using this tool, you will first need to configure it with a few fundamental options, just as you would do with the default Lasso Tool. After that, you can start working on it. Simply make sure that the right feather radius is set so that you may determine how sharp or smooth the edge of your selection will be. A feather of 0 pixels will give you a clear edge, but a feather of 1 pixel or larger will add a gradually increasing degree of blur around the selection.

Also, make sure that "New Option" is chosen as the sort of option for the drop-down menu if it isn't, you won't move very far.

To begin designing the route for the Polygonal Lasso tool, click anywhere along the edge you desire to cut away. Instead of the route automatically following your cursor as it did in the past, you will now have to click to designate anchor points for the path to follow.

The only thing you need to do is expand your route and click along with any areas where there is a change in direction. Carry on using this strategy until you have finished travelling around your object and have returned to the area where you began.

Once you have returned to the original position, click on the route you travelled to complete it and add it to the available alternatives. When an active selection is made, your Lasso route will change into what feels like a line of marching ants, exactly as it did before. Right-clicking anywhere inside the marching ants will show the various alternatives for choosing that are accessible to you at this time.

If you want to get rid of the background in your photo without harming it, all you have to do is click on the icon for the layer mask in the panel where all of your layers are presented. Because of this, the backdrop will disappear.

How To Use the Magnetic Lasso Tool

The most user-friendly variant of the Lasso Tool is the Magnetic Lasso Tool, which may be used to cut magnetic materials. This variation of the Lasso Tool is also hidden inside your toolbar, but it can be found tucked away behind the main Lasso Tool. Therefore, to locate the Magnetic Lasso in the fly-out menu, you will need to first click and hold on to the Lasso Tool symbol. Alternately, you may use the Shift key in conjunction with the L key to cycle between the various lasso tools.

Before you can begin making a pick, you will need to investigate a few more options that are made available to you when you use the Magnetic Lasso Tool. Let's go through each one of them in turn and analyze it thoroughly.

Width

Pressing the caps lock key will cause your cursor to change into an icon that represents a selection brush while you are working with this tool. This can be done by clicking the key. How much room Photoshop has to "find" your edge will be determined by the size of this symbol. Utilizing the slider, you can change its size of it. You will be able to draw a path that is more precise by modifying the width value of this selection brush, which refers to the size of the brush. This is because the Magnetic Lasso will only attach itself to an edge if it is situated within the selection radius of this brush's radial brush. When utilizing the Magnetic Lasso Tool, it may be difficult to accurately determine the width that should be utilized. You are in luck because you can change the width of your selection brush at any time by scaling the width using the [or] keys. This gives you a lot of flexibility. When you use the Magnetic Lasso Tool in this manner, you can obtain the tool's width settings that are as precise as they can be while you are using the tool.

Choose a width that is not only broad enough to accommodate your edge but also leaves some wiggle room so that there is room for movement if at all possible. You don't want to go much bigger than your edge because if you do, Photoshop might start to latch onto things that you didn't want it to in the first place. Because of this, you don't want to go much bigger than your edge. Keeping it on the smaller side will result in a more accurate result when using the Magnetic Lasso Tool.

Contrast

The degree to which the colors or brightness of two things vary from one another is the single criterion that Photoshop uses to discern between the borders of two separate objects. For instance, the edges of a dark-colored object would show out against a white backdrop with a lot more contrast than they would against a black background. This is because white and black have opposite amounts of light. When placed against a dark background, a black border will be able to be distinguished easily due to the substantial contrast that exists between the appearance of the topic and that of the backdrop. The issue is that some things will have a very tiny difference in exposure or color compared to the background, which makes it more difficult for Photoshop to establish where the border genuinely is. This is a problem since it makes it more difficult for the user to tell where the boundary is. Let's take a look at the contrast setting as an example to further demonstrate this notion.

The contrast value is what defines how much of a difference there has to be between two things in your shot before anything can be called an edge. The Magnetic Lasso Tool has been set to have a low contrast value of 10%, which means that it will be able to identify more tiny edges than usual.

If your image has a very well-defined edge, increasing the contrast value of your picture may help you ensure that Photoshop only selects the edge that is extremely obvious to the naked eye. This is the edge that you want Photoshop to use. In the great majority of instances, maintaining a contrast level of 10% is more than enough.

Frequency

When you make a selection with the Magnetic Lasso Tool, you may have noticed that it also produces several anchor points for you to use as a foundation for your route automatically. These anchor points are there for you to utilize as you build your path. To put it another way, the frequency option gives you the freedom to choose the time gaps between the creation of new anchor points.

When working with a fairly complicated edge (which has a lot of bumps or moving edges), increasing the frequency setting on the tool may be able to aid it in being more exact in its measurements of the edge it is working with. As a consequence of needing to deal with a greater number of anchor points, it can be considerably more specific with the changes that occur along an edge.

Having a low frequency, on the other hand, will lead to the development of fewer anchor points along the selection that the Magnetic Lasso makes. This technique may work well along edges that are uncomplicated, but it will leave room for the possibility of mistakes along any edges that have a change in the direction that the edge is moving. The frequency has a default value set to 57, which was chosen by default. This number applies to the vast majority of the available options and works well.

If you find that the Magnetic Lasso Tool is not producing edges between anchor points, it will be to your benefit to boost the frequency setting. This is because of what was said above.

Creating Your Magnetic Lasso Selection

Now that you have a better knowledge of the three factors that are unique to the Magnetic Lasso Tool, go on to modify the feather of your choice. Again, keeping the feather radius at its default value of 0 pixels is the best option if you want your selection to have a distinct border around it. Check that the "New Selection" Lasso type is selected in the toolbar. This is the last and most important step.

To create a selection, you must first click on the border of the route you wish to follow, and then begin dragging your mouse along the boundary. This will allow you to make a selection. It will be much easier for you to pick the exact edge that you want to use if you use the caps lock key to access the selection brush icon. This icon can be found in the toolbar. As you move the Magnetic Lasso Tool around your item, it will "magnetically" snap onto the edges of your object as you go. This will allow you to trim your item. Proceed in the same way until you reach the point where your route first split up into its branches.

Your route will be converted into a selection automatically as soon as you use the mouse to pick the place at which it should begin. If you right-click any place along your route, you'll be allowed to choose one of many different actions for the one that follows it. Simply clicking on the layer mask button in your layers panel will hide any areas of the image that are not included in your selection, so enabling you to get rid of the background.

Switching Between Lasso Tools While Creating a Selection

In Photoshop, there are three distinct variations of the Lasso Tool, each of which is designed for a particular kind of work. There are several various drawing methods available, ranging from sketching selections freehand to drawing lines that are exactly straight to magnetically snapping to an edge. However, even though each tool serves a certain purpose, there are bound to be some restrictions associated with its use. If all of the Lasso Tools could be used in conjunction with one another, it certainly would make things easier, wouldn't it?

The best way to get the most out of this method is to start by using the Magnetic Lasso Tool, which comes highly recommended because it is the most efficient way to get started. After you have started the process of making your magnetic selection, you have the option to swiftly switch between the normal lasso and the polygonal lasso by using a simple keyboard shortcut. This is available to you after you have started the process of creating your magnetic selection.

You may go from utilizing the Magnetic Lasso Tool to the Polygonal Lasso Tool by holding the Alt or Option key while clicking on the target. This will allow you to switch between the two tools more quickly. This will only remain for as long as you click to construct an additional anchor point, at which point it will no longer function properly. After that, it will revert to the Magnetic Lasso Tool that you were using before this point. If you wish to continue working with the Polygonal Lasso, maintain holding down the Alt or Option key as you click around your object to generate anchor points. This will allow you to resume working with the lasso. Because of this, you will be able to continue making use of the tool.

If you want to move to the normal Lasso tool, you will need to hold the Alt or Option key again, but this time you will also need to click and hold down the mouse button. This is the only way to switch tools to the Lasso tool. This will enable the tool to change into the Lasso Tool, and you will then have the option to generate a lasso selection freehand once it has been created. When you let go of the Alt or Option key on your keyboard, you will once again have access to your Magnetic Lasso. This will occur as soon as the key is released.

Keep in mind that to use the Lasso Tool in a variety of ways, you will need to memorize these two fundamental shortcuts. There is a significant amount of space for development in any one of the distinct lasso selection strategies. On the other hand, you will have a method that is relatively dependable for rapidly creating selections in Photoshop if you combine all of them into one.

Correction of Errors Caused by the Use of Magnetic and Polygonal Lasso Tools

Because the Magnetic and Polygonal Lasso Tools in Photoshop are the only Lasso Tools in the program that can construct individual anchor points, there is a special keyboard shortcut that can be used to tweak the path, particularly when using these tools. This shortcut is only available when using the Magnetic and Polygonal Lasso Tools.

If you realize that you have gone too far or made an anchor point that you want to get rid of, simply hit the delete key, and Photoshop will delete your most recent anchor points. If you realize that you have gone too far, you can also make an anchor point that you want to get rid of. By clicking on this link, you will be able to delete an anchor point that you have generated if you discover that you have gone too far. You are free to continue hitting the delete key until you reach the location where you would want to begin working. This is one of your choices.

How to End Your Lasso Tool Path

You have a variety of options in Photoshop to choose from when it comes to bringing an open lasso path to a conclusion or finishing it off altogether. The easiest way to go back to where you began is to just continue down the same route you came on until you reach the same point. After you have finished going around the loop, you will need to travel back to the beginning of the route and then click on it. When you use this tactic, it not only helps to ensure that you have a route that covers everything, but it also gives you full control over the process from the very beginning to the very end.

On the other hand, the beginning and ending points of your lasso path could not be in the same location. In such an instance, you may "complete" the path by clicking at any point along the path to indicate that it is finished. Photoshop will mechanically generate a line that is straight and connects the starting point with the ending point.

Now, let's imagine that you're in the middle of creating a selection using a lasso tool, but you change your mind and decide that you don't want it after all. Simply using the "Esc" key on your computer will allow you to cancel out the lasso route you just created and restart the process all over again from the beginning.

You may have even arrived at the stage where you can decide from among the many possibilities that your route offers. If you want to get rid of the selection that you created with your lasso at this point, you'll need to use the keyboard shortcut Command + D (Mac) or Control + D (PC) to deselect your current selection. This will allow you to remove the selection that you made. You will now be able to cancel the option using this method.

Options of the lasso tool

As can be seen in the graphic below, the lasso tool offers a variety of various sorts of options:

Now we will discuss each option one by one in detail:

1. New selection or Normal: This is the regular selection that is activated whenever you launch Photoshop. When we click and drag the lasso tool, the default selection method is executed each time.

Example:

2. Add to selection or Union selection: In this type of selection, two selections are joined together. 

Example:

•       The selection is created by using the lasso tool as shown in the following example:

•       Now choose the union icon from the properties/option bar, or add to selection if you're using it:

•       Now, using the lasso tool, make a second selection.

•       When you move the cursor away from the text, you'll see that the selection changes to look like this:

This is because this selection creates a new selection by combining the facets of the new selection and the old selection that overlap.

3. Subtract from the selection: When using this kind of selection, the overlapping sections of the new selection and the old selection are subtracted from each other.

Example:

The selection is created by using the lasso tool as shown in the following example:

•       Choose the subtraction mode at this time.

•       Create the selection (let's call it a square), then follow the steps below:

•       When the cursor is released, the subtraction operation is carried out on the selection.

4. Intersect with selection: This sort of selection only chooses the portion of the new selection and the previous selection that intersects with each other.

Example:

•       Using the lasso tool, make a selection (let's say a square), as seen in the following image:

•       Choose the mode that represents an intersection now:

•       Choose one of the options (say a square).

•       After the pointer has been released, it changes into:

5. Feather: Use the feather filter to get the desired blurred selection or effect in your work by adjusting the settings to suit your preferences. The feather is configured to use 0px by default. The feather is often adjusted to a value between 15 and 25 px when individuals want to create a blurred look. However, you are free to adjust it to fit your requirements.

Removing unwanted selections

Although it allows for freehand selection, the Lasso tool is neither the most accurate nor the most helpful of the selection tools. This is because if we select something by freehand, it is very likely that we will make mistakes, such as skipping over certain portions of the image, and the selection itself will not be smooth. However, Photoshop has greatly improved the usefulness of the program by introducing features such as adding and subtracting a selection.

Let’s understand this with the help of an example:

In this particular example, there is a bottle present in the photo, and with the assistance of the lasso tool, we will extract the bottle from the picture.

The selection that we made using the lasso was flawed, as can be seen in the picture that was just shown to us. In certain areas on the bottle, we have removed undesired components, but in other places on the bottle, we have not removed some elements of the bottle. In Photoshop, you can overcome this problem by utilizing the lasso tool.

Removing unwanted selections: When you keep the Shift key pressed on your computer, you will see that the lasso tool symbol and the cursor pointer undergo a little transformation, becoming a plus sign in addition to the lasso tool icon. This allows you to delete the undesirable elements of the selection. Now, while still holding the shift key, create a selection of the bits that you have missed, and when you finally let go of the mouse cursor, you will see that the new selection gets added to the previous one.

After adding in the missing pieces, the resulting diagram of the picture is as follows:

However, in this picture, there are still some undesired choices that were made. Holding down the Alt (Windows) or Command (Mac) key is required to get rid of them. While you continue to press this key, you will see that the shape of the pointer changes from a minus sign along with the symbol for a lasso. Now, create a selection of the section that we want to remove from the selection by holding the key and the cursor at the same time. When you let go of the pointer, you will see that the selection has been deleted from the window.

Manipulating selections

You have the option to move choices to other locations, rearrange them even while new ones are being made, and even duplicate them. The bulk of these methods may be used for any selection; however, in this instance, you will apply them using the Elliptical Marquee tool, which gives you the ability to choose accurate ovals or circles. You will probably find that the introduction of keyboard shortcuts, which may cut down on the amount of time and effort you spend moving your arms, is one of the most valuable things you discover in this section.

Adjusting the location of a selection marquee as it is being created

Deciding between ovals and circles might prove to be challenging. Because it is not always obvious where you should start dragging, the selection may sometimes be off-center, or the ratio of width to height may not match what you want it to be. Both of these issues are caused by the fact that you cannot always see where you should start dragging. Since it is not always crystal clear where one should begin dragging. During this exercise, you will find techniques to handle such obstacles, including two essential keyboard-mouse combinations that may make your work in Photoshop much easier. You will also have the opportunity to practice these combinations. Taking care of those issues is going to take up a significant portion of this activity.

If you want to get the most out of this workout, you need to be very careful to follow the instructions, and you also need to make sure that you keep the mouse button or certain keys held down the entire time. If you accidentally let go of the mouse button at the wrong time, all you need to do to rectify the situation is begin the task all over again from the very first step.

Select the Zoom tool from the toolbar, and then click the plate of shells that is situated at the bottom of the picture window. This will zoom in the view to at least 100% (use 200% view if the entire plate of shells will still fit in the image window on your screen).

Choose the Elliptical Marquee tool, which is buried behind the Rectangular Marquee tool in the toolbox.

After positioning the cursor on the plate that contains the shells, move the pointer in a diagonal direction across the oval plate while holding down the left mouse button to create a selection. There is no cause for alarm even though the plate that you have chosen does not match it as of right now.

After pressing and holding the left mouse button, move the selection around while simultaneously pressing the space bar. You are no longer resizing the selection as you did previously; instead, you are now shifting it. Put it in a position where it will be aligned with the plate a little bit better by moving it.

After releasing the spacebar with caution (but not the mouse button), continue dragging while striving to make the dimensions and shape of the selection match as closely as possible to the oval plate that contains the shells. If it is necessary to do so, press and hold the space bar once again, and then use your mouse to move the selection marquee into position around the plate of shells. This step is only necessary if it is necessary to do so.

You are to release your hold on the mouse button after you have determined with absolute certainty that the border of the selection is at the appropriate location.

You may zoom out of the current view by going to View > Fit on Screen or by using the slider that is found in the Navigator panel. Because of this, you will be able to view all of the components that are included inside the image window.

Moving a selection with the arrow keys

You can make minute adjustments to the placement of the pixels that have been picked by using the arrow keys. When you use the nudge tool, you have the choice of moving the selection in increments of either one pixel or 10 pixels. Alternatively, you may move the selection in a continuous motion.

When one of the selection tools in the Tools panel is active, using the arrow keys to move the selection will move the border of the selection; but it will not move the items that are currently selected. When the Move tool is chosen, you may move the selection by using the arrow keys to move either the selection border or the contents of the selection.

Using the arrow keys, you will slide the plate of shells across the screen in the desired direction.

Before you get started, check to see whether the photo window's selection is still set to the plate of shells.

1. To move the oval up higher, first, choose the Move tool from the menu, then continuously press the Up Arrow key on your keyboard. This will accomplish the desired result.

Take notice that each time you touch one of the arrow keys, the plate with the shells moves forward one pixel in the corresponding direction. Experiment with the various arrow keys to observe how the different combinations of those keys influence the choices available to you.

LAYER STYLE

Adding one or more-layer effects and blending settings to a layer is all that is required to create a layer style. Drop shadows, strokes, and color overlays are examples of the many types of layer effects.

This is an illustration of a layer that has three different layer effects (Drop Shadow, Inner Glow, and Stroke).

You can view what the original layer would look like if it did not have its layer style by turning off a layer style by clicking on the eye symbol that is located next to the Effects menu. Similarly, you can hide or reveal individual layer effects. The Drop Shadow layer effect will not be seen in the following illustration since it was turned off.

If a layer has a layer style, the fx icon that appears on the right-hand side of the layer will be present.

Applying Layer Styles

You will make use of the Layer Style dialog box to configure a layer style. Accessing the Layer Style dialog box can be done in some different ways.

Right-Clicking on a Layer

You can access the Layer Style dialog box by right-clicking on your layer and selecting Blending Options from the context menu that appears.

Double-Clicking on a Layer

You can access the Layer Style window by double-clicking on the thumbnail preview of your layer in the Layers Panel. This will bring up the window.

Application Bar Menu

You can reach the Layer Style dialog window in Photoshop the same way you can get most other windows in the program by going to the Application Bar menu and selecting Layer > Layer Style. You will be able to locate each layer effect, such as Drop Shadow, Inner Shadow, and so on, in addition to an option to access the Layer Style dialog box (Blending Options).

Use Preset Layer Styles Using Styles Panel

The Styles Panel provides access to a variety of predefined layer styles, such as "Sunspots" and "Tie-Dyed Silk." To apply a preset layer style, you need to choose the layer you want to modify and then click on the style's icon.

Simply choose Window > Styles to bring up the Styles Panel in your editor.

The Layer Style Dialog Window

The Blending Options will be shown when the Layer Style window is first opened for editing. In this section, you'll find a variety of complex blending effects, as well as controls for the layer's opacity and blend mode.

A single-layer style can have any number of unique layer effects applied to it. Simply checking the box next to a layer effect will cause it to be applied.

Make sure that the Preview option is turned on so that you can observe the effects of your adjustments in real-time.

On the right-hand side of the window, there is a thumbnail that you can click on to get a brief sample of how your layer style will appear after it is applied.

Let us walk through each of the unique layer effects, beginning with the Drop Shadow layer effect.

Drop Shadow Layer Effect

It's safe to say that Drop Shadow is one of the layer effects that get the most attention.

•       Utilizing the Blend Mode, you can blend the shadow into the backdrop in a variety of various ways (Multiply, Overlay, etc.).

•       Reduce the value of the Opacity to make the shadow more see-through.

•       When the Distance is set to 1 pixel or more, the Angle option of your drop shadow will affect the direction in which it descends.

•       If you have the Distance property set to 0, the shadow will be distributed uniformly throughout the contents of the layer.

•       Spread gives you the ability to make the shadow more substantial and denser.

•       The Size parameter determines the magnitude of the drop shadow that will be cast on each side of the item.

•       You can add noise to your shadow and change the outlines of your shadow if you change the collection of parameters known as Quality.

Drop Shadow Example 1

Because I had the Distance option set to 0, the shadow is in the middle of the picture, therefore it won't make a difference which way the shadow is facing in this specific picture. This can be used to make photos stand out more against their backgrounds, and it is most effective on backgrounds with a lighter color (such as white or light gray).

Drop Shadow Example 2

The next illustration makes use of a configuration that is quite similar to the one used before, although with a little reduced opacity and an increase in distance, spread, and size.

As can be seen, the drop shadow moves to the left of the bottom right-side corner, which creates the optical illusion that the light is coming from the top left corner.

Inner Shadow Layer Effect

The phenomenon known as the Inner Shadow is somewhat similar to the Drop Shadow. It is the same as the opposite, with the exception that it is applied inside the item rather than on its surface.

There are no differences between any of the available settings and Drop Shadow. Choke, on the other hand, has taken the role of Spread; the value of Choke determines how dense the shadow is; a larger value results in a darker shadow.

Inner Shadow Example 1

The Drop Shadow layer effect used in this example is quite similar to the settings used in the previous example so that you can easily compare and contrast the two. It creates the illusion that the picture has been positioned in front of your backdrop, much as a window would be.

Inner Shadow Example 2

By raising the Noise option and selecting a large Size value, it is also possible to employ Inner Shadow to give photos a little aged and worn appearance that is reminiscent of historical photographs.

You can give the impression that the edges and corners of your picture have been worn and faded by using such a straightforward design.

Inner Shadow Example 3

This layer style demonstrates one of the most prevalent texts effects, which is called the letterpress text effect. The settings are quite similar to the first illustration of an Inner Shadow; however, this one has a Distance value of 2 to ensure that the Angle choice has an impact.

Outer Glow Layer Effect

Glows and shadows have a lot of conceptual similarities. When the outside border of an item needs a little help standing out from its backdrop, designers often turn to the usage of outer glows as a method for creating subtle effects.

Dark backgrounds are often optimal for the use of outer glows.

In the same way that you can alter the Blend Mode, Opacity, and Noise of your shadows, you can do the same thing with your glow's Spread and Size.

You do not have access to the Technique option while working with shadows, but you do have access to it when working with glows. You have the choice of selecting between Softer or more Precise Techniques.

The glow that you create with Softer has a softer and more understated edge, while the glow that you create with Precise is stronger and more assertive.

The Range option of your glow gives you the ability to modify the thickness of its illumination; the lower the number, the opaquer the glow will be. If you set this to 1%, for instance, your glow will end up looking more like a stroke than a glow.

Using cloud documents

When working with high-resolution photographs that make extensive use of layers, Photoshop documents have the potential to become rather large. This is especially true when working with layers. Working with documents that have been saved online requires more time because large file sizes take longer to upload and download. You may reach the limit of your mobile data plan more quickly if the amount of data that is included in the plan is limited. Adobe Cloud Documents enables more efficient editing of online documents by utilizing file formats that are better suited for transmission across computer networks. This makes it possible for users to access and work on documents from anywhere in the world. When you update a Photoshop file using Cloud Documents, for example, a minor adjustment might not require you to resubmit the entire file; rather, only the areas of the file that are impacted by the change would need to be uploaded again. In other words, if you make a small adjustment, you might not have to resubmit the entire file.

The utilization of Cloud Documents is not overly complicated. The only thing you need to do to transform a Photoshop file into a Cloud Document is to save it in the folder designated for your Cloud Documents. After you have finished going through these steps, the extension will be appended to the filename of the Photoshop document that you are currently working on. psdc to indicate that it is now a document stored in the cloud. This conversion to the PSDC format is carried out automatically, which means that you do not have to give it any thought while it is taking place.

When you double-click a thumbnail in Bridge, Photoshop will open with the picture file that corresponds to the selected thumbnail.

You have now opened the file that was retrieved from your local storage and accessed by you.

Choose to save your work to the Cloud Documents folder if Photoshop prompts you with a dialogue box that explains the difference between saving to Your Computer and saving to the Cloud Documents folder. You also have the option to choose "Don't Show Again," although if you reset Photoshop's settings, this selection will be removed from the available options.

Click the "Save As" option in the "File" menu. If the Save As dialogue box appears, choose the option to Save to Cloud Documents by clicking the corresponding button.

Simply give the file a new name, and then click the Save button when you're done. Following the successful transfer of the file to Cloud Documents, the name of the file was modified such that it now ends in psdc. The document tab has been updated to reflect this change.

Close the document.

It is essential to bear in mind that the Adobe Cloud Documents and Creative Cloud Files are stored in a different online place compared to the Creative Cloud Libraries and Creative Cloud Files.

Adding a Border Using Photoshop

Adding a border to an image in Photoshop is a simple and fast process that can be done with any picture. You have complete control over every aspect of the picture frame you make in Photoshop, including its hue and the amount of depth it has.

Step 1: Prepare the Image

Open your photo in Photoshop when it has been launched. Make use of the Select menu to choose "all," or explore the many shortcuts available on the keyboard (Command-A for Macs and Control-A for PCs). It is important to make sure that your whole image is highlighted before adding a frame made up of dashed lines around it.

Step 2: Open the “Stroke” Dialog Box

To make changes, choose the appropriate item from the menu. Make your selection by going to the "Stroke (Outline) Selection" option on the menu. You have provided the dialogue box with three different components; however, the stroke and the location are the only two that need our attention at this time.

Step 3: Select the Stroke and Color

You need to begin by making some adjustments to the stroke. You have the choice of choosing the color that you want to use as well as the width of the stroke that you want to use. Both of these options are available to you. The breadth might be anything from one to two hundred fifty.

To choose another color than black, you will first need to click on the black rectangle, and then on "choose stroke color." This will bring up a new dialogue box with more color possibilities. Click the "ok" button once you have chosen the desired shade of color.

Step 4: Choose the “Location”

You have the option of being either Inside, Center, or Outside the building. Your chances of winning are determined by how closely your stroke fits the image that was picked. It is recommended that you try out each of the options that are accessible to you to choose which one is most appealing to you.

Step 5: Save the Changes

After you have decided on the stroke, color, and position, you may confirm your selection by clicking the "ok" button.

Step 6: Deselect

It is quite probable that you do not like the dashed border that is now around your photo, thus deselecting the image is a vital step. On a Mac, you may delete the dotted line by using the keyboard shortcut Command-D, whereas, on a PC, you can use the key combination Control-D.

Optional Step 7: Alter the Border Size and/or Color

If the appearance of the border is not to your liking, you may still make changes to it by selecting the "Edit" option from the menu. Simply choose the "Revert" option, then repeat steps one through three until you have a border that you are pleased with, and only then can you stop using the "Revert" option.

Start working on the file that contains the border. Select "File" from the major menu, then "Place," and finally "your photo" from the drop-down list that appears. After resizing your picture, Photoshop will place it into the border file it was originally designed for. You may need to manually make a few minute adjustments by sliding the limits (hold down the shift key while using the Transform tool).

Utilizing the Blending tools, which are accessible through the Layers panel, you can apply additional effects to your image. To do more tests, use the menu to access the Layer Style and Blending Options.

Creating a pattern

With the help of Photoshop's various features, which all collaborate to make this possible, you may build patterns in a way that is both quick and effective. In this section, you will develop a template for a new border that will be applied to the artwork that you have created and will surround it.

Open a file. Choose Layer > Flatten Image from the menu.

Choose Layer > New Fill Layer > Solid Color (or whatever name you choose to give it), and then select the layer. Click the OK button, then use the color picker to choose white for the Pattern Background, and finally, click the OK button once again.

Choose "File" > "Place Linked," then "Choose a folder," "Select a file," and "Click Place," respectively, to complete the process. After that, click "OK" from the "Open as Smart Object" dialogue box, and after the graphic has been included in the document, press "Return" or "Enter" on your keyboard. Although these are vector drawings that were generated using Adobe Illustrator, you will be able to construct a pattern by making use of just the layers in Photoshop.

Select View > Pattern Preview from the main menu after you have zoomed out to a magnification of at least 30% but no more than that. If a warning message appears, you should dismiss it by clicking the OK option. Pattern Preview generates a simulation of what the document would look like if it were tiled as a pattern by repeating the content outside of the canvas. This creates a simulation of what the document would look like if it were tiled as a pattern.

To include yet another element in the design, use the Ellipse tool to create a dot in the right color.

You may refine your pattern by relocating, rotating, or scaling the picture and dot layers until you reach the desired appearance in the pattern preview. You can do this by clicking on the pattern and selecting the "Edit Pattern" option. You are free to add any number of extra layers that you see fit to the design.

You may modify by selecting Edit > Define Pattern from the menu bar, naming the pattern, and then clicking the OK button at the bottom of the window.

You can deselect the pattern preview by going to View and choosing Pattern Preview, followed by concealing the layers that comprise your pattern.

Before continuing, you should make sure that the Pattern Background layer is the only one chosen. After that, go to Layer > New Fill Layer > Pattern, give the new layer the name Border, and then click the OK button. When you open the Pattern Fill dialogue box, a pop-up menu with thumbnail samples of patterns will display. From this menu, you may choose your brand-new pattern to use for the fill. After bringing the Scale down to the level you want, make any required adjustments to the Angle, and then click the OK button when you're finished.

You may unlock the Background layer by clicking the lock icon that is located on that layer. After that, you can click and drag the Background layer to the top of the stack to replace the Border layer. Choose Edit > Free Transform, and after that, lower the size of the transformation so that the new border is visible.

The Patterns panel has been updated to include your newly created pattern, and you may refresh the photo layer at any moment by double-clicking it in the Layers panel. You can make modifications to the design even after it has been introduced thanks to this feature.

PART FOUR

INTRODUCTION AND WORKING WITH SHAPES, COLORS, AND TEXT

This part introduces how to work with shapes, colors, and text. You will learn how to create different shapes, add text, transforming text, and lot more in Photoshop. It explains the working modes and spaces that are available in Photoshop.

SHAPES

When you are editing a picture or working on a graphic design project, you can utilize shapes to create anything from a festive border to a button on a website. This is true whether you are editing a photo or working on a graphic design project. Also, because the shapes in Photoshop are resolution-independent, you can rest certain that they will look fantastic in whatever size you choose to utilize them.

How do I find shapes in Photoshop?

To see the numerous shapes that can be drawn, choose the Shape tool from the toolbar and then press and hold the mouse button. The rectangle tool, the ellipse tool, the polygon tool, and the line tool are all available to you; but the Custom Shape tool is what you need if you want to design your shapes from scratch. You can use it to design your unique forms and then use the Define Custom Shape option to store those shapes for usage at a later time.

CREATING SHAPES

Step 1

In Photoshop, you must first pick a shape tool from the toolbar before you can begin creating a shape. If you click and hold the group that contains the shape tools, you will have access to all six of the shape tools, which are as follows: rectangle, ellipse, triangle, polygon, line, and custom shape.

You can quickly choose the shape tool that was most recently used by using the U shortcut key on your keyboard. To switch between the six shape tools, use the Shift-U key combination.

Check out the Window > Options menu after you've decided which one you want to use, and then in that menu, you'll find options to:

Select a mode for working with shapes, either Shape, Path, or Pixels.

Select a color to use as the Fill for your shape.

Choose a color for the stroke and adjust its parameters.

Modify a shape's width and height to the desired values.

Determine how your shapes are going to interact with one another.

Align the shapes and distribute them evenly.

Determine the sequence in which merged shapes will stack.

Alter the settings for the shape and path choices; you'll get used to working with these options in the next stages as you learn how to use Photoshop to create a rectangle.

To create a shape on the canvas, all you need to do now is click and drag in the area where you want the shape to appear. This action will result in the addition of a new shape layer to the Layers panel (Window > Layers).

Step 2

Other two shape modes are accessible through the Options bar.

•       Use the Route command to generate a single path that will be added to the Paths panel (accessed through Window > Paths).

•       To make a raster form, use the Pixels option. In this particular instance, you will need a layer to be chosen. It is important to keep in mind that the foreground color will be used to fill in this shape.

Step 3

Let's get the basics of outlining a shape in Photoshop under our belts before we move on to the first shape tool. To access the Path Options, choose the gear icon located in the Options bar and then click it. You can customize the width of an onscreen shape's outline as well as the color of that outline by using the Thickness and Color options.

How to Make a Rectangle: Method #1

Step 1

After going through the default settings, it's time to focus on the very first shape tool and discover how to add shapes in Photoshop.

First, ensure that the Rectangle Tool is selected, and then, from the Options bar, pick the gear symbol to see any other customization options.

Unconstrained will be selected as the default setting. By selecting this option, you will be able to generate a rectangle of any size that you want. To construct it, all you have to do is click and drag it on your canvas. If you check the option labeled From Center, the point on the rectangle where you click will be set as the center of the rectangle.

Step 2

Select the Square checkbox to make creating a square simpler. Alternately, you can make a square by keeping the Unconstrained box selected, clicking and dragging while holding down the Shift key, and the result will be a square.

Step 3

Select Fixed Size, then adjust the numbers for Width and Height to suit your needs. Simply construct a shape on your canvas by clicking and dragging to the desired dimensions.

Step 4

Mark the box labeled Proportional, then adjust the values for both Width and Height to suit your needs. Simply clicking and dragging anywhere on the canvas will result in a new shape that maintains the original dimensions.

Step 5

You can create rectangles with rounded edges by using the Rectangle Tool. You only need to go to the Options menu and change the setting for the Corner Radius before you can make your rounded rectangle.

After you have built it, you can adjust the Radius values using the Path Selection Tool or the Properties panel by selecting Window > Properties from the menu bar. When you concentrate on your form, you will see some circular icons in each of the corners. To quickly modify the roundness, just click on one of these symbols and drag it around. When you click and drag, keeping the Alt key down will allow you to modify the roundness of a particular corner.

How to Make a Rectangle in Photoshop: Method #2

You can also build a rectangle by making use of the Create Rectangle window, in addition to the more traditional method of clicking and dragging.

Make sure the Rectangle Tool is chosen, and then all you have to do is click anywhere on your canvas to bring up the Create Rectangle box. In this box, you have the option of adjusting the dimensions of the shape, as well as the corner radius and whether or not you want the new shape to be drawn from the center. When you are finished, you can construct your shape by clicking the OK button.

How to Create a Circle in Photoshop: Method #1

You can get the same settings for the Ellipse Tool by selecting it, then clicking the gear symbol in the Options bar again. This will bring up the same menu as the Rectangle Tool.

Check the Unconstrained box whenever you need to create an ellipse of any size, check the Circle box whenever you want to create a perfect circle, check the Fixed Size box whenever you want to create an ellipse of a specific size, check the Proportional box whenever you want to create proportional ellipses, and check the From Center box whenever you want to set the point where you click as the center of the circle. In Photoshop, you can create a complete circle by clicking and dragging while simultaneously holding down the Shift key. This setting allows you to keep the Unconstrained box checked.

How to Create a Circle in Photoshop: Method #2

In the same way as with the other tools, in addition to the standard method of clicking and dragging, you can also make an ellipse by utilizing the window labeled "Create Ellipse." Make sure that the Ellipse Tool is chosen, and then all you need to do to launch the Create Ellipse box is click anywhere on your canvas. You only need to click OK after establishing the size of the form, which is quite simple to do.

How to Make a Triangle in Photoshop: Method #1

Step 1

If you click the gear icon in the Options bar again after selecting the Triangle Tool, you'll get the same options that are available for the Rectangle Tool and the Ellipse Tool as well. These tools allow you to draw triangles, rectangles, and ellipses.

Check the Unconstrained box whenever you need to create a triangle of any size; check the Equilateral box whenever you need to create a triangle with all the sides equal; check the Fixed Size box whenever you need to create a triangle of a specific size; check the Proportional box whenever you need to create triangles that are proportional and check the From Center box whenever you want the center of the triangle to be set at the point where you click. Again, you can make an equilateral triangle by clicking and dragging while simultaneously holding down the Shift key. This will allow you to keep the Unconstrained box checked.

Step 2

You can also make triangles with rounded corners by following these instructions. Simply click and drag the mouse to create a triangle with rounded edges after adjusting the Corner Radius setting in the Options box. After you've made it, you can modify the corner radius in the Properties panel or directly on the shape itself using the Path Selection Tool. Either way, you can do this after you've produced the shape.

How to Make a Triangle in Photoshop: Method #2

In the same way as with the other tools, in addition to the standard method of clicking and dragging, you can also build a triangle by utilizing the window labeled "Create Triangle."

Make sure that the Triangle Tool is selected, and then all you need to do to open the Create Triangle window is click anywhere on your canvas. After you have determined the dimensions and the radius of each corner, click the OK button to create the shape. If you require an equilateral triangle, check the box labeled Equilateral.

How to Create a Polygon in Photoshop: Method #1

Step 1

Select the Polygon Tool, then click the gear icon in the Options bar again. This will bring you the same options as the Rectangle Tool, the Ellipse Tool, and the Triangle Tool, in addition to some additional ones. You can use these options to create polygons, rectangles, or ellipses.

Check the Unconstrained box whenever you need to create a polygon of any size; check the Symmetric box whenever you need to create a polygon with all the sides equal; check the Fixed Size box whenever you need to create a polygon of a specific size; check the Proportional box whenever you need to create triangles that are proportional and check the From Center box whenever you want to set the center of the polygon at the point where you click. Alternately, you can make a symmetrical polygon by keeping the Unconstrained box selected and clicking and dragging while holding down the Shift key. This will produce the shape.

COLORS

A user of Photoshop can find that color can be both their greatest friend and their worst adversary. When you finally get that edit exactly right, it's a euphoric experience that can only be dampened by the pain of having your save file unexpectedly lose its saturation, exhibit a mystery color cast, or just seem "wrong." Some different reasons can bring about this result, and if you do not have a solid grasp of color control in post-processing, you can feel confused. The good news is that there is a simple place to begin learning the fundamentals of selecting the appropriate color settings for your files, and we are prepared to guide you through the process.

Although color spaces can at first seem to be difficult to understand, they are one of the most effective color management tools available to a picture editor. This tucked-away section of Photoshop is an excellent location to begin the process of establishing a workflow since it has the potential to alter the look of your picture as soon as the file is opened in Photoshop. Finding the appropriate color management setup for the work that you do will give you a good start to every project, so let's get started with a basic overview of working spaces and what they can do for you. Finding the appropriate color management setup for the work that you do will give you a good start on every project.

Color Modes

We must have a brief review of the various color modes before we go on to discussing the working areas (sometimes called color models). RGB and CMYK are going to be discussed today as the two primary types of color modes. These color modes serve a variety of functions, and it is essential to understand which one will provide the desired outcome for the specific kind of work that you are doing to achieve it.

Color Model RGB (RGB)

First and foremost, keep in mind that light has an additive effect, while pigments have a subtractive effect. When you look at your pictures on a screen, the screen is making colors by reflecting light in different ways. The RGB color mode creates the colors you need by combining the three fundamental colors of light (red, green, and blue) in a variety of different ways. It functions most well when seen on a screen. White is the result you obtain when you fill each pixel with the most saturated shape of each of the three hues. Does that not sound absurd to you?

The majority of individuals have been taught from their very first elementary painting lesson that the combination of all colors produces a black (or blackish) hue, and this is true when it comes to mixing paint. However, the screen on your computer is not a product manufactured by Crayola. Your computer screen produces light, and because light and pigment act quite differently, RGB is most useful in contexts that include light. If you'll pardon the pun, here is where RGB comes into its own.

It's OK if the printing service you choose is optimized for RGB files, as some of them are. When it comes to standard printing, using an RGB file should provide you with sufficient results. Even while the colors cannot be accurate one hundred percent of the time, you probably won't submit an RGB photograph of a cow to a professional printing facility and have that cow come back in blue (unless the animal was, in fact, blue to start with). This is especially true if you make use of the color management option that the vast majority of professional printers make available since professional laboratories often provide recommendations for ideal settings on their websites.

However, when it comes to magazines and other forms of printed material, RGB cannot always be sufficient. Such journals may have more precise standards for submissions. When you print a picture, the ink—or pigment, as we referred to it earlier—produces colors that function differently compared to what you've been seeing in the editing program you've been using. This is the reason for the difference. In situations like this, you can be able to request a specialized color profile that is tailored to the printing technique that the company uses.

CMYK Color Mode

Here is when the CMY component comes into play. Unlike RGB, CMY is a subtractive color space. Because the combination of colors does not always generate a consistent black without the inclusion of black (or K) itself, you will most often see this represented as CMYK. Because CMYK color, as opposed to RGB color, is extremely similar to your Crayola paint set, you will note that I am discussing the process of mixing colors to get black in this specific case. Inks of cyan, magenta, yellow, and black are placed on top of one another or combined to get the desired hue.

Considering that we are discussing the behavior of the pigments that will be used to print your photographs, it makes perfect sense that this mode will be the one that will be utilized for printed media. The fact that you are manipulating these photographs, which are going to be printed shortly, on a screen presents a problem.

Whether you are altering a picture for online display or fine-tuning an image that will soon be printed, you will find that every screen has its interpretation of how a certain hue ought to look. Your experience on a particular device might be affected by a variety of calibration parameters, including the backlight, contrast settings, and other settings. In addition to this, the output of a device's screen can change with time, which means that the settings you used five years ago can show you something different now if you haven't been careful to calibrate your device.

Grayscale

Grayscale deserves special recognition, even if the primary emphasis of this discussion is on color. Even though the meaning behind this one is rather obvious, not everyone is aware that it even exists. The production of a neutral color should be possible if you set each color in your mode to the same number (read: a gray). Why, therefore, can't I simply use my color picker to choose a color that seems to be gray, and then call it a day? You most definitely can, however, the colors you see cannot always be accurate depending on the screen you're using. It is possible that you can wind up with a gray that seems neutral on your computer but will appear to be more of a warm gray on other devices or when you print it. Colors are avaricious, and they will seize whatever opportunity they can to be the center of attention.

Grayscale renders those hues into realistic versions of gray and black, leaving only the former. Gray, not green-gray, blue-gray, or yellow-gray; simply plain old gray. Because those C, M, and Y cartridges can be somewhat expensive, it is extremely helpful in the printing process. When you print an image or document in grayscale, you are just utilizing the black cartridge. This means that your color cartridges do not have to work as hard to create the grays and blacks that you need.

Color Working Spaces

Consequently, the question is, how can we change a picture on one device so that it would display correctly on other devices? We make advantage of various working areas! Working spaces are generic color spaces that are perfect for editing your photographs. They are meant to retain the look of your image across many various kinds of devices. Working spaces are the best color spaces to use when editing your images.

Because of their similar names, color modes, color profiles, and color spaces are often mistaken for one another. They have a similar tone, and they complement one another. However, they are not the same, and while it might be difficult to comprehend the distinction between the two when you are initially introduced to the notion, it is important knowledge to have a firm grasp if you want to spend a significant amount of time working with Photoshop. When you have a picture that uses the RGB color model, every pixel receives a number that corresponds to one of those colors (red, green, and blue.) These figures are significant, but for your monitor to fully comprehend them, even more information is required.

Imagine that you are making something by following a recipe. You are aware that to finish this dish, you will want two tablespoons, three cups, and half of a teaspoon. Even though you are happy to receive this knowledge, which is very important, you are unable to follow the instructions since you do not know which components should go into your tablespoons, cups, or teaspoons. These elements are represented by color spaces!

sRGB Working Space

As it was developed for use with CRT displays in the middle late nineties and has the narrowest color range of the three-color spaces we will go through, sRGB is an easy color space to disregard. The fact that sRGB can be used everywhere gives it a lot of strength. You can be very assured that the colors you manage using sRGB will be recognized by the majority of browsers although support for sRGB is fairly common although it is an older standard with certain restrictions. Because of this, the typical online viewer has a higher chance of seeing what you want them to see. Considering that the majority of your audience will be seeing your work for the first time from behind some type of screen, this is a significant benefit.

On the other hand, it's possible that sRGB isn't giving your original captures the full honor they deserve. Your DSLR, for example, would almost certainly record a wider color gamut than what is available for sRGB. This implies that you might be stripping information from your photos right from the outset if you do not adjust them to sRGB.

Consider it in terms of the many sorts of files. A RAW file stores information that can or cannot be visible to the user, but which, if the appropriate steps are taken, the user can access and utilize. Theoretically speaking, after you save your picture as a JPG, you will no longer have access to any of the additional information it included. You are a talented photographer, as shown by the fact that you are maintaining a saved file for each file type. The principle is the same whether you choose sRGB as your working area or a broader gamut space. It is up to you to determine whether or not the task that you are performing will need the gathering of that additional information.

The Adobe RGB Color Space

Although sRGB has the most users of any RGB color space, it is not the only RGB color space available. In addition, it has the narrowest selection of colors available, making it the least desirable option. Adobe RGB is a superior alternative (1998). Adobe RGB, which was developed in 1998 by Adobe (which explains the name), provides access to a greater variety of colors than sRGB does. Its first goal was to improve the way that our photographs seem when they are printed. Although printers are capable of printing a far lower number of colors than are accessible in sRGB, they can reproduce a greater number of the richer, more saturated colors that humans can see. The majority of higher-end inkjet printers can transition from the sRGB color space to the Adobe RGB color space, which allows our prints to take advantage of Adobe's more comprehensive color gamut.

Digital cameras also can capture a far wider range of colors than what is provided by the standard RGB color space. The standard RGB (sRGB) color space is used by the majority of digital cameras today; however, users of high-end DSLRs have the option to switch to the Adobe RGB color space as their default. If you shoot in JPEG format, Adobe RGB will enable you to keep more of the actual colors in the scene in the images you create. The Color Space option in your camera is irrelevant if it supports the raw format, and if you save your photographs in this format, regardless of which setting you choose, the result will be the same. Raw files consistently record every color that the camera sees. On the other hand, both Adobe Lightroom and Adobe Camera Raw, which are the programs that we use to handle raw photographs, utilize Adobe RGB as their default RGB working space.

COLOR SETTINGS

The Color Settings dialog box will popup when this button is clicked. It is possible that the Color Settings dialog box can seem to be daunting at first if you have never seen it before. However, as we are about to discover, the majority of Photoshop's default color choices are quite acceptable. There is just one setting that requires a modification on our part:

The New Darker Dialog Box

The Color Settings dialog box on your screen may seem different depending on the version of Photoshop that you're working with. The most recent iterations of Photoshop CC have received a darker theme update from Adobe, which includes the dialog boxes. Photoshop versions before CS6 include more translucent dialog windows. There is no significance in the precise tone of gray that you are seeing. There is no change to the color settings.

In versions of Photoshop before CS6 as well as CS6, several of the more sophisticated color options are concealed by default. Simply choose the option labeled "More Options" to have access to them. However, we do not need any of the advanced choices to be modified, so you are free to keep them concealed at this time.

The Default Color Settings Preset

Photoshop's default color settings are referred to as North America General Purpose 2, and they are a predefined collection of color parameters. If you are in a different region of the globe, the name of the preset that you have been given can be different. In that case, it won't matter since we plan to modify our own regardless:

TEXT

ADDING TEXT

Adding text to your document is made possible via the Type tool. You can include text in a range of tasks, such as creating a poster, holiday card, or invitation by adding it to the photos you've already chosen. You will also have the ability to personalize the wording to meet your requirements.

1. Navigate to the Tools panel and choose the Type tool from inside that panel. You can also go to the Type tool at any moment by pressing the T key on your keyboard. This will do the same thing.

2. You can choose the appropriate font and text size from the Control panel that is located toward the top of the screen.

3. After clicking the Text Color picker, choose the color you want from the drop-down menu in the dialog window.

To generate a text box, just click and drag it inside the visible area of the document window. Your document will now have an additional text layer added to it. You are now able to begin typing to add text to the layer.

Working with several text layers might make your life simpler if you want to add a lot of text to the page you're working on. You will have more control over the appearance of your text as a result of doing this. The next illustration has an additional text layer that we've placed for the word “mountains”.

Type tool tips

If you wish to modify a text layer, you will need to double-click the layer icon in the Layers panel. This is required to edit the layer. After that, you will have the opportunity to make changes to the text, resize the text box, or utilize the choices in the Control panel to choose a new font, adjust the size of the text, or change the color of the text.

To access the Character panel, go to Window, then pick Character. This will bring you even more possibilities for styling text.

If you want to move the text, you'll need to choose the Move tool, click and drag it to the new spot you want it to be in the document window, and then release it there.

Rasterizing text

Whether you attempt to use certain tools with a text layer, such as Filters, you will get a warning message asking if you want to rasterize the text. This message appears when you try to use certain tools, such as Filters.

Rasterizing a picture involves converting the text into pixels, which enables you to make alterations to the image that would typically be ineffective when applied to text. The disadvantage of this is that you won't be able to alter the text, change the formatting, or convert it back to a text layer after it's been done. Because of this, you should only rasterize your text if it is really necessary to do so. If you do not want to rasterize the text layer, you can simply click the Cancel button to maintain the format in which it is now stored.

Transforming letters in text

Altering the height of the letters, the width of the characters, and the spacing between individual letters is another way to provide some diversity to the appearance of the text you're working with. You also can instantaneously convert a block of text from all capital letters to all lowercase letters, or vice versa. There are situations when the typeface you are using cannot have an italic variant available. Photoshop allows you to create a fake italic effect. Let's investigate the Text Character pop-up window, where you can test out all of the cool features available to you.

This box can be found in the context menu; thus, before accessing it, ensure that the Text Tool is chosen. To print the document, choose the icon that looks like a sheet of paper and click it. This will open up the window for transforming the character. For these modifications to take effect, the text layer on which you are working with Point text has to be selected.

If you are working with paragraph text, you will have to choose the text that you wish to change before continuing. Choose the text you want to use, and then work your way through the available selections. When you move your cursor over an object, a tool tip will appear to provide you with a concise summary of what that item is capable of doing.

Transforming blocks of text

Text that is angled or slanted in a certain direction can be readily formatted to draw the reader's attention. Skew your text by going to the main menu, and selecting EDIT > TRANSFORM > Skew while your text layer or text is chosen. Take hold of a handle located in one of the corners, and pull. You need to look at something similar to this:

You can do the same thing by using the Edit > Transform > Scale and Edit > Transform > Rotate menu items.

Use the tool called "Warp Text" to make the text follow a curve (select the text tool in the tools palette and look between 5 and 6 on the context menu – it looks like the letter T with a curve underneath).

Make sure that you are working on the text layer as you create some text. Simply opening the section popup box requires you to click on the Warp Text Tool. From this menu, you can pick the sort of shape that will be applied to your text; it's really simple.

Basic Formatting

After you have typed some text, you will almost certainly want to alter the font face, color, and can be other aspects of the display; doing so is quite easy. To begin, display the Character window by selecting Window > Character from the menu bar. The Character window has some options for formatting characters; below you'll find some examples of formatting Font Family, Style, Size, and Color (to use the color picker, double-click on the color sample) (you must double-click on the color sample to see the color picker). After committing the type, you have two options for changing the format of the text layer: you can either click on the text miniature in the Layers panel to modify the format of the entire text layer, or you can click on the text layer you want to edit while using the Type tool, make a selection, and then modify the character format of the selected text.

Kerning and Tracking

In Photoshop, you have a lot of leeways to play about with the Kerning and Tracking settings. Make a text selection or choose a text layer, and then check in the Character window for the values of the Kern and Track attributes.

You have the option of using Metrics Kerning or Optical Kerning, both of which allow you to personalize the kern, which is the space between certain pairs of letters. Metrics will automatically modify the kern by using the paired versions of the typeface that you are working with. The kern will be adjusted by Optical depending on the geometry of the typeface. In addition, you can personalize the kern values by either selecting one of the presets or entering a numeric value—either positive or negative—into the Kerning box.

The tracking process is fairly similar; all you have to do is specify a numeric number, which can be positive or negative, to either increase or decrease the amount of space between the letters. In addition, you can create a pleasing outcome by combining both the Kern and the Track.

Vertical and Horizontal Scaling

Altering the values of the Scale parameter in the Character window will cause the text layer to be scaled both horizontally and vertically. Just as some advice, I rarely use those scaling values because when you distort a typeface, you're distorting the shape itself, which can sometimes create an undesirable result. Take a look at the image below; the 'O' character in the nice Century Gothic font is a perfect circle when you don't scale it, but when you change the scaling values, it turns into an oval instead. When you modify the vertical scaling, you can also notice that the forms aren't normal; for example, the 'O'' letter has a line width that is greater at the top and bottom of the character.

Paragraph Options

Basic Alignment

The Paragraph window allows you to format paragraphs, which is extremely crucial for the overall quality of any design. Since a Paragraph Text Layer might include numerous lines of text, the Paragraph window allows you to achieve this. To open it, choose Window > Paragraph from the menu bar. Make a text layer for a paragraph, write some text in it, click the "commit" button, and then click the "layer miniature" button to activate the choices for the full text. You also have the option of utilizing the Type tool to produce a text selection, after which you can selectively apply paragraph formatting to just the lines of your text layer that are chosen.

The Align function is the fundamental component of the paragraph text. Clicking on the icons in the Paragraph window allows you to easily customize the alignment (Left, Center, Right, or Justify). In addition, there are three more options for Justify Alignment, which allow you to change the alignment of the last line of the text layer or the selected text (Left, Center, Right) (Left, Center, Right).

Go to the Paragraph palette menu and click on Justification to adjust the Justify alignment. Once you are there, you will have the ability to set the Word and Letter Spacing percentages, as well as the Glyph Scaling and Auto Leading percentages.

Hyphenation

The hyphenation options that you choose will affect the horizontal spacing of the paragraph, either making it wider or stretching it out depending on the words that are included inside each line. Simply choose the language you want to use in the Character Window, and then turn on hyphenation in the Paragraph Window to add hyphenation to a text layer that you have created using a Paragraph Text Layer. Simply de-select the checkbox next to the option in the Paragraph window to turn off hyphenation.

The automated hyphenation will serve your needs adequately the vast majority of the time, but on occasion, you will need to make adjustments to it.

Click the Paragraph panel's menu, then pick Hyphenation from the drop-down menu to enable advanced hyphenation settings. The following choices will be presented to you:

Words Longer Than # Letters: Set the minimum number of characters required for your hyphenated words. For example, if you set the value to 5, the word "photo" will not be hyphenated; however, if you set the value to 3, you will get "pho-to." The default value is '2.'

After First # Letters and Before Last # Letters: specifies the minimum number of characters at the beginning or end of a word that can be broken by a hyphen, i.e. if you set any of those values as '1,' you could have an undesirable hyphenation, such as "h-ello" or "actio-n." By default, the value for each of these is set to 2.

Hyphen Limit: This allows you to choose the maximum number of lines in a row that can have hyphenation occur.

Hyphenation Zone: This set a distance from the right edge of a paragraph.

Hyphenate Capitalized Words: This prevents hyphenation of capitalized words.

Indent and Space between Paragraphs

The use of indentation is really simple. Simply create a text selection or choose a text layer, and then write or slice both the left and right Indent values. You can indent a text selection to the left or right, as well as indent the initial line of a paragraph, as seen in the figure that follows.

In addition, you can simply add space between paragraphs in the Paragraph window by typing a custom value in either the Area Before or the Space After paragraph space. This allows you to add space before or after a paragraph.

SWATCHES

The Swatches panel can be accessed by selecting the Window menu option and selecting Swatches. This panel will save colors that you use often and will present a default set of swatches for you to work with. You have the option to add colors to the panel, remove colors from the panel, or show various libraries of colors depending on the project you are working on.

Step 1

Before we get started, check to see that the swatches panel is visible on your screen. To begin, make sure that your workspace is set to "Design." To accomplish this, locate the top toolbar, then choose Window > Workspace > Design from the menu that appears.

You can reset your workspace by selecting Window > Workspace > Reset Design from the menu bar. If the layout of your workspace is different from the one shown below, you can wish to do this. This will clear all of the panels in the workspace and start them fresh. You can also activate the swatches window by heading to the Window menu and selecting the Swatches option.

The next step is to have your swatches reset so that we can eliminate as many additional samples as possible. To do this, first, go to your swatches panel, then click the icon that looks like a down arrow in the upper right corner of the panel, and then choose "Reset Swatches" from the menu that appears.

Step 2

Launch the color picker panel or window on your computer. Choose a color if you have the option. In such a case, you are free to choose the color that I selected, which is #274860.

Step 3

Before you shut the window, click the "Add to Swatches" button that is located within the window.

Step 4

The following window should show once you click the "Add to Swatches" button at the bottom of the window. Please enter the name you would like to give your swatch. For the sake of this illustration, I shall input "Nice Blue." If you follow these steps, the color will be saved into your swatches. You can now be wondering; how can I get access to the swatch?

Step 5

Locate the panel that is labeled "swatches" to have access to the swatch that you just saved. In Step 1, I walked you through how to access your swatches panel; but, in case you forgot, you can open the swatches panel by selecting Window > Swatches from the menu bar.

If you already have the swatches panel open, it may be located elsewhere in the region below.

Step 6

Look in the swatches panel that we just opened to locate the swatch that you just saved. To adjust the size of the thumbnails, choose "Large Thumbnail" from the little drop-down menu that appears when you click the icon.

When you move your mouse over the thumbnails, you should see a color picker tool emerge. When you move your cursor over a particular thumbnail and hold it there for a few seconds, you will see the name of the swatch appear. Move the mouse pointer over the one that seems to be the most similar to the one you saved, and then check to see whether the name is the same as the one you saved. After that, just press the left mouse button on the thumbnail, and the color will be assigned to the foreground color slot.

Step 7

If you followed the steps, I outlined above to choose various colors and save them as swatches, then all of those colors should appear in the same "Swatches" window panel after you have completed these steps.

To preserve the colors that are now in the same swatch set, choose the "Save Swatches" option by clicking the little icon with the drop-down arrow that is located in the upper right-hand corner of the swatches panel.

Step 8

After you have clicked the "Save Swatches" button, the following window should display. Simply give it a name, such as "Blues," and then click the "Save" button. There should be no need to modify the save destination since Photoshop is supposed to choose your "Color Swatches" directory for you automatically.

After you have just finished saving the swatches, the next question is how to load them into your window. Let's go back to the "Swatches" window, and this time we'll click the small symbol that looks like a drop-down menu. It needs to be possible to load swatches as a selectable option. After clicking this, choose the file that you have just saved to your computer.

Apply swatches to layers

Do any of the following to apply a color swatch to a text layer or a shape layer:

To apply a swatch, first, choose one or more layers using the Layers panel, and then use the Swatches panel to click on any of the available swatches.

To apply a swatch to the layer's content on the canvas area, drag a swatch from the Swatches panel onto the area.

To add a swatch to a layer in the Layers panel, drag a swatch from the Swatches panel onto the layer.

Simply move a color swatch from the Swatches panel to a pixel layer in the Layers panel and then release the mouse button. This will apply the swatch to the pixel layer. In Photoshop, a fill layer is created and placed on top of the pixel layer automatically.

Organize swatches into groups

To organize swatches under a new group:

In the Swatches panel, choose the New Group icon from the drop-down menu.

Give the group a name and then click the OK button.

To move a swatch inside of a Group, either drag the swatch itself or use the Shift key to select several swatches at once.

Create nested groups:

Make a selection inside a group within the Swatches panel.

Position the chosen group under another group by dragging it and dropping it there.

GRADIENT

One of the primary operations that, along with the other foundations, make up the fundamentals of digital picture editing is the application of gradients. The information that you need to know about how the color intensity of your picture changes in a certain direction can be obtained from the gradient.

Apply a gradient fill

Using the Gradient tool, you can create a seamless transition between a variety of hues. You have the option of selecting one of the preset gradients fills or creating your own from scratch.

Please take note that the Gradient tool cannot be used with indexed-color or bitmap pictures.

1. To fill a portion of the picture, first choose the region you want to fill. If this does not occur, the gradient fill is applied to the whole of the active layer.

2. Choose the Gradient tool from the toolbar. (If the tool is not currently visible, maintain pressure on the Paint Bucket tool.)

3. In the options box, choose a fill from the broad gradient sample, and it should look something like this:

To choose a predefined gradient fill, choose the triangle that is located next to the sample.

To access the Gradient Editor, you must first choose inside the sample. Choose a gradient fill preset from the available options, or build a new one.

Note that the preset "Neutral Density" offers a useful photography filter that can be used for photographing sunsets and other high-contrast settings.

4. Choose an option to decide how the beginning point (the location where the mouse button is pushed) and the ending point (the location where the mouse button is released) impact the look of the gradient.

Linear Gradient creates shades that move in a line from the beginning point to the finish point of the gradient.

Radial Gradient shades from the starting point to the ending point in a circular pattern.

Angular Gradient shades in a counterclockwise sweep around the starting point.

Diamond gradient shades from the middle to the outer corners of a diamond pattern.

Reflected gradient mirrors the same linear gradient on either side of the starting point.

5. In the settings bar, make the following changes:

•       You will need to choose a method of blending and an opacity for the paint.

•       Select "Reverse" from the drop-down menu to switch the order of the colors in the gradient fill.

•       Choose the Dither option to produce a mix that is more consistent and has less banding.

•       Choose the Transparency radio button if you want to employ a transparency mask for the gradient fill.

•       Choose a technique for the gradient fill by selecting an option from the list of available methods, which include perceptual, linear, and classic.

6. Move the mouse cursor to the location in the picture where you want the gradient's beginning point to be, and then drag it to the location where you want the gradient's end point to be. Holding down the Shift key while dragging will cause the line angle to be constrained to a multiple of 45 degrees.

Live Gradients

You can generate the color stops and make edits to your gradients directly on the canvas when you use Live Gradients. With this feature, you can edit the gradient by changing its color, density, opacity, and blend mode; viewing the gradient's midpoint and spread on the canvas; adding multiple color stops and changing the color of those color stops. Additionally, you can control the gradient's color; you can also add multiple color stops, and you can change the color of the color stops.

Based on the layer that is now chosen in your document, the Gradient Tool can determine which mode, either Gradient or Classic gradient, is the appropriate option to use. When you use the Gradient Tool in Gradient mode, it enables Live Gradients.

When a pixel layer is chosen, you have the option of working either non-destructively, via the Gradient mode, or destructively, through the Normal mode (Classic gradient mode). When working on a layer that has a gradient fill, the tool will transition to the appropriate mode depending on whether the layer has a mask or a gradient fill selected.

Follow these steps to make advantage of the new Live Gradients feature:

Make your selection in the area where you want the gradient fill to be applied, and then choose the Gradient Tool from the toolbar.

To use the new Live Gradient function, go to the Options bar and make a selection from the drop-down menu labeled Gradient mode.

Choose the Classic Gradient mode from the same drop-down option if you want to utilize the Gradient tool that has been around for a long time.

Make changes to your gradient using the gradient widget, and see the results of those changes in real-time. You can alter the color of the gradients, as well as their density, opacity, and blend mode, by adding color stops and opacity stops and then moving those stops about.

When you tap anywhere on the trail, a new color stop will be added to it. The newly introduced color will replace the one that is currently selected for the fill property.

APPLY GRADIENTS TO LAYERS

To apply a gradient to text layers as a layer effect, do any of the following:

•       In the Layers panel, choose one or more text layers, and then in the Gradients panel, click any gradient to apply it to the selected text layers.

•       To apply a gradient to the text content on the canvas area, drag a gradient from the Gradients panel onto the text.

•       To apply a gradient to a layer in the Layers panel, drag a gradient from the Gradients panel onto the layer.

You can apply a gradient as a fill layer to text layers or shape layers by doing any of the following:

•       While holding the Command (Mac) or Alt (Win) key, drag a gradient onto the text content that is located in the canvas area from the Gradients panel.

•       While holding the Command (Mac) or Alt (Win) key, drag a gradient from the Gradients panel onto a layer in the Layers panel. You can find the Gradients panel in the Window menu.

To apply a gradient to pixel layers, do the following:

Select a gradient from the Gradients panel and then use the Layers panel to drag it onto a pixel layer.

When you open a file in Photoshop, a fill layer is immediately created on top of the pixel layer.

ORGANIZE GRADIENT PRESETS INTO GROUPS

To classify gradients into a new category:

Navigate to the Gradients panel by selecting Window > Gradients, and then click the button labeled Create New Group.

Give the group a name and then click the OK button.

To move a gradient into the Group, either drag the gradient alone or use the Shift key to select several gradients at once.

To create nested groups:

Make a selection in the Gradients panel's group menu.

Position that group underneath another group by dragging and dropping it.

SHOW LEGACY GRADIENTS

•       Select Legacy Gradients from the drop-down menu located in the Gradients panel.

RESTORE THE GRADIENT SETTINGS TO THEIR INITIAL STATE

You can add the Gradients defaults to the list of Gradients presets by selecting Append Default Gradients from the option that is found on the Gradients panel.

CHANGE HOW PRESET GRADIENTS ARE DISPLAYED

Make your selection from the list of display options available in the Gradients panel:

•       Text Only: Displays the gradients as a list.

•       Small or Large Thumbnail: Displays the gradients as thumbnails.

•       Small or Large List: Displays the gradients as a list with thumbnails.

RENAME A PRESET GRADIENT

•       To change the name of a preset gradient, double-click on the gradient you want to rename, input the new name, and then click the OK button.

•       If the panel is configured to only show gradients as a list or text, double-click a gradient to edit its name, then hit Enter (Windows) or Return on your keyboard to commit the change (Mac OS).

Gradient Editor Overview

Simply clicking the sample of the gradient that is now active in the options bar will bring up the Gradient Editor Dialog box. (A tool hint that reads "Click to alter gradient" displays whenever you move your mouse pointer over the gradient sample.)

Within the context of the Gradient Editor Dialog box, "defining a new gradient" refers to the process of altering a copy of an existing gradient. A gradient can also have intermediate colors added to it, which will result in a color transition that is comprised of more than two hues.

A. Panel menu B. Opacity stop C. Color stops D. Adjust values or delete the selected opacity or color stop E. Midpoint 

SAVE A SET OF PRESET GRADIENTS AS A LIBRARY

•       Either choose Save Gradients from the Gradient Picker menu located in the options bar or click the Save button located in the Gradient Editor Dialog box.

•       Select a place to save the gradient library, type a name for the file, and then click the Save button.

You are free to store the library in any location you like. However, if you store the library file in the Presets/Gradients folder in the default preset location, the name of the library will display at the bottom of the panel menu once you restart Photoshop. This is the case regardless of whether or not you change the default preset location.

LOAD A LIBRARY OF PRESET GRADIENTS

Do one of the following in the Gradient Editor Dialog box:

•       Select the library you want to add to the list, and then click the Load button. After choosing the library file you wish to utilize, click the Load button.

•       To replace the current list with a different library, choose Replace Gradients from the menu that appears when you right-click on the panel. After choosing the library file you wish to utilize, click the Load button.

•       Select a library file from the drop-down option at the bottom of the window. You can change the current list by clicking the OK button, or you can add the current list by clicking the Append button.

Note that the Gradient Picker menu in the options bar also gives you the option to Load Gradients, Replace Gradients, or choose from a library of gradients. You can do any of these things.

Create a smooth gradient

Choose the Gradient tool from the toolbar.

To open the Gradient Editor Dialog box, locate the options bar and click anywhere within the gradient sample that is shown there.

Choose a gradient from the Presets area of the dialog box to use as a starting point for the creation of a new gradient based on an existing gradient.

Select Solid from the drop-down menu that appears next to the Gradient Type option.

Click the color stop on the left side of the gradient bar. This will allow you to choose the color that the gradient will begin with. It can be seen that the beginning color is being altered since the triangle that was previously above the stop has become black.

Select a color by doing the following:

•       You can either click the color swatch in the Stops section of the dialog box or double-click the color stop to activate it. Select a color, then click the OK button.

•       In the Stops part of the dialog box, locate the Color pop-up menu and choose one of the available options.

•       To sample a color, either place the cursor on the gradient bar, which will cause it to transform into an eyedropper and then click. Alternatively, you can click anywhere in the picture to sample a color from the image itself.

To specify the color of the gradient's endpoint, click the correct color stop beneath the bar that displays the gradient. After that, choose a color.

To move either the beginning point or the finishing point, you can execute one of the following:

•       To move the color stop to the desired area, just drag it to the left or right side of the screen.

•       First, under the Stops area of the dialog box, click the color stop that corresponds to the one you want to change, and then type in the new location. When the value is 0%, the point is located at the very left end of the gradient bar; when the value is 100%, the point is located at the very right end.

To alter the position of the midway (the point at which the gradient shows an equitable mix of the beginning and ending colors), either click the diamond located below the gradient bar, move it to the left or right, or enter a value for Location after clicking the diamond.

                     To add intermediate colors to a gradient, click below the gradient bar to set another color stop. This will allow you to add intermediate colors. As you would do for a beginning or finishing point, specify the color and make any necessary adjustments to the position and the midpoint of the intermediate point.

                     To remove the color stop that you are now modifying, either use the Delete key on your keyboard or drag the stop down until it vanishes.

                     Either type a number into the Smoothness text box or use the Smoothness pop-up slider to adjust the smoothness of the transition between the different color bands in the gradient.

The smoothness attribute explains how we choose the color in a particular band when we go from one color stop to the next color stop and back again over the whole gradient. In theory, smoothness has no influence when dealing with a straightforward gradient that consists of only two stops and a default midway. The numbers for the stops are already plotted out in a line. A smoothness value of 0 will result in straight lines linking the midpoints and stops, but a smoothness value of 100% will result in a spline curve.

                     If you like, you can adjust the transparency settings for the gradient.

                     Give the new gradient a name and hit the "Enter" button.

                     When you are done designing the gradient, use the new button to save the gradient as a preset for future use.

Take note that any new presets you create will be stored in a file called Preferences. All of the newly created presets will be lost if this file is accidentally deleted or destroyed, or if you choose to reset the presets to the default library. If you want to save your new settings for good, you need to store them in a library.

Specify the gradient transparency

There are parameters inside each gradient fill that allow you to adjust the degree to which the fill is opaque at various points along the gradient. For instance, you might have the initial color have an opacity of 100% and then have the fill progressively blend into a color that has a 50% opacity as the destination.

The level of transparency in the gradient preview is represented by a pattern that looks like a checkerboard.

Create a gradient.

Click the left opacity stop located above the gradient bar to make changes to the initial opacity. It can be seen that the initial transparency is being modified when the white triangle below the stop changes color to black.

Within the Stops part of the dialog box, either enter a value in the text box labeled Opacity or move the Opacity pop-up slider.

Click the right transparency stop located above the gradient bar to make adjustments to the opacity of the finish point. After that, go to the Stops area and adjust the opacity there.

You can alter the beginning or ending opacity by doing one of the following, which will allow you to move the starting or finishing point:

•       To adjust the level of opacity, move the stopper that corresponds to it to the left or right.

•       Choose the opacity stop that corresponds to the option you want to use, and then enter a value for Location.

Do one of the following to alter the position of the midpoint opacity (the point halfway between the beginning and finishing opacities):

•       To adjust the gradient, move the diamond that is located above the bar to the left or right.

•       Choose the diamond, and then put a number into the Location field.

Select the opacity stop you are now altering, and then click the Delete button.

Clicking just above the gradient bar will allow you to set a new opacity stop, which will allow you to add an intermediate opacity to the mask. After that, you can change and move this opacity in the same way that you would adjust and move a beginning or ending opacity. You can get rid of an intermediate opacity by dragging the transparency stop of that opacity up and off the gradient bar.

To create a preset gradient, click the new button after giving the gradient a name in the Name text box. This results in the creation of a new gradient preset with the transparency value that you defined before.

Create a noise gradient

One kind of gradient is known as a noise gradient, and it is characterized by the presence of colors that are dispersed at random over the color range that you choose.

A. 10% roughness B. 50% roughness C. 90% roughness 

Choose the Gradient tool from the toolbar.

To open the Gradient Editor Dialog box, locate the example gradient that is located in the options bar and click on it.

Choose a gradient from the Presets area of the dialog box to use as a starting point for the creation of a new gradient based on an existing gradient.

Select Noise from the drop-down box under Gradient Type, and then configure the following options:

•       Roughness: This adjusts the smoothness of the color transitions between the different color bands in the gradient.

•       The Color Model: This modifies the color components that are available for adjustment. To specify the range of values that are allowed for each component, drag the appropriate sliders. If you choose the HSB model, for instance, you'll be able to limit the gradient to shades of blue-green, one that has a high saturation level and a medium brightness level.

•       Restrict Colors: This prevents oversaturated colors.

•       Add Transparency: This adds transparency to random colors.

•       Randomize: This generates a gradient randomly while adhering to the values described above. Keep clicking the button until you discover a configuration that suits your needs.

Give your new preset gradient a name by typing it into the Name text box and then clicking the new button. This will generate a gradient that uses the parameters that you've chosen.

PART SIX

MASKING IN PHOTOSHOP

In this part, you will learn about clipping mask. You will understand how to make it, remove a layer from it, and how to release it. It explains the text clipping mask and layer mask. Also, you will learn about point type, paragraph type, and type on a path.

CLIPPING MASK

A clipping mask is a collection of layers that have had a mask applied to them as a group. The lowest layer, often known as the base layer, is responsible for determining the visible borders of the whole group. Take for instance the case when you have a shape in the bottommost layer, an image in the one above it, and some text in the very top layer. If the image and text are only visible via the base layer's shape outline, then the opacity of the photograph and text will be the same as that of the base layer.

Only consecutive layers can be grouped. The name of the layer that serves as the group's foundation is italicized, and the thumbnails representing the layers that sit above it are recessed. In addition, the symbol for the clipping mask is shown on the layers that are on top.

Note: It is possible to join the layers included inside a clipping mask so that they move as a unit.

Create a clipping mask

Do one of the following:

•       To merge two layers into one, hold down the Alt key (or the Option key in Mac OS), move the cursor over the line that separates the two levels in the Layers panel so that it looks like two overlapping circles, and then click.

•       In the Layers panel, pick the top layer of a set of layers that you wish to group, and then choose Layer > Create Clipping Mask from the drop-down menu.

To construct a clipping mask using an existing layer and a new layer that you are going to create, you must first select the existing layer in the Layers panel. The next step is to choose New Layer from either the Layer menu or the More option located in the Layers panel. Choose Use Previous Layer to Create Clipping Mask from the drop-down menu in the New Layer dialog box, then click the OK button.

The opacity and mode characteristics of the group's most fundamental base layer are copied down to the other layers that make up the clipping mask.

Note: Selecting all of the layers in the group is required to modify the stacking order of the clipping mask concerning the other layers in the picture. Then, in the Layers panel, move the base layer of the group to the desired position using the arrow keys. (The layer will be removed from the group if you drag it while deselecting all of the other layers in the group before doing so.)

Remove a layer from a clipping mask

When the base layer is ungrouped from the layer above it, all of the layers in the clipping mask are also ungrouped.

Do one of the following:

•       While holding down the Alt key (or the Option key in Mac OS), move the pointer across the line that divides two grouped levels in the Layers panel. When you click, you should see the pointer turn into two overlapping circles.

•       In the Layers panel, pick a layer that is included in the clipping mask, then choose Release Clipping Mask from the menu bar. When you use this command, the clipping mask for the specified layer and all layers that are above it will be removed.

•       Choose any other layer in the group except the basic layer in the Layers panel. Either move the layer so that it is below the basic layer, or move it such that it is in between two ungrouped layers in the picture.

Release clipping mask

In the panel labeled "Layers," choose a layer that is not the base layer in the clipping mask.

Select Layer > Release Clipping Mask from the menu bar.

TEXT CLIPPING MASK

In this instance, we are going to employ some text as a clipping mask, and the picture from another layer will be seen appearing through those letters. This effect is common in graphic design and is also used often on the internet.

1. Launch Photoshop and choose a picture from your computer's hard drive that you wish to utilize. I'm utilizing a snowy scene.

2. Using the tool choices bar, choose the Horizontal Type Tool, and then make your selections for the font qualities you want. The alternatives that I went with can be seen below.

Text should be aligned in the center and anti-aliasing should be set to strong. The font family should be pussycat, and the size should be 250. (You will need to put this into the Size box and click Enter (Windows) or Return (Mac).

3. Navigate to the window for the document and start typing the term "Snowfall."

Make use of the Move Tool to position the text so that it is centered in the center of the picture.

4. Select the layer you want to use as the backdrop by clicking on it in the Layers Palette, then click the box labeled "Create a New Layer."

In the Layers Palette, you will see the addition of a new empty layer.

5. Using the Paint Bucket tool, fill the new layer with white paint so that it is completely opaque.

To construct your clipping mask, you will now need to reorganize the layers so that they are stacked in a different order. There is a lock placed on the background layer at the moment.

6. To open the New Layer dialog box, double-click anywhere on the background layer. This will bring up the window. Click OK once you have renamed the layer to Trees.

7. In the Layers Palette, choose the Trees layer and drag it to the top of the stack so that it covers the words "Snowfall." This will complete the process.

8. Select Create Clipping Mask from the option that appears when you click the small triangle in the top right-hand corner of the Layers Palette.

As soon as the clipping mask is activated, you will see that the letters that make up the phrase "Snowfall" are being replaced by a picture of snow-covered trees.

The fact that you can rearrange the order of your text while maintaining the same overall effect is a handy feature offered here.

Adding a Drop Shadow

A drop shadow will be added to the text as the last step in completing the picture. It has a little greater effect thanks to this!

Make the Snowfall type layer active by selecting it, and then click the Add a Layer Style button at the bottom of the Layers palette. From the pop-up box that appears, choose Drop Shadow as the layer style you want to apply.

In the Layer Style dialog box, adjust the settings so that the opacity is set to 100%, the angle is set to 180 degrees, and the distance, spread, and size are all set to 3.

LAYER MASK

Changing the visibility of a single layer in an image file can be accomplished with the use of a tool called a layer mask, which can be found in Adobe Photoshop. You can use a layer mask to conceal certain portions of a chosen layer inside an image file, or you can use it to make other portions of a layer visible by highlighting segments of the image layer with the brush tool. Either way, you can utilize a layer mask. The layer mask thumbnail, which can be found in the lower right-hand corner of your workspace, displays the parts of the layer that can be seen as white, while the parts of the layer that cannot be seen are shown as black. On the thumbnail for the layer mask, regions that are represented by grey show transitional states between complete opacity and full transparency.

Changes to the opacity and transparency of a layer can be made with the use of a layer mask, which prevents these modifications from being made irreversibly. If you delete a portion of an image layer using the eraser tool in Photoshop, that portion of the picture will be permanently removed and cannot be restored (unless you use the "step backward" option, which can undo portions of the remainder of your work). Using layer masks, graphic designers and artists can make adjustments that can be undone quickly and simply without having to undo activities one after the other. It is also possible to employ layer masks to generate transparency gradients over an entire layer.

Create a Layer Mask

1. Create a new layer. To create a new layer that you can work on, go to the layers panel and click the option labeled "add layer." The combination of Shift + Control + N on the keyboard is the shortcut for creating additional layers. Insert the picture that you wish to modify.

2. Add your layer mask. Simply click on the layer that you want to apply a mask to inside the layers panel, and then click the layer mask button that is located at the very bottom of the layers panel. The icon for the layer mask is a rectangle with a circle centered inside it. In the layers panel, you will see that a layer mask thumbnail has been added next to the picture layer thumbnail.

3. Add black to conceal. To make the layer mask your active layer, you must first choose its thumbnail in the layers panel. Choose the brush tool, and make sure that the foreground color is set to black. Using the brush tool, cover up any areas of the picture that you do not want to be shown by painting over them. A brush with a defined edge will establish a distinct boundary between the opaque and transparent components of your design, whilst a brush with a soft edge can be used to create a fade.

4. Add white to reveal. Make use of the brush tool, and make sure that the foreground color is set to white. Use the brush tool to add color to the parts of the picture that you wish to be visible. When you begin creating the layer mask for the first time, the whole layer will be set to white.

5. Add gray to blend. Choose the brush tool, and then decide the shade of gray you want to use as the foreground color. Simply paint over the area of the layer that you wish to be faded or partly visible. When looking at a region of a picture, the level of transparency will increase according to how dark the gray is.

About Type

In Photoshop, a type layer is comprised of vector-based objects that offer a description of the letters, numbers, and symbols that are connected with a typeface. Type layers may be found in the Text panel. There is a vast variety of typefaces that may be acquired in more than one format. Although the TrueType file format is widely used, most typesetting professionals find that the OpenType format better suits their requirements. It is generally accepted that older font formats such as Type 1 and PostScript are no longer relevant and that they are used far less often nowadays.

When you adjust, scale, or resize the type layers in a Photoshop project, the vector-based character outlines are preserved by Photoshop. This ensures that the type will show at the full resolution of the document regardless of how you change the type layers. The pixel dimensions of the page, on the other hand, impose limitations on the degree to which the text may be shown as sharp. When a document is enlarged, jagged font edges become more apparent in a document that has fewer pixel dimensions. For instance, pictures with a lower resolution that are designed to be shown on websites have a lower total number of pixels than graphics with a higher resolution that are intended to be printed.

Getting Started

When you create a new type, the Layers panel will immediately get populated with the new type layer that you have just created. When a type layer has been formed, you will have the ability to make changes to the type and apply layer commands to it once the layer has been created.

When you make a change to a type layer in Photoshop that requires that layer to be rasterized, the vector-based type outlines are transformed by Photoshop into pixel outlines. This occurs when you make a change to a type layer that requires that layer to be rasterized. A rasterized type cannot be modified since it no longer has its original vector outlines, which prevents this possibility.

It is possible to make any of the following adjustments to a type layer while still retaining the capability to make changes to the type:

●     Alter the direction in which the type is shown.

●     Apply anti-aliasing.

●     Change the format of the text from point type to paragraph type.

●     Construct a work path based on the type.

●     Use the commands for transforming from the Edit menu, except the Perspective and Distort commands.

Creating a clipping mask from type

The creation of type might take place at a specific location, inside a certain paragraph, or along a specific route. This article details each of the three approaches.

The orientation of the line of text that appears when you click on the photo will be either horizontal or vertical depending on where you click on the picture. Entering text at certain spots throughout the image allows you to add a few words to your picture. This may be done by using the text tool.

By making use of the constraints that come with the various types of paragraphs, it is possible to regulate the flow of text in either the horizontal or vertical direction. Text entry in this method is handy since it enables you to construct one or more paragraphs, which is useful when you want to make one or more paragraphs for something like a brochure.

When you use a path, the text will flow along the edge of the path regardless of whether or not the path is open. When you horizontally enter text, the letters that you write appear along the route that is perpendicular to the baseline. When you enter text in a vertical orientation, the letters do not appear along this path. When you enter text in a vertical orientation, the letters that you type appear in a route that is perpendicular to the baseline. This is because the baseline runs along the top of the page. In either case, the natural progression of the text is determined by the sequence of events that led to the insertion of new bits of information.

If you enter more text than can fit within a paragraph boundary or along a path, a small box or circle containing a plus symbol (+) appears in place of a handle in the corner of the boundary or anchor point at the end of the path. This happens whenever you enter more text than can fit within a paragraph boundary or along a path. When you add more text than can be accommodated inside the boundaries of a paragraph or along a route, this error message will appear.

The edit mode of a type tool is engaged when the user clicks on an image with a type tool while in the edit mode. While the tool is in edit mode, you can enter and modify characters, as well as do certain other tasks by selecting them from the various menus. However, before you can advance with some activities, you will be forced to first commit changes to the type layer. You can determine whether or not a tool is currently operating in edit mode by looking at the options bar of the tool. If the options bar has both a Commit and a Cancel button, this indicates that the type tool is now functioning in edit mode.

Enter point type

Each line of type that you input using the point type is independent, which means that the line may increase or shrink based on how you edit it, but it does not wrap to the next line. This is because the point type does not support wrapping.

You are responsible for providing the type, which will be used to generate a new type layer.

Make sure that either the Vertical Type tool or the Horizontal Type tool is selected.

Simply clicking anywhere in the image will allow you to choose a position for the type to be inserted. The thin line that travels across the I-beam represents the baseline of the font (the imaginary line on which the type rests). When vertical type is being utilized, the baseline represents the center axis of the characters.

To choose further type settings, you may either make use of the options bar, the Character panel, or the Paragraph panel.

Please enter the characters into the appropriate box. To begin a new line, you may start by pressing the Enter (Windows) or Return keys on your keyboard (Mac OS).

Once you have completed inputting the type or making any necessary changes to it, you should execute one of the following:

In the options bar, locate the button labelled "Commit," and then click on it.

To use the numeric keypad, you need to first activate it by hitting the Enter button.

To proceed, either press the Control key and the Enter key on your keyboard (Windows) or the Command key and the Return key (Mac OS) (Mac OS).

Select a command from the menu, click on a panel (such as Layers, Channels, Paths, Actions, or Styles), or select a tool from the toolbox. You also have the option of selecting a tool directly from the History panel.

Enter paragraph type

If you choose the option for formatting paragraphs, the lines of text will automatically wrap so that they conform to the requirements of the box that is surrounding them. You have the option of inserting several paragraphs and selecting a rationale for each paragraph.

You have the power to adjust the dimensions of the bounding box, which will result in the type reformatting itself inside the new rectangle that you have created. You have the option of modifying the bounding box either while you are inputting the type or after the type layer has been generated. This is something that you may do either before or after the type layer has been produced. In addition to that, you can skew, scale, and rotate the type by utilizing the box that encloses it.

●     Either choose the Horizontal Type tool or the Vertical Type tool from the available options.

●     Choose one of the following things to do:

Move the mouse in a diagonal direction to create a boundary box for the type.

To show the Paragraph Text Size dialogue box, hold down the Alt key (on Windows) or the Option key (on Mac OS) while clicking or dragging. After you have entered the values for Width and Height, click the OK button.

●     In the options bar, the Character panel, the Paragraph panel, or the Layer > Type submenu, choose extra type choices.

●     Type the characters into the box. Press the Enter (Windows) or Return keys on your keyboard to start a new paragraph (Mac OS). When you add more text into the bounding box than it can accommodate, an icon labelled "overflow" will show on the bounding box.

●     If you so wish, you may enlarge the bounding box, rotate it, or skew it.

●     To commit the type layer, you must perform one of the following:

In the options bar, choose the Commit button and click it.

Activate the numeric keypad by pressing the Enter button.

To continue, either use Ctrl+Enter (Windows) or Command+Return (Mac OS) (Mac OS).

Either choose a tool from the toolbox, click on the Layers, Channels, Paths, Actions, or Styles panel, or pick a command from the menu. Alternatively, you may select a tool from the History panel.

A new type layer will be created with the type that you provide.

Resize or transform a type bounding box

It would be helpful if the bounding box handles of the paragraph type were shown. After activating the Type tool and selecting the type layer from the Layers panel, click anywhere within the image where you would want the text to start flowing and then press the Enter key.

Simply slide the cursor over one of the handles to make modifications to the size of the bounding box. If you follow these steps, the cursor will change into a double arrow after you are finished. While dragging, maintain the Shift key press to keep the aspect ratio of the bounding box the same.

To rotate the bounding box, you must first move the cursor outside of the boundary of the box, and then you must move the pointer again. After a moment, the pointer will transform into an arrow that is double-sided and has a curved shape. Utilize the shift-drag approach to limit the rotation to 15-degree steps at a time at each stage of the process. You may control-drag (on Windows) or command-drag (on Mac OS) the center point to shift it to a new location, which will change where the center of gravity of the rotation is located. The point of center can be situated outside the bounds of the enclosing box.

To deform the bounding box, first keep the Control key pressed down (on Windows) or the Command key pressed down (on Mac OS), and then drag one of the center's handles. The shape of the cursor modifies itself into an arrowhead.

Convert between point type and paragraph type

Converting point type to paragraph type is one way to facilitate the process of modifying the flow of characters that are confined inside a bounding box. Alternatively, you may switch the type of the paragraph to point type to enable the individual lines of text to flow in a manner that is not reliant on the flow of the other lines. When you go from paragraph type to point type, carriage returns are added at the end of each line of type that you enter (except for the last line).

Select the kind of layer you want to work with from the panel labelled "Layers."

Navigate to the option labelled "Type," then choose either "Convert to Point Text" or "Convert to Paragraph Text."

Creating type on a path

To use the Ellipse Tool, go to the Tools panel and make the appropriate option there. Because it is concealed by default behind the Rectangle Tool, you may reveal it by clicking on the Rectangle Tool, holding down the mouse button for a couple of seconds until a fly-out menu appears, and then selecting the Ellipse Tool from the list that displays:

When we choose the Ellipse Tool, the Options Bar that is located at the top of the screen will change to present a variety of options for how we may make use of the tool. These options are available to us whenever we have the Ellipse Tool selected. Just to the far left of where the Options Bar is situated is a group of three icons. Each of these icons represents a different setting. Every symbol in this collection is meant to stand in for a certain kind of shape that can be created using Photoshop. Paths, vector shapes, and pixel-based forms are all within our capabilities when it comes to drawing. To choose the Paths option, you must first click on the icon that is positioned in the exact middle of the three choices that are shown to you:

To make an elliptical route, all you have to do is click anywhere inside your document while holding down the Ellipse Tool and making sure the Paths option is chosen in the Options Bar, and then drag. If you drag the route while holding down the Shift key at the same time, the path will transform into a full circle as you draw it. If you keep the Alt key pressed down while you drag the mouse, you may start drawing the route from the middle of the path rather than from one of the path's corners. If you need to move the route while you're drawing it, just press and hold the space bar, then drag the path to the new region you want it to go, after which you may let go of the space bar and continue dragging. If you need to move the path while you're drawing it, follow these steps:

Now that we have a general idea of where we want to go, we can start adding text. You should make your decision for the Type Tool in the section labelled Tools. Head on over to the Options Bar when you have the Type Tool chosen so that you can make your font choices there. Put the Type Tool so that it is immediately on top of the path where you are working. After a moment, the icon that represents the cursor will change into the shape of an I-beam that has a dashed wavy line going through it. This suggests that we are going to directly add text to the route itself in the next step of the process. To begin the process of adding your text, all you have to do is click anywhere along the route. If you are afraid that you may have picked the wrong area for the text to begin, you shouldn't worry since it is easy for us to move the text about on the route once it has been set. The point that you click on is where the text will begin. Continue to add your material as you get further and farther down the path. After you have completed changing text in Photoshop, you may leave the text editing mode by clicking on the check mark located in the Options Bar when you are ready to do so. What you have done will be validated as a result of this.

Even though the text has been put to the route at this stage, it is positioned at an awkward angle for the time being since it is not yet complete. You can relocate your text along the route by using the Path Selection Tool, which is located in the Tools tab of the program. The Path Selection Tool may be used by moving the cursor that is associated with it anywhere over the top of your text. You will see that the pointer changes from a black arrow to an I-beam that has a little arrow connected to one of its sides. This arrow points in either the left or right direction, depending on which way you move the cursor. Simply click on the text you want to move and use your mouse to drag it in the desired direction along the route. This will move your text. If you didn't do it on purpose, you can simply drag it back across the path using the Path Selection Tool, and your text will rotate back to the side it was on before you made the change. You intended to flip and reverse the text in this way so that it reads backwards, but that depends on the impact that you're trying for. On the other hand, if you did it by accident, it may have been what you had in mind all along. In addition to this, it will continue to move in the opposite direction that it was moving in previously. When you are through positioning your text and are pleased with the results, you can hide the path in the document by selecting a layer in the Layers panel that is not your Type layer. This will allow you to hide the route once you have completed putting your text. This will enable you to see the text that you have placed in its entirety. Because my document only has two layers—the Type layer and the Background layer—and the Background layer is the one that contains my photo, I need to click on the Background layer to choose it. The Type layer is where my document's type is placed. My picture may be found on the layer labelled Type.

PART SEVEN

THE ADJUSTMENT LAYER

In this part, you will learn the following:

Level adjustment layer

Photoshop levels

Mid-tone level

Curve adjustment layer

Hue/Saturation layer

Snapshots

Alpha channels…

LEVEL ADJUSTMENT LAYER

You need to have a fundamental understanding of picture tones about photo editing before you can go to the next step of learning how to modify the Levels in Photoshop. When we talk about the tones of a picture, we are ignoring the color. Instead, they focus on the amount of light or darkness present in certain places (or pixels). Photoshop makes use of a numerical representation technique to convey this sense of brightness. In Photoshop, the values of the image's tones can vary from 0 up to 255 at any one time. If the value of an image tone is 0, the resulting tone is black; if the value is 255, the resulting tone is white. Gray tones are those that have values that are in between black and white. When the value is greater, the grey seems lighter, and vice versa when the value is lower.

The proportion of white that is included in the tone is an alternate method that is used by some picture editors such as Affinity Photo. When the tone of an image reaches 0%, the resulting picture is black since there is no white present. However, a value of 100% represents a completely white color. To reiterate, grey is the result of any number between 0% and 100%.

The following image compares the two different types of systems.

Now that you have an understanding of picture tones, let's look at how you can utilize this knowledge to make adjustments in Photoshop using the Levels panel. The following snapshot of Photoshop's Properties box demonstrates the Levels adjustment that can be made in the program. It's possible that this can appear a little bit different for you depending on the version of Photoshop you're working in.

Within the Levels dialog of Photoshop, there is a histogram that displays the various tones present in the picture.

The histogram displays the distribution of tones throughout the whole picture, beginning with black on the left and progressing up to white on the right. You'll see some three-pointers right below the histogram, and just below that will be a box containing some statistics. These are the Photoshop Input Levels, which can be used by us to modify the image's tonal values.

Reading the Photoshop Levels

The Black Level in Photoshop is the level that is located on the left and has the number 0 directly below it. On the inverse end of the scale, the White Level has a value of 255, and its name is "White Level." You should be familiar with these values since we discussed picture tones before.

The Photoshop Midtone Level is located in the center of the image and has a value of 1 directly below it. This utilizes a slightly different numerical system and indicates the brightness of a mid-tone grey.

If you go to the left side of the histogram in the Levels panel, you'll see that it goes all the way to the left but stops short. This is because it doesn't go all the way to the left. The Black Level and the beginning of the histogram are separated by a space in this diagram. This informs us that the picture does not now include a black tone; rather, the tone that is the darkest is a dark gray.

If you look at the right side of the histogram, you will see that the same thing is true there as well. The histogram does not reach up to the White Level where it would meet it. This indicates that there are presently no white tones present in the picture that you are looking at. In its place, we have a very light gray.

How to Adjust the Levels in Photoshop

The picture will not have sufficient contrast since it does not include any black or white, simply varying shades of grey. It is supposed to have a flat appearance. This can, of course, be perfect for some pictures; for instance, a photograph depicting a foggy environment would have low contrast. However, if you determine that the contrast has to be adjusted, you can use Photoshop's levels adjustment to make the necessary changes.

Step 1 – Add a New Levels Adjustment Layer

In Photoshop, adding a Levels Adjustment Layer is the first step you need to do before adjusting the levels of an image. You can do this in Photoshop by going to the "Layer" menu and choosing "New Adjustment Layer" followed by "Levels..." Because the Levels adjustment is non-destructive, we apply it to a new layer rather than directly to the picture itself so that we can take use of its benefits.

Step 2 – Adjust the Black Input Level

The Levels dialog is now visible once the Levels Layer was applied to the picture for the first time. Adjusting the Black and White Input Levels is the next step in this process.

To begin, slide the Black level toward the center of the screen by dragging it to the right. You will see that the picture becomes much darker when you make adjustments to the Black Level. You want it to have a little overlap with the left side of the histogram, but you don't want it to cut into it. Clipping is the term that describes what happens to a histogram when it is clipped into. This results in the dark picture tones being completely black, which might be detrimental to the shadow detail in the image.

Step 3 – Adjust the White Input Level

You must now do Step 2 once again, but this time uses the White Level. To move the white level to the left, use the mouse to click and drag it until it is almost even with the right side of the histogram. You will see that the picture becomes brighter as you continue to do this, and the contrast will also get higher. Once again, highlight clipping is caused when you cut into the histogram, so try to avoid doing that.

If you examine the screenshot in great detail, you will see that the dark level has a value of 8 located underneath it.

Reading the Input Level Numbers

This tells us a few things:

Previously, the value of the visual tone that was the darkest had been 8, rather than 0 (which represents black).

Because of the adjustment to the Black Level, all of the tones in the picture that previously had a value of 8 now have a value of 0.

Because adjusting the Black Level caused all of the other tones in the picture to go darker, the figures for each of them became lower when you measured them.

When we take a look at the White Input Level, we see something quite similar:

The White Level is now at a value of 239 as of 1. This informs us that the previous picture tone that was the lightest was 239, sometimes known as light grey.

We remapped the lightest picture tone so that it now has a value of 255, which is white, by sliding the White Level slider to the left.

After that, Photoshop will redistribute the other tones in the picture over the tonal range, which will result in the image being a little bit brighter.

Previously, the picture had a tonal range of 8 to 239 available to it. The new tonal range in Photoshop is 0 to 255, and it can be achieved by adjusting the Input Levels. This provides contrast to the picture, preventing it from seeming as if it is lacking in depth.

Adjusting the Photoshop Output Levels

If you look at the Levels dialog, you will find a second strip with sliders down the bottom of the window. This strip is located in the middle of the Levels dialog. In the same way that we have been altering the Input Levels, this strip also has a Black Level on the left and a White Level on the right. You will then see the words "Output Levels" followed by two numbers below this.

You can control the tones by adjusting the Black and White Output levels, however, the process works in the opposite direction of how it does with the Input Levels. When we want the dark tones to be even darker, we use the Input Levels, but when we want them to be brighter, we use the Output Levels.

If you check to the left, where it says "Black Output Level," you'll see that its default setting is 0. This is the significance of the first of the number boxes. If you adjust the slider for the Black Output Level to the right, you'll see that this figure rises. As you continue to do this, you'll also notice that the picture is becoming brighter.

The Black Output Level is responsible for determining how much of a contrast there will be between the lightest and darkest tones in the picture. If you have it set to 0, it indicates that black might be the tone that is the darkest. If you shift it to the right to the number 30, for example, Photoshop will only allow dark grey to be the darkest possible tone for the picture.

The White Output Level performs the same function, with the exception that it restricts the maximum possible brightness of the image's lightest tone. If you shift the slider to the left from its default position of 255, which corresponds to white, the strongest possible tone will be gray.

What’s happening in the Photoshop Levels Adjustment?

The actual process that is taking place is that the Black and White Input Levels are using the Black and White Output Levels as a mapping tool for the dark and bright picture tones. When we changed the settings for the input levels, it just so happened that the output levels were 0 and 255.

The Photoshop Midtone Level

Both the Input and Output levels have been discussed up to this point. Adjusting the levels in Photoshop is something you should be familiar with if you've been following along with how to edit a picture. However, there is one level that we haven't discussed yet, and that's the Midtone Input Level. The Midtone Input Level is responsible for regulating how tones are distributed over the screen. If you drag the Midtone level to the right, more of the image's tones will be shown to the left of the Level. This results in a darker appearance of the picture. When the Midtone Level is moved to the left, a higher percentage of the image's tones are shown to the right of the level. This results in a brighter appearance of the picture. There is nothing more to the Midtone Level that can make it any more sophisticated than this. You can use it to brighten or darken the picture, but you should do so only after you have established the levels for the input and output.

CURVE ADJUSTMENT LAYER

The term "curves" refers to a straightforward alteration that can be made to a picture. Curves are similar to when you modify the exposure, the white balance, and other fundamental aspects of the photo, but it does it on a much more powerful scale. It gives you fine-grained control over the brightness and color of each pixel in a single panel that is very powerful. You have the option of applying curves either globally (in a destructive manner) or sensitively (in a non-destructive manner). An Adjustment Layer is what you'll need to work with to apply curves in a way that isn't damaging. This nifty little tool separates the adjustment from the real picture, giving you more control over where and how the adjustment is applied to the image itself via the use of masks and blend modes.

Adjusting points throughout an image's tonal range is what you do while working with the Curves adjustment. At first, the image's tonality is shown on a graph as a line that is straight diagonally across the middle. When editing an RGB picture, the highlights are represented in the upper-right portion of the graph, and the shadows are shown in the lower-left portion of the graph. The input levels, or the values of the original picture, are shown along the horizontal axis of the graph, while the output levels are shown along the vertical axis (newly adjusted values). The shape of the curve changes to represent the many picture alterations you make when you add control points to the line and then move those points around. The steeper regions of the curve reflect places with more contrast, whilst the sections of the curve that are flatter represent areas with lower contrast.

A. On-image adjustment tool B. Sample in image to set black point. C. Sample in image to set gray point. D. Sample in image to set white point. E. Edit points to modify the curve. F. Draw to modify the curve. G. Curves presets menu H. Set black point.  I. Set gray point. J. Set white point. K. Show clipping. 

Adjust image color and tone with Curves

Changing the highlights is accomplished by moving a point in the upper part of the curve. Adjusting the midtones is accomplished by changing a point in the middle of the curve while adjusting the shadows is accomplished by moving a point in the lower half of the curve. Reduce the brightness of highlights by lowering a point that is located close to the curve's apex. When you move a point either down or to the right, the Input value is mapped to a lower Output value, which causes the picture to become darker. To reduce the darkness of the shadows, raise a point that is located close to the curve's base. When a point is moved up or to the left, a lower input value is mapped to a higher output value, and as a result, the picture becomes lighter.

1. To make an alteration to the Curves panel, do one of the following steps:

•       In the Adjustments panel, choose the Curves symbol.

•       Select Curves from the drop-down menu located under Layer > New Adjustment Layer. When you are through editing the new layer, click the OK button.

Note that selecting Image > Adjustments > Curves will apply the modification straight to the picture layer, without any intermediate steps, but will result in the loss of image information.

2. Select the channel you wish to alter for the color balance from the menu to the left of the Auto button in the Properties panel. This step is optional.

3. In the Properties panel, do one of the steps listed below:

•       To make changes to a specific tonal region, first, click exactly on the curve line, and then move the control point.

•       First, choose the On-image adjustment tool from the menu, and then drag it over the part of the picture that needs to be changed.

•       Choose the On-image adjustment tool from the menu, then select the parts of the picture whose tonal values you wish to change. As a result, control points will be placed along the curve line.

•       From the Preset menu, choose a preset to apply.

When you drag a control point up or down, the tonal region you're modifying will become lighter or darker, respectively. The contrast can be increased or decreased by dragging one of the control points to the left or right. There is room for a maximum of 14 control points on the curve. Simply dragging a control point of the graph will get rid of it. As you make adjustments to the level of darkness, the graph will continue to provide references such as the initial diagonal baseline and the picture histogram. To learn how to disable these settings, see the Set Curves Display Options page.

4. (Optional): To alter the adjustment, you can do any one of the following:

•       To alter the various tonal zones, add additional points to the curve that are placed immediately on it.

•       To alter other parts of the picture, click the On-image modification tool in those parts, and then drag the mouse up or down.

•       To set the values that are the darkest and lightest in the picture, you can either use the Set Black and White Point sliders or the Eyedropper tools.

•       To input values, click a point on the curve, and then type them in the text boxes labeled "Input" and "Output."

•       Click the pencil symbol in the toolbar, and then draw a new curve on top of the current one. When you are done, you can smooth the curve you created by clicking the symbol that looks like a smoothing agent over the values of the curve. Multiple clicks have the effect of progressively reducing the sharpness of the curve.

The points on the curve will continue to be fastened until they are moved. You can modify one tonal area without having any effect on the other sections.

Removing control points from a curve

To get rid of a control point, do any of the following:

Drag the control point of the graph.

Select the control point and press Delete.

Ctrl-click (Windows) or Command-click (Mac OS) the control point.

Set Curve display options

Using the settings provided for the Curve display, you can choose how the curve grid is shown.

Make a change to the Curves panel.

In the Properties panel, go to the panel menu and choose Curves Display Options.

Note: If you go to Image > Adjustments > Curves, you need to make sure that the Curve Display Options are expanded in the Curves dialog box.

Select one of the following options in the Curves Display Options dialog box:

•       Light (0-255) (0-255): The intensity levels of RGB pictures are shown within a range that extends from 0 to 255, with black (0) located in the bottom-left corner of the screen.

•       Pigment/Ink%: Displays the percentages for CMYK photos in a range that goes from 0 to 100, with the highlights (0%) located in the lower-left area of the image.

•       The Simple Grid view displays the lines of the grid at 25% intervals.

•       Detailed Grid displays gridlines in 10% increments beyond the default setting.

•       Show Channel Overlays: The color channel curves are shown on top of the composite curve.

•       Histogram: Computes and displays a histogram of the tonal values of the original picture behind the graph.

•       Baseline: Displays the color and tone of the source picture as a line at a 45-degree angle for use as a point of reference.

•       Intersection Line: Displays horizontal and vertical lines to assist in aligning control points relative to the histogram or grid when the user drags the points.

Note: To alter the gridline increment, right-click (Windows) or option-click (Mac OS) on the grid and choose the appropriate menu item.

Apply an Auto correction in Curves

•       In the Properties tab, choose the Auto option.

When you choose Auto, an automated color adjustment using the currently selected default is applied. To alter the default configuration, choose Auto Options from the drop-down menu of the Properties panel, and then modify the settings in the dialog box under Auto Color Correction Options. A picture can have an adjustment made to its Auto Color, Auto Contrast, or Auto Tone settings applied to it.

Adjust the black point and white point sliders to set the black and white points, respectively.

When applying an adjustment to the Curves panel, use the black and white sliders to quickly set the image's black and white points, also known as the values for pure black and pure white.

Position the black and white point sliders anywhere along the horizontal axis by dragging them. Take note that the Input value adjusts as you move the mouse.

Perform one of the following actions to preview clipping as you adjust the black and white points in your image:

Keep pressing the Alt (Windows) or Option key (Mac OS).

From the panel's menu, choose the option to Show Clipping for Black/White Points.

HUE/SATURATION ADJUSTMENT LAYER

With the Hue/Saturation command, you can change the brightness, hue (color), and saturation (purity) of a complete picture or particular color components within an image.

Use the Hue slider to add special effects, colorize a black-and-white picture (such as a sepia effect), or vary the range of colors in a piece of an image. These effects can be achieved by changing the hue of a segment of the image.

A. Original B. Entire image changed to sepia using the Colorize option C. Magenta colors targeted in the Edit menu and changed using the Hue slider

You can use the Saturation slider to make colors more vibrant or more subdued, depending on your preference. For instance, you might give a landscape a more vibrant appearance by intensifying the colors that are present in it. Alternately, tone down a hue that is distracting, such as a vibrant red shirt in a photograph.

To brighten or darken a specific area of a picture, use the Lightness slider in conjunction with the other available modifications. This modification narrows the tonal range of the picture as a whole, so be careful not to apply it to the whole thing.

Change color saturation or hue

Do one of the following:

Go to the Enhance menu, choose Adjust Color, and then go to the Hue/Saturation menu.

Open an already existing Hue/Saturation adjustment layer or choose Layer > New Adjustment Layer > Hue/Saturation from the menu bar.

The two-color bars at the bottom of the dialog box show the colors arranged in the order that they appear on the color wheel. The color before the adjustment is shown in the top bar, while the color after the adjustment illustrates how it impacts all colors when the saturation level is at its maximum.

Select whatever colors you want to alter from the drop-down option under Edit.

To make changes to all of the colors at once, use the "Master" option.

For the color that you wish to alter, choose a preset color range from the other options that are presented. In the space between the color bars, you will see an adjustment slider that you can use to make adjustments to any range of colors.

In the Hue field, enter a value or move the slider until the colors look the way you want them to.

The degrees of rotation around the color wheel that are reflected in the values that are shown in the text box is based on the color that the pixel was original. A rotation in the clockwise direction is indicated by a positive number, whereas a rotation in the counterclockwise direction is shown by a negative value. There is a range of –180 to +180 for the values.

In the Saturation field, either enter a value or move the slider to the right to make the saturation more intense, or to the left to make it less intense. The values vary from a negative 100 to a positive 100.

In the Lightness field, either enter a value or move the slider to the right to make the lightness more intense or to the left to make it less intense. The values vary from a negative 100 to a positive 100. When using this slider to the whole picture, use extreme caution. It will have the effect of narrowing the overall tone range of the picture.

Click the OK button. Alternately, you can press and hold the Alt key (or Option on Mac OS) while clicking the Reset button to undo any changes you can have made.

Modify the range of Hue/Saturation sliders

Do one of the following:

Go to the Enhance menu, choose Adjust Color, and then go to the Hue/Saturation menu.

Either open an already existing Hue/Saturation adjustment layer or choose Layer > New Adjustment Layer > Hue/Saturation from the menu bar.

Select a particular color from the option labeled "Edit."

Utilize the adjustment slider in any one of the following ways:

To change the amount of color fall-off without impacting the range, you can vary the amount by dragging one of the triangles.

To alter the range without impacting the degree of color fall-off, just drag one of the gray bars to the desired position.

To move the full adjustment slider and pick a new color region, drag the gray section in the middle of the slider.

To modify the intensity of the color component, move one of the vertical white bars to the right or left of the dark gray section in the middle. When the range is increased, the color fall-off becomes less severe, and vice versa.

To move the color bar and the adjustment slider bar together, hold down the Ctrl key while dragging the color bar (or the Command key if you're using Mac OS).

A. Adjusts color fall-off without affecting range B. Adjusts range without affecting color fall-off C. Adjusts the range of color component D. Moves entire slider 

If you edit the adjustment slider such that it falls into a new color range, the name of the function will change to reflect this change. If you choose Yellow, for instance, and then adjust its range such that it falls inside the red portion of the color bar, the name of the color will change to Red 2. You can convert up to six of the different color ranges into different variations of the same color range (for example, Red 1 through Red 6).

Note that the color range that is picked when you choose a color component has a width of 30 degrees and a color fall-off of 30 degrees on each side by default. Banding in the picture can result from setting the fall-off to a value that is too low.

2. Click the picture while the color picker is selected to make changes to the range by selecting colors from the image. Utilize the color pickers + tool to increase the range's color options, and the color pickers - a tool to decrease the range's color options.

You can also hit Shift while the color picker tool is chosen to add to the range, and you can press Alt (Option on Mac OS) to remove from the range while the tool is active.

Adjust the color of skin tone

The Adjust Color for Skin Tone command modifies the photo's overall color to emphasize skin tones that are closer to their natural state. When you click on a patch of skin in the photograph, Photoshop Elements makes adjustments to not just the tone of the skin but also to all of the other colors in the photograph. To reach the desired result, you can do it by manually adjusting the red and brown hues independently.

First, open the photograph, and then choose the layer that requires editing.

Go to the Enhance menu, choose Adjust Color, and then pick the Skin Tone option.

Click a section of your skin.

Adobe Photoshop Elements is capable of making automated color adjustments to a picture. There can be just minor alterations.

(Optional) To make further adjustments to the correction, use any of the following sliders:

Tan can either increase or reduce the amount of brown that is present in skin tones.

Blush can either amp up or tone down the amount of red that is present in skin tones.

Temperature: The overall hue of skin tones can change depending on the temperature.

When you are done, be sure you click the OK button. Click the Reset button instead to discard any changes you've made and begin the process again.

Adjust saturation in isolated areas

The color saturation of a region can be altered by using the Sponge tool.

Choose the Sponge tool from the menu.

In the options bar, configure the tool's settings as follows:

Mode: Adjusts the amount of color saturation in the image. To increase the degree to which the color is saturated, choose the Saturate button. The effect of Saturate on grayscale images is to boost contrast. To reduce the intensity of the color, use the Desaturate button. In grayscale, desaturate diminishes contrast.

The brush can be used to set the brush tip. To pick a brush thumbnail, first, click the arrow that is located next to the brush sample. Next, select a brush category from the pop-up menu that appears next to it.

Size: The size of the brush, in pixels, is set by this option. You can enter a size in the text box below, or you can drag the Size slider.

Flow: Adjusts how quickly the saturation level rises and falls. You can either enter a value in the text box or move the slider in the Flow pop-up.

Place your cursor over the area of the picture that you want to change and drag it there.

Change the color of an object

The Replace Color command allows one color in an image to be replaced with another. You have control over the hue of the replacement color as well as its saturation and how bright or dark it is.

Select "Enhance" followed by "Adjust Color" and then "Replace Color."

Choose a display choice from the menu that appears beneath the picture thumbnail:

Selection: Displays the mask in the preview box. The mask appears as a version of the picture that is only in black and white.

Image: Displays the picture in the area designated as the preview. If you are dealing with an enlarged picture or have a restricted amount of screen space, selecting this option will be helpful.

Select the color you wish to modify by first clicking the color picker button, and then clicking the color either in the picture or in the preview window. Use the color picker + tool to add colors, or use the color picker - tool to delete colors to stop them from changing. Both of these tools are included in the color picker menu.

To adjust the degree to which colors that are linked to the current one is included in the selection, use the Fuzziness slider.

To define a new color, do one of the following actions:

To adjust the hue, saturation, and lightness of the image, use the sliders (or enter values in the text boxes).

First, choose a new color using the Color Picker, then click the OK button after clicking the Results box.

To undo any changes, you've made and begin fresh, hold down the Alt key (or the Option key on Mac OS) and then click the Reset button.

Improving a snapshot

Taking a picture in Photoshop is comparable to pausing the development of your project at a particular point in time. Once you have made a snapshot of your document, you will always be able to return it to an earlier version no matter what changes you have made to it. This is useful in scenarios in which you want to undo a significant change and travel further back in time than the records of your history allow you to.

Any kind of document or project that you are working on can have screenshots generated for it in Photoshop. Even if you are editing photographs, graphics, writing, or painting, you can still use them as an undo option. This is true for all editing modes. This relates to every one of these distinct editing processes.

Why Photoshop Snapshots Are Useful

When you first open the history browser in Photoshop, you will only be able to scroll back 50 steps by default. This indicates that you have a maximum of fifty opportunities to use the undo button before you reach the restriction that prevents further use. If the historical event you want to access happens before or after the limit has been reached, you won't be able to access it. Instead of increasing the number of historical states, you should think about using snapshots on your computer so that it continues to run smoothly. This is preferable to expanding the number of historical states.

When you increase the number of history states that you keep, Photoshop will need to use more memory, which may cause the program to run noticeably more slowly. The very last thing you want is to have to deal with even more latency for the simple reason of falling behind the competition by another step.

Making use of a photograph in Photoshop allows you to set a checkpoint in the process of developing your project at any point along the way. Even if you make a thousand distinct modifications to your project and then decide that you want to roll back, snapshots will enable you to do so.

Taking a Snapshot in Photoshop

Once you have opened your History Panel, you can quickly take a new snapshot by clicking the camera icon that is located at the bottom of your History Panel.

Using Photoshop Snapshots in Your Editing

It's great that you know how to take a screenshot in Photoshop, but what about actually using those screenshots in your workflow? The unfortunate truth is that you frequently do not know when you will be required to come back until it is far too late to make other plans. Taking screenshots at various points throughout the development of the project that you are working on is recommended because of this reason.

If you go back to any previous snapshot, your picture will look the same as it did at that particular moment in time. You will notice that the information that the layers panel required to change or maintain is still present within the panel. When you are done making adjustments to the brush settings, color changes, or client modifications, for example, you can consider taking a photo of the final product. In this manner, all of your bases would be covered, and you would have some different areas available to you if you needed to take a step back.

You can see these pictures whenever you choose by going to the History tab on your account. Even after the photo has been saved on your computer! You can access your photographs so long as the picture that you are now viewing has not been saved. When you exit the application, all of your images will be removed from the device. As long as snapshots are kept for the length of the project, it is always feasible to revert to a point that occurred earlier in the process whenever necessary. When it comes time to edit, having created all of them while you were working on your project will give you an added sense of calm and assurance!

How Does a Snapshot Differ from A History State in Photoshop?

The difference between a snapshot and a history state is that a snapshot is a representation of your project in its previous form, whereas a history state specifies the specific changes that were made to your project. The most efficient way to utilize history states is to revert via a series of incremental changes, such as brush, color, or spot adjustments. This is the most effective use of history states. On the other hand, you may use snapshots to retrace your steps to an earlier stage in the development of your project. This might be helpful if you need to go back further. You don't have to go back and reverse each modification if you use snapshots since they let you revert to the condition in which you started working.

No matter how many changes you make, you won't lose access to your photographs; they will always be there for you to see. It has been decided that the historical states will continue to rotate until they have reached their maximum number of fifty. You have the power to change this restriction, but you should be aware that doing so may cause Photoshop's performance to degrade as a direct result of the increased demand placed on its memory resources.

Adjusting facial features with Liquify

The Liquify filter is a wonderful tool to use if you want to distort just a piece of a photo that you have taken. It contains Face-Aware Liquify settings, which can automatically recognize faces in images and then offer you the option to easily adjust facial traits like the eyes, nose, and mouth of the subject. Additionally, it can automatically detect and enhance skin tones. Users of Photoshop can change and enhance the look of facial expressions by using the Face-Aware Liquify feature. This function can automatically identify the face characteristics of the subject being edited.

Launch the Liquify application and load your picture into it.

Converting a picture into a smart object allows you to make further changes to it at a later time inside Liquify. To do this, either right-click or control-click on the image, and then choose the option to "Convert to Smart Object" from the context menu.

Drag the sliders to adjust various facial features

Using these sliders to adjust the Eyes, Nose, Mouth, and Face Shape settings enables a broad number of different customization possibilities to be made.

Alterations may also be done by clicking and dragging directly on particular face traits to get the desired effect. To do this, choose the Face Tool from the Liquify window's toolbar, which is positioned to the left of the window itself. To make the necessary adjustments, move the mouse over a facial feature until it changes into an arrow with two points pointing in opposing directions, and then drag it.

Using an Alpha channel to create a shadow

You are granted access to certain categories of data via the use of channels, which are analogous to the numerous layers that make up an image and their respective storage of data. When choices are performed, the resulting grayscale images are stored in the alpha channels. Channels of color information are used to keep data on each color in a picture; for example, a red, green, and blue (RGB) image will always comprise red, green, blue, and composite channels. Channels of color information are used to hold data on each color in a picture.

If you want to avoid confusing channels with layers, simply think of channels as containing an image's color and selection information, and think of layers as storing painting, shapes, text, and other material. This will help you avoid getting the two confused with one another. Because of this, you won't be able to confuse any of them.

To create a shadow, you will first need to make a selection of the parts of the Model copy layer that are transparent, and then you will need to fill that selection with black on another layer. This process will be repeated until the shadow is complete. Because the selection will need to be altered to generate the shadow, you will now save the selection in its current state as an alpha channel. This is because the selection will be used to generate the shadow. If there is a need for the selection at some point in the future, you will have the ability to load it once again thanks to this.

About alpha channels

If you continue to use Photoshop, you are eventually going to come across something called an alpha channel (saved selections).

It would be useful to have some background information about them, such as:

An image can have up to 56 channels, which includes all color channels as well as the alpha channel.

Alpha channels are grayscale with an 8-bit depth, holding 256 different shades of grey.

You can give each channel a name, color, select a mask option, and set the opacity. (The opacity option does not alter the image itself; all it does is affect how the channel appears in the preview.)

Any newly formed channels will have the same pixel dimensions as the document that they were produced from.

You can make changes to an alpha channel mask by using the painting tools and filters at your disposal.

You can switch the alpha channels over to the spot-color channels.

You can import an alpha channel from another document into the current one by using the Select > Load Selection command, provided that both documents have the same pixel dimensions.

You may use either the Ctrl key (on Windows) or the Command key (on Mac) to click the layer thumbnail icon for the Model Copy layer that is located in the Layers panel (on a Mac). It has been decided to focus on the area that was concealed.

After selecting an option, go to the Select menu and click the Save Selection button. Before you go ahead and save the selection, you need to check and see whether the New channel checkbox is ticked in the Save Selection dialogue box. Next, give the channel the name Model Outline, and then click the OK button when you are through.

A button titled "Create a New Layer" can be found at the very bottom of the Layers panel in Photoshop. Simply click on this symbol. Simply sliding the new layer below the Model Copy layer will put the shadow in the right location, which is below the image of the model. This may be accomplished by clicking and holding down the shift key while dragging the new layer. Simply double-click on the new layer's name, then from the resulting drop-down menu, choose "Shadow" to give the layer a new name.

Once you have ensured that the Shadow layer is selected, go to the Choose menu and choose the Select and Mask option. The selection that is being utilized at the moment will be loaded into the Select and Mask task area when this operation is performed.

Under the View Mode heading in the Properties panel, click the View menu, and then choose On Black from the list of available choices. This will change the view mode to On Black.

In the Select and Mask window, move the Shift Edge slider so that it is set to a value of +36%.

Make sure that "Selection" is selected in the drop-down option that is labelled "Output To" in the part of the interface that is titled "Output Settings," and then click the "OK" button.

Choose Fill from the tab labelled "Edit." Choose "Black" from the drop-down menu that appears in the Fill dialogue box's "Contents" section, and then click the "OK" button when you are done.

When seen via the Shadow layer, it seems as if the model's outline has been filled in with a dark hue. It is necessary to lessen the opacity of the layer as a result of the fact that a person's shadow is often not as dark as the person who casts it.

In the Layers panel, bring the layer's opacity down to such a low value that it is visible for just 30% of the time.

Since the shadow is now positioned in the same spot as the model, onlookers will no longer be able to see it. It is going to be relocated by you.

Go to the Select menu, and then click the Deselect button, to remove the selection.

Rotate the image by going to the Edit > Transform > Rotate menu option. You have the option of manually rotating the shadow, or you can enter a value of -15 degrees into the Rotate box located in the options bar. Either the shadow should be relocated to the left, or the X field in the choices bar should have the number 545 typed into it. You may either accept the transformation by pressing Enter or Return on your keyboard, or you can do so by clicking the "Commit Transform" button that is situated in the options bar.

Click the eye icon that is located next to the layer's name to make the Magazine Background layer visible, and then delete the Model layer to finish the process (the one without the mask).

To save what you've done thus far, go to the File menu and choose Save from the drop-down menu.

LAYER MASKING IN ADJUSTMENT LAYER

Adding a modification to a picture via the use of an adjustment layer is a versatile method that allows for the modification to be made without directly affecting the image itself. Every adjustment layer has its layer mask already installed by default. To limit the effect of an adjustment to a specific region of a photograph, you can customize the mask of an adjustment layer by adding black, white, or gray areas.

Add an adjustment layer

In the Layers panel, choose an image layer to work with.

At the bottom of the Layers panel, you'll see a button labeled Create new fill or adjustment layer. Click this option. Select Hue/Saturation from the drop-down option that appears. The Hue/Saturation adjustment layer shows in the Layers panel above the layer you chose, along with a thumbnail displaying a layer mask in the color white. The Hue and Saturation settings for this adjustment layer are shown in the panel labeled Properties.

To get a higher level of color saturation, open the Properties panel and move the Saturation slider to the right. This modification will now affect the whole picture that is on the layer below.

Add a black-to-white gradient to the adjustment layer mask

When applied to an adjustment layer mask, black will conceal the adjustment, gray will partly reveal it, and white will reveal the full effect of the adjustment.

Using a black-to-white gradient is one technique to add black, gray, and white to any layer mask, including an adjustment layer mask. This can be accomplished in some ways.

In the Layers panel, check that the thumbnail for the layer mask has a white border around it. Click the thumbnail of the layer mask if there is no white border around the image.

To change the colors of the Toolbar to white and black by default, use the D key on your computer. When you press the X key, the color boxes will be flipped such that white will be the foreground color and black will be the background color.

Choose the Gradient tool from the Toolbar's options.

Make sure that the Gradient option in the Options bar shows a black-to-white transition when you use it. If it does not, pick that option to enter the Gradient Editor, then choose the Foreground to Background gradient preset before clicking the OK button.

Tip: In the Gradient Editor, pick the Black to Transparent gradient preset if you wish to add numerous gradients to the same layer mask. This will allow you to create multiple gradients.

In the bar that contains the options, choose the Linear Gradient option.

Tip: You can use gradient shapes other than a Linear Gradient on a layer mask by picking a different gradient type in the Options bar for the Gradient tool, such as a Radial Gradient. This will allow you to utilize gradients on the layer mask that are not linear.

In the main window of the project, select the region in which you do not want the adjustment to be made, and then click and drag toward the area in which you do want the adjustment to be applied. This will create a black-to-white gradient on the layer mask.

The white portion of the gradient on the layer mask displays the adjustment at its maximum strength on the underlying picture layer. The shades of gray on the layer mask progressively obscure the adjustment, and the black portion of the layer mask covers the adjustment altogether. This results in a smooth transition between the parts of the image that are impacted by the adjustment layer and the parts of the image that are not affected by it.

If you are not pleased with the outcome, repeat the step that came before it, but this time change the length of the line or the direction it is going in until you are satisfied. You can also fine-tune the mask by painting on it with the Brush tool, using either black, white, or gray paint, and adjusting the adjustment layer.

PART EIGHT

THE CORRECTION TOOLS

In this part, you will learn about the following;

Red eye tool

Dodge and burn tool

Spot healing brush took

Clone stamp tool

Filters

Blur

RED EYE TOOL

When a strong flash from a camera is utilized in a dimly lit location and then aimed toward a person, a condition known as red-eye can occur. The flash generates light, which then shines straight into the pupil of the subject, bounces off the back of the eyes, and then reflects into the camera where it was originally captured.

Use a speed light or try bouncing the flash off of the room to reduce the harshness of the lighting and prevent the subject from seeming to have gold eyes in the resulting shots.

If the surrounding area is still too dim, you can try moving the subject to a more naturally lit place to avoid the artificial red-eye appearance.

•       To begin, load a photograph of your subject into Photoshop by selecting File > Open from the menu bar... or by using the drag-and-drop method to transfer the files into the workspace.

•       Find the Tool Bar by looking to the left side of the working area.

•       Find the "Spot Healing Tool" inside the Tool Bar; it has a symbol that looks like a Band-Aid and you can recognize it by its name.

•       When you use the mouse to choose the Spot Healing Tool, you will see that other options are available inside the Spot Healing Tool.

•       Choose the Red-Eye Tool from the drop-down menu at the bottom of the side tab.

•       It is possible to recognize the Red-Eye Tool by the symbols that look like a plus sign and an eye.

•       Find the top in the working space.

•       Both the Pupil Size and Darken Amount should be set to 50 percent.

•       To create a square around the pupil, click and drag the mouse in that direction.

•       Adjust the square so that the pupil is located in the middle of it.

•       Once everything is in place, you can let go of the mouse.

Take note of the natural white spot that has appeared in the middle of the eye where the gold spot used to be.

Now, while still using the Red-Eye Tool, click and drag the mouse over the second eye until both of the golden eyes are transformed into white eyes.

The eyes of the subject are now illuminated in their natural state.

DODGE AND BURN TOOLS

The Dodge tool makes sections of the picture lighter, while the Burn tool makes areas darker. These tools are modeled after an age-old method used in darkrooms to control the amount of light that is let into certain regions of a print. When they want to brighten an area on a print, photographers use a technique called dodging. When they want to darken an area on a print, they raise the exposure (burning). The Dodge and Burn tools make an area brighter or darker depending on how many times you paint over it with those tools.

Either the Dodge tool or the Burn tool should be selected.

In the settings box, choose a brush tip, and then configure the brush parameters.

Make your selection in the Options bar's Range menu using one of the following options:

Midtones: Changes the middle range of grays

Shadows: Changes the dark areas

Highlights: Changes the light areas

Either the Dodge tool or the Burn tool needs you to specify the exposure.

To utilize the brush as an airbrush, you must first click the button labeled "airbrush." You also have the option to use an airbrush, which you can access via the Brush panel.

Clipping will be reduced as much as possible in the shadows and highlights if you choose the Protect Tones option. This option further makes an effort to prevent the colors from changing tone.

Move the mouse cursor over the area of the picture that you wish to brighten or darken.

SPOT HEALING BRUSH TOOL

It is possible to get rid of little imperfections or items with the help of the Spot Healing Brush. Acne and specks of dust in the sky are both examples of blemishes. Garbage and electrical wires are examples of little items. To get things started, let's clean off a few specks of dust.

Step 1: Create a Blank Layer

You can make a new layer by either clicking the plus sign that is located below the layers panel or by going to the Layer drop-down menu and selecting Layer > New > Layer (shift + N). Alter this layer's name to "Spot Healing." Your original photograph will be protected if you perform any healing on a separate layer. To view the image as it was originally captured, turn off the Spot Healing layer.

Step 2: Zoom In

When you zoom in, you can view the perimeter of the location with more clarity. If you enlarge the picture, there is less of a chance that you will miss any details. To access the Magnifying Glass tool, click the button. The next step is to continually click on the screen until the broken part of the screen is visible to you.

In addition, you can zoom in by hitting the Command key and the plus sign simultaneously. To see the picture in its original, larger form, use the Command – or Press Command 0.

Step 3: Select Spot Healing Brush

Choose the Spot Healing brush from the list of brushes available in the Photoshop toolbar. Make sure that the Spot Healing brush, and not the Healing brush, is the one that you pick. I am going to get rid of the specks of dust that are in the sky in this picture.

Step 4: Size the Spot Healing Brush

Your workspace will display a circle whenever you use the tool called the Spot Healing Brush. Drag the circle until it covers the blemish you wish to get rid of. The next step is to adjust the size of the Spot Healing Brush so that it is slightly bigger than the spot. You can modify the size through the Options bar. To access the fly-out menu, click here. To reduce the size of the brush, move the Size slider to the left, and to increase the size, drag it to the right. Altering the size of the brush can also be accomplished by using the bracket keys []. The brush can be made more precise by pressing the left bracket key. When you press the right bracket key, the brush becomes bigger.

You can also adjust the level of the brush's softness by going into the Brush menu. The edges are rounded off with a gentle brush. If you use a more robust brush, you'll be able to see the edges more clearly. In most cases, a brush with a finer bristle will provide better results.

Step 5: Choose Brush Type

The Spot Healing Brush comes in three different varieties: Content-Aware, Create Texture, and Proximity Match. The most recent product to join the lineup is called Content-Aware. Photoshop analyzes your photo to determine which parts of it should be used. When you use the Proximity Match option in Photoshop, the program searches for replacement pixels in the area immediately around the Spot Healing Brush circle. Photoshop will construct a pattern from the pixels that are around the region that you wish to change when you choose the Create Texture option. In most cases, using a content-aware search engine will provide the best results. But if you don't like the outcomes that it produces, you can always try one of the other kinds.

Step 6: Check Sample All Layers Box

Mark the box that says Sample All Layers. The sample will come from the background layer while using the tool. When the box is unchecked, sampling is restricted to the specified layer. In this particular instance, the layer that has been picked is empty.

Step 7: Remove Spot

Check to verify that the Spot Healing layer is the one that's chosen. One-click should be made on the blotch that you wish to get rid of. If the spot does not vanish after you click on it again, choose a new kind of Spot Healing Brush from the menu and try clicking on it again.

How to Remove a Line

Utilizing the equipment known as the Spot Healing Brush is an effective method for removing isolated dust spots or blemishes on the face. You can also use the drag functionality of the program to eliminate a line from your picture, such as power line.

When it comes to getting rid of a single spot, the default settings in the options menu do a good job. When removing bigger items or a line, however, you can need to adjust the spacing between healing brush strokes, switch to a different mode, or use a different sort of healing brush.

Spacing

When you drag the Spot Healing Brush, the tool will produce several brush strokes in response to the movement. The distance between two separate brush strokes is referred to as the spacing. To ensure a clean repair, reduce it to less than 25%. If you space them farther apart than that, the fix will have gaps.

Blend Mode

We have previously covered the topic of switching up the kind of Spot Removal Brush you use to get the best possible results. Altering the blend mode can also be done through the bar labeled Options. This is how the newly added pixels mix in with the ones that are already there. Normal is the option that is selected by default; however, you also have the options to Replace, Multiply, Screen, Darken, and Lighten, as well as Color and Luminosity. They will have a new kind of interaction with your picture. Alter the blend mode if you find that you are not obtaining the outcome that you desire.

Tips for using the Spot Healing Brush tool

If you are not satisfied with the outcomes that the Spot Healing Brush is producing for you, the following are some pointers for utilizing the tool that is the Spot Healing Brush.

Spot vs. Line

It is possible to get rid of lines with the Spot Healing Brush, but you will get better results if you click on an item just once. When using the Spot Healing Brush, it is best to make it bigger than the thing you are trying to remove and to click just once rather than dragging it.

Change Direction

Altering the direction of the brush stroke might help when getting rid of unwanted lines. Alternatively, you might travel right to left instead of left to right. If you are going uphill, you can find it helpful to begin at the top and work your way down. If you are working from the center outwards, you can find it helpful to begin at one of the frame's edges.

Change Size of Brush

The Spot Healing Brush can fix the center but leave a ring if the brush size you are using is not quite big enough. Adjust the size of the brush so that it is bigger than the imperfection.

Remove Smaller Sections

You could attempt repairing the area in little portions if you are removing a major item or a lengthy line. When treating significant areas of face discoloration, it is best to begin by treating minor regions at a time. When you have cleaner skin, you will be able to handle the more significant issue. Relax and take your time with this.

Spot Remove Again

It's possible that giving a location a second click will get more accurate results. Try a brush that is a different size or one that is entirely another kind. However, if you walk over the same region an excessive number of times, artifacts will be left behind.

Keep an eye out for a pattern that comes again. This grabs the attention and serves as a dead giveaway that the picture has been altered. If Photoshop generates a pattern that repeats, you will need to go back over the area many times to get rid of it.

Spot Healing Brush vs. Healing Brush and Clone Stamp Tool

When working with Adobe Photoshop, it is simple to get the Spot Healing Brush and the regular Healing Brush tools confused with one another. Even the icons have a similar appearance. Within the toolbar, you'll find the Spot Healing Brush. It is possible to nest it with other tools, such as the Patch tool, the Healing Brush tool, and the Content-Aware Move tool. When you click on any of these tools, a fly-out menu will appear.

When you choose to edit your image using the Spot Healing Brush tool, an options bar will display above your picture. You have control over the blending mode, the size, and the level of difficulty of the Spot Healing Brush, as well as the kind of Spot Healing Brush. You also have the option to sample all of the layers and choose the brush angle that you want to use.

Both the Healing Brush and the Spot Healing Brush can be used to replace individual pixels in your picture. The first step is to pinpoint an issue with one of your photos. This might be anything from a zit to a speck of dust to a piece of garbage. How the software selects new pixels to replace the damaged ones is what differentiates these technologies from one another. Using the Healing Brush, you can locate the pixels that need to be replaced. While holding down the Option key, click on an area that is free of clutter. This instructs Photoshop to utilize these pixels instead of the ones that are causing the issue.

In Photoshop, the "Spot Healing Brush" makes use of an algorithm to determine which pixels are the optimal ones to employ. Photoshop's two different healing brushes work together to merge the fresh and old pixels. Akin to the healing brushes is the tool known as the Clone Stamp. However, Photoshop does not combine the newly added pixels with the previously existing ones to create a smooth patch.

When you use the Healing Brush, you could have the impression that you have greater control. However, Photoshop can search your picture down to the pixel level to discover clean substitute pixels. They may be superior to the ones you chose.

PATCH TOOL

The Patch tool is located in the menu that is accessible from the left-hand side of the screen. On both Windows and Mac OS, the letter J serves as the shortcut key for the patch tool.

If you are unable to find it, you can examine the little drop-down menu that appears when you click on the Healing Brush to see if it is buried there.

Use the Patch Tool in Photoshop to Tidy Up Images

You have a stunning picture that was captured at the perfect time... However, there is a noticeable wet stain, which has you pulling your hair out in frustration.

The good news is that you can get rid of it in no time at all by using the patch tool in Photoshop. In addition to that, the cost of doing this is far lower than the cost of replacing your hair.

With the Patch tool, you can eliminate other types of distracting elements as well. These include errant grass, stones, clouds, and clouds that have strayed off course, as well as graffiti.

My worst flaw as a photographer is that when I'm in a hurry, I often fail to properly clean the lens. The patch tool is also helpful for removing those unsightly dust spots from the surface.

In addition, you can utilize the Patch tool to eliminate bigger problem areas that detract from an otherwise wonderful picture that you have taken.

Step 1: Open the Photograph

In this instance, I opted to clean up an image that I had taken of a reflection of Regan Gentry's sculpture titled "Woods for Trees."

Step 2: Select the Area You Want to Remove

By clicking and dragging around the stone that you wish to remove, you create a "drawing" around it. As soon as you make your choice, a procession of ants in the shape of dashed lines appears.

Step 3: Clear the Space

Start by clicking in the middle of the shape that you just created, and then move the pointer to a close space.

You can see that the old shape has been "filled" with stuff that is analogous to that found in the new region. The stone is no longer there.

Use the shortcut ctrl+d (command+d on a Mac) to get rid of the marching ants.

I do this technique again and over again in roughly 10 different locations over the shot. The end product is a puddle that is more reflective of its surroundings and has fewer distractions from its surroundings.

Use the Patch Tool to Replicate an Object

Replicating a portion of an image is yet another use for the patch tool available in Photoshop.

You can see an example of how I gave a native New Zealand fantail (Pwakawaka) a twin in the next paragraph.

Step 1: Open the Photograph and Create a Layer

The RAW file of my shot is opened in Photoshop. By right-clicking on the Layer, and then choosing "Duplicate" from the context menu that appears, I can replicate this picture on my computer.

Now I have two identical layers.

Step 2: Copy the Shape

After selecting the Patch tool from the toolbar, I check that the Content-Aware option found in the main menu is checked off.

This time, rather than drawing around an element that I want to delete, I create a shape in the location where I wish to replicate the Pwakawaka.

I start by clicking in the center of the newly produced "empty" shape, then dragging it over to the Pwakawaka that I want to replicate.

I'm dealing with two layers that are the same. Therefore, I still have a Pwakawaka flying underneath the one that I pulled over.

Step 3: Move the Shape

It is quite unusual to look up in the sky and see two Pwakawaka birds that are similar to each other flying in the same formation at the same time. Therefore, I decided to reverse the situation.

Before I use Ctrl+T or Cmd+T to clear the marching ants, I switch to the Transform tool by pressing either of those keys simultaneously. Because of this, I can manipulate the size and shape of the object.

In the case of photographs taken in natural settings, you should always keep in mind what I have just shown. The exact duplicates of plants and animals have an unnatural appearance.

Make the necessary adjustments to the proportions and orientation of your duplicate to get a more realistic appearance. Go for that duplicate if what you want is an original recurring pattern that is easily recognizable as being "faked."

Step 4: Adding the Finishing Touches

There are occasions when the original region that was immediately around the shape that I shifted does not fully fit in with the surroundings.

There is a little bit of an excess of darkness immediately around the Pwakawaka in this image.

In most cases, I will clean up these spots by making use of the Spot Healing tool. However, the Healing Brush has comparable capabilities.

CLONE STAMP TOOL

The clone stamp is located in the toolbar that is on the left-hand side of the screen. On both Mac OS and Windows, the letter S is used as a shortcut for the clone stamp.

If you can’t see the toolbar on the left, make it visible using the ‘Window’ menu.

Select "Tools" from the drop-down menu.

You will also need the 'Clone Source' tab for those tasks that are more challenging.

You can also locate it in the "Window" menu.

Remove Unwanted Objects with the Clone Stamp Tool

A beautiful fashion picture or promotional shot can be ruined by flaws or distractions. The clone stamp tool makes it simple to get rid of them, thank goodness.

The clone stamp can eliminate almost anything, including cables, dust stains, unsightly hair, and even whole individuals. It does this by copying pixels from one area of the picture and pasting them into another.

Let's suppose I want to crop the sandals of the man's feet in the picture that was taken on a beach in India. I'll demonstrate how to use the clone stamp tool to do that for you.

Step 1: Open the photo and zoom in

Launch the image that needs to be cleaned up, and then zoom in on the region that needs your attention. Just far enough away so that you can still make out what's going on.

To use the clone stamp tool, choose it from the toolbar located on the left side of the screen.

Always make a copy of the background layer before beginning work on the project. In this manner, you will always have access to the picture in its original state. Select "Duplicate Layer..." from the context menu that appears when you right-click on the background layer.

Step 2: Select a clone source

Choose a gentle brush to use. Adjust the proportions of the clone stamp so that it completely covers the element you want to delete. It takes some experience before you can determine the appropriate degree of stiffness and size of your brush.

If you want your edges to be smooth, a brush with a medium amount of softness is an excellent starting point.

Position the cursor in the region from which you wish to pull pixels, and then click and hold. In this particular scenario, I need sand. Make sure your source pixels are correct by using the Alt-click key. When you move the cursor, a pair of crosshairs will appear.

As soon as you make your selection, the pointer will shift and display the pixels that you have copied.

Step 3: Paint over the object you want to remove

Now you can begin painting over the thing that you wish to get rid of. Be sure that it is not immediately apparent that you are copying another component of the picture. If it is obvious, you should clone some of the surrounding pixels and then continue painting.

Repeat this process until everything has a natural appearance. Utilize the "undo" function in Photoshop whenever you feel the need to retrace your progress. In Mac OS, press Command + Z; in Windows, press Control + Z.

The patterns are what you need to keep an eye out for. The fact that you have cloned pixels and deleted an object will be easily discernible if you use patterns.

Avoid patterns to make the cloning look natural

When one is attempting to steer clear of patterns, the clone source panel is a useful tool. Make your clone seem more realistic by making use of the two buttons labeled "mirror."

This will cause the pixels that you paint over the undesirable item to be mirrored. The end product will have a nicer appearance.

Experimenting with the opacity setting of the brush might also be of assistance. If you want the greatest possible outcome, you should always experiment with a variety of clone sources and opacity levels.

The clone stamp's edges must be as smooth as possible.

Remove Skin Imperfections with the Clone Stamp Tool in Photoshop

One more method for using the clone stamp tool in Photoshop is shown here. It is the ideal instrument for eradicating blemishes on the skin. I'm going to demonstrate a special method that, once applied, can smooth over blemishes while preserving your natural appearance. I'm going to get rid of the spots that have appeared on this man's face.

Step 1: Open the photo and duplicate the background layer

Launch the image viewer and make a copy of the background layer. Use the context menu to pick "Duplicate Layer..." once you right-click.

Now zoom in on the region of the skin that has the blemishes or other flaws that you want to correct with the clone stamp. It is recommended that you zoom in to 100% right now.

Step 2: Select a clone source

It is necessary to carry out "Step 2" once more. Choose an area of the skin that seems to be comparable to the area where the defects are located this time.

Step 3: Select brush mode

It is a very effective method for removing blemishes and other skin defects. It enables you to zero in on certain aspects of the file that you want to modify or delete.

Lighten should be selected as the mode for the brush. The clone stamp will not influence any parts of the skin that are lighter than the clone source selection from now on.

In this particular instance, it will only affect the mole that is darker in color, bleaching it so that it matches the skin surrounding it. The remainder of the skin will not have any changes made to it.

If you change the brush mode to "Darken," the opposite effect will take place.

This method of removing wrinkles or spots from the skin is one of my favorites. You can zero in on certain regions of the skin by adjusting the brush mode to either "Lighten" or "Darken." The end product has an organic appearance.

Step 4: Paint Over the Imperfection

Paint one or two times over the imperfection.

FILTERS

You can use filters to clean up or edit your images, add special art effects that give the idea that your image is a sketch or impressionistic painting, or create one-of-a-kind transformations by making use of distortions and lighting effects. The Filter menu is where you can access Adobe's many filter options. There are a few filters that have been developed by third-party developers that can be used as plug-ins. After being successfully installed, these plug-in filters will be accessible through the Filter menu's bottom section.

When applied to Smart Objects, Smart Filters make it possible to apply filters in a non-destructive manner. The original picture data is kept in the Smart Object, and Smart Filters are saved as layer effects in the Layers panel. Smart Filters can be readjusted at any moment by working with the data in the Smart Object. To apply a filter, choose the relevant command from the submenu that appears under the Filter menu.

You can find the following suggestions helpful when selecting filters:

•       Filters can be applied to the layer that is now active and visible or to a selection.

•       The majority of filters can be applied cumulatively via the Filter Gallery for photos that have a resolution of 8 bits per channel. Each filter can be activated on its own if desired.

•       Filters cannot be applied to pictures that are in bitmap mode or that use indexed color.

•       Certain filters can only be applied to photographs that are RGB.

•       The 8-bit photos are compatible with all of the filters.

•       The following filters can be applied to 16-bit images: Liquify, Vanishing Point, Average Blur, Blur, Blur More, Box Blur, Gaussian Blur, Lens Blur, Motion Blur, Radial Blur, Surface Blur, Shape Blur, Lens Correction, Add Noise, Despeckle, Dust & Scratches, Median, Reduce Noise, Fibers, Clouds, Difference Clouds, Lens Flare, Sharpen, Sharpen Edges, Sharpen More, Smart Sharpen, Unsharp Mask, Emboss, Find Edges, Solarize, De-Interlace, NTSC Colors, Custom, High Pass, Maximum, Minimum, and Offset.

•       Images that are 32 bits in depth are capable of having the following filters applied to them: Average Blur, Box Blur, Gaussian Blur, Motion Blur, Radial Blur, Shape Blur, Surface Blur, Add Noise, Clouds, Lens Flare, Smart Sharpen, Unsharp Mask, De-Interlace, NTSC Colors, Emboss, High Pass, Maximum, Minimum, and Offset.

•       Some filters do their complete processing in the RAM. There is a possibility that an error message can appear if you do not have sufficient free RAM to execute a filter effect.

Apply a filter from the Filter menu

Either the active layer or a Smart Object can have a filter applied to it by the user. Filters that are applied to a Smart Object are not harmful and can have their settings modified at any moment without causing any loss of data.

1. Do one of the following:

•       Ensure that the layer you want to apply the filter on is active or chosen before beginning the process.

•       Select the part of a layer that you want to modify with a filter before applying the filter.

•       To apply a filter in a non-destructive manner so that you can alter the filter parameters at a later time, pick the Smart Object that contains the picture content that you wish to filter before applying the filter.

2. Select a filter by using one of the submenus located inside the Filter menu.

•       If there is no dialog box shown, the filter effect will be applied.

3. When prompted with a dialog box or the Filter Gallery, input values or pick choices, and then click the OK button.

Note: Applying filters to huge photographs can be a time-consuming process, however, the filter dialog box allows you to preview the effect before you apply it. You can center a certain part of the picture by dragging it inside the preview window. You can click anywhere in the picture to center it where you click while using certain effects. To zoom in or out, use the plus and minus buttons located below the preview window.

Filter Gallery overview

The Filter Gallery enables users to get a sneak peek at a variety of special effects filters. You can apply some filters, toggle the effect of a filter on or off, reset the choices for a filter, and rearrange the sequence in which filters are applied. After you have evaluated the preview and determined that it meets your needs, you can next choose to apply it to your picture. The Filter Gallery does not include all of the filters that can be found in the Filter menu.

Display the Filter Gallery

•       Choose Filter > Filter Gallery. When you click on the name of a filter category, thumbnails of the possible filter effects are shown.

Zoom in or out of the preview.

•       Choose a zoom percentage from the drop-down menu or use the plus and minus buttons located beneath the preview area.

Explore a different part of the preview.

•       Utilizing the Hand tool, drag the selection around in the preview area.

Hide filter thumbnails

•       Click the Show/Hide button located at the very top of the gallery

Apply filters from the Filter Gallery

The effects of the filters you pick are applied in the order that you choose them. After applying filters, you can rearrange them by dragging the name of a filter to a new location in the list of filters that have been applied. Changing the order in which filter effects are applied can have a significant impact on the final appearance of your picture. To temporarily conceal an effect in the picture preview, choose the eye symbol that appears next to a filter. You can also erase filters that have been applied by choosing the filter, then clicking the button labeled "Delete Layer."

Note: To save time when experimenting with different filters, choose a tiny portion of your picture that is typical of the whole.

1. Do one of the following:

•       To filter an entire layer, you must first make sure that the layer is active or chosen before applying a filter to it.

•       Select the part of a layer that you want to modify with a filter before applying the filter.

•       To apply a filter in a non-destructive manner, so that you can alter the settings of the filter at a later time, pick the Smart Object that includes the picture content that you wish to filter. This will allow you to adjust the parameters of the filter.

2. Choose Filter > Filter Gallery.

3. To add the first filter, click the name of one of the filters. You may need to click the upside-down triangle that's located next to the filter category to see the full list of filter options. After the filter has been added, it will show up in the list of filters that are currently being used in the bottom right corner of the Filter Gallery dialog box.

4. Enter values for the filter you specified or pick alternatives from a drop-down menu.

5. Do any of the following:

•       To apply filters cumulatively, click the button labeled New Effect Layer, then choose an additional filter from the drop-down menu and click "Apply." Simply repeat this process to add other filters.

•       To reorganize the filters that are now applied, drag the filter to a new location in the list of filters that are currently applied, which is located in the bottom right corner of the Filter Gallery dialog box.

•       To delete filters that have been applied, click the Delete Layer button after first selecting a filter from the list of filters that have been applied.

6. Once you have seen the findings and are content with them, click the "OK" button.

Blend and fade filter effects

Any filter, painting tool, erasing tool, or color adjustment can have its opacity and blending mode altered by using the Fade command. The blending modes that are available with the Fade command are a subset of those that are available through the painting and editing tools settings (excluding the Behind and Clear modes). Adding the Fade command is quite similar to applying a filter effect to a separate layer and then adjusting its opacity and blending mode using the options provided for those layers.

Note that the Fade command can also be used to adjust the results of applying the Brush Strokes filters and the Liquify command.

On a picture or selection, apply a filter, painting tool, or color adjustment.

Choose Edit > Fade. To get a preview of the effect, choose the Preview menu option.

To change the opacity of the image, drag the slider from 0% (transparent) to 100%.

Go to the Options menu and choose a blending mode to use.

Please take note that the blending modes Color Dodge, Color Burn, Lighten, Darken, Difference, and Exclusion are ineffective when applied to Lab photos.

Select the "OK" button.

Tips for creating special effects

Creating edge effects

To address the borders of an effect that was applied to just a portion of a picture, you can utilize a variety of different ways. Simply applying the filter will result in a more defined edge. After feathering the border to create a softer look, apply the filter to the image. Applying the filter, and then using the Fade command to change the blending mode and opacity of the selection, will provide the desired effect of transparency.

Applying filters to layers

You can build up an effect by applying filters to individual layers or several layers one after the other in sequential order. For a filter to affect a layer, the layer in question has to be visible and it needs to include pixels; for example, a fill color that is neutral.

Applying filters to individual channels

You have the option of applying a filter to a single channel, creating a unique effect for each color channel, or using the same filter but with a variety of parameters to alter its appearance.

Creating backgrounds

You can create a wide range of backdrops and textures by adding effects to shapes that are either solid colors or grayscale. After that, you can blur these different textures. When applied to solid colors, certain filters have very little or no apparent impact at all, such as the Glass filter. However, some filters can create some quite fascinating effects.

Combining multiple effects with masks or duplicate images

You will have more control over the transitions from one effect to another if you build selected regions with masks and use them. For instance, you have the option to filter the selection that was made using a mask.

You also have the option of using the History Brush tool, which enables you to paint a filter effect onto a specific region of the picture. First, the filter should be applied to the whole picture. Next, return the picture to its state before the filter was applied in the History panel. Then, set the history brush source to the filtered state by clicking in the well on the left side of the history state. This will set the history brush source to the filtered state. After that, paint the picture.

Improving image quality and consistency

By applying the same effect to each picture, you can make flaws less noticeable, transform or improve photographs, or establish a connection between images. You can record the actions you take to alter one picture using the Actions panel, and then apply this action to the other photos by following the same procedures.

Improve filter performance

When applied to a picture with a high resolution, some filter effects can be quite memory-intensive. This is particularly true when the image itself has a high resolution.

1. Improving one's performance can be accomplished by any of the following:

•       Experiment with different settings and filters by applying them to a part of a photograph.

•       If the picture is huge and you are experiencing issues with limited memory, apply the effect to specific channels instead of the whole image. For example, apply the effect to each RGB channel individually. (The effects of certain filters change depending on whatever channel they are applied to, whether it be the individual channel or the composite channel; this is particularly true if the filter randomly alters pixels.)

•       Before you begin running the filter, you should use the Purge command to clear some memory.

•       Make additional memory available to Photoshop. If it's essential, quitting other apps will free up more memory for Photoshop to use.

•       Experiment with modifying the parameters to increase the processing speed of memory-intensive filters like Lighting Effects, Cutout, Stained Glass, Chrome, Ripple, Spatter, Sprayed Strokes, and Glass filters. These filters are all examples. (For instance, when using the Stained-Glass filter, the cell size should be increased. Increase the Edge Simplicity setting on the Cutout filter, lower the Edge Fidelity setting, or do both.)

•       Before adding filters to a picture, you should first convert a copy of the image to grayscale if you want to print it using a grayscale printer. However, the result of applying a filter to a color picture and then converting it to a grayscale cannot be the same as the result of applying the filter to a grayscale version of the image.

BLUR

The Blur tool in Photoshop functions like the Paintbrush tool. Paint blur onto your picture after selecting it from the left toolbar and using the brush tool. You can smooth out the edges and apply the blur more accurately with the help of this tool.

Step 1: Create a Duplicate Copy

Launch Photoshop and open your picture there. Simply create a clone of the background layer by clicking on it. You can do this by right-clicking on the layer, then choosing the Duplicate Layer option (or using Ctrl+J on your keyboard).

Keeping the original file open while working on a duplicate layer guarantees that you will never lose access to it. In addition, you can examine the difference between the two states by turning the eyeball on and off.

Step 2: Open the Blur Tool

Make a selection in the toolbar for the Blur tool. It looks like a teardrop. It is located in the same folder as the Smudge tool and the Sharpen tool.

Step 3: Set Blur Tool Options

In the settings bar that appears at the top of the workspace, configure the Blur tool so that it works. Many of the same choices are available to you as with the paintbrush. You can adjust the size of the brush as well as its character.

Select a gentle brush from the Brush Preset selection and set its strength to its maximum of 100 percent. If you feel that the impact is not powerful enough, you can always paint over the same spot many times.

You also can modify the mode and the angle of the brush tip. Normal, Darken, Lighten, Hue, Saturation, Color, and Luminosity are the different Blending modes that can be used. For basic blurring, use Normal blending mode. However, you are free to experiment with the different game modes.

Step 4: Paint Blur on the Image

Move the Blur tool over the region whose appearance you wish to alter. If you blur certain regions, the parts that are in focus will become more noticeable. You can get a greater degree of blurring by repeatedly painting over the same area.

How to use a Blur Filter (Motion Blur)

When you want to blur only a portion of your picture, the Blur tool works well. Use one of Photoshop's various blur effects to get the desired level of blurriness. You can get a variety of looks with each one. To demonstrate motion blur, let's apply it to some moving elements like water and clouds.

Step 1: Create a Duplicate Copy

Launch Photoshop and open your picture there. Make sure the background layer is selected. To create a duplicate of the layer, go to the Layer drop-down menu and choose Duplicate Layer (or press Ctrl or Command+J).

Step 2: Convert to Smart Object

Select "Convert to Smart Object" from the context menu that appears when you right-click on the duplicate layer. In the bottom right-hand corner of the thumbnail, there is a symbol. You are free to make any necessary changes to the level of blur at any moment if the layer in question is a Smart Object. If this is not the case, the blur will be baked into the layer. You will not be able to make any changes to it at a later time.

Step 3: Select a Blur Filter

Make sure that the highlighted layer is the duplicate layer. Choose an option from the Filter pull-down menu. You can blur in two different ways.

To begin, go to the Filter menu and select Blur. (In the following paragraph, we will have a look around the Blur Gallery.)

You can choose any of the following choices, along with many more, from this menu:

Average

Blur

Blur More

Box Blur

Shape Blur

You also have the option to use Smart Blur if the layer you're working with is a Smart Object. Every one of them produces a unique blur effect.

The remaining well-known blurring effects are as follows, each described in greater detail below:

•       The Gaussian Blur effect is one of the most popular blur effects because it produces a subtle blur while also lowering noise levels.

•       The Lens Blur effect recreates the narrow depth of focus that can be achieved by setting your camera's aperture to its widest setting.

•       Motion Blur only blurs in one direction, giving the impression that your subject is moving in that direction.

•       The Radial Blur filter produces an effect that gives the impression that the image is spinning or zooming as if you were twisting your camera or zooming a lens.

•       The Surface Blur filter keeps edge detail while reducing noise and can be used to produce unusual effects.

Choose the blur option from your menu. Some implement the effect in an automated fashion. Others will bring up a window in which you can alter the degree of blurring as well as several other aspects of the effect. Let's use motion blur, which is often considered to be one of the best blur effects. By selecting this option, you will be able to imitate the smooth water and clouds that can be created by utilizing a slow shutter speed on your camera.

Step 4: Enter Blur Settings

You have the option of entering the desired amount of blur in the Distance box or using the slider. Choose a blurring effect with a value between 1 and 2000. The effect is shown in the Preview window for your perusal. Determine the direction of the motion. You can either enter a number or rotate the compass. Put 0 in the box to indicate horizontal motion. You can modify the angle anywhere in the range of -90 to +90 degrees.

Select the OK button.

You can reduce blurring from certain areas of your picture by lowering the opacity of the layer, or you can build a layer mask. To alter the motion blur, open the caret symbol that is located next to the layer, and then double-click on the Motion blur option. This is only necessary if the layer in question is a Smart Object.

You can compare the water's appearance before (on the left) and after (right) the application of blur (right).

Blur Background Using Blur Gallery Effects

Photoshop not only contains blur tools, but it also offers five different Blur Galleries. You have a greater degree of control over the final output thanks to the Blur Gallery.

•       Field Blur creates an effect that blurs the area surrounding the image pins that you set.

•       When you pick one or more focus points, Iris Blur will generate a narrow depth of field around those spots.

•       Tilt-Shift recreates the focus pattern that would be produced by a lens equipped with a tilt-shift mechanism. This is a phenomenon known as progressive focus. Your chosen focus point produces a progressive blurring as it moves toward the image's top and bottom edges.

•       Path Blur gives you control over the pace and shape of the blurring effect you create. You can imitate the appearance of a back sync flash with the help of this utility. This is a flash that was activated after a lengthy exposure, which has frozen the motion at that particular instant.

•       The Spin Blur effect generates a blur that is revolving around the spots that you choose.

You also have control over the bokeh and the noise in the image. Controlling motion effects is also possible with the Path and Spin blur.

Simply opening one gallery will allow you to access the workplace. Within the same workspace, you have control over all five tools, and you can mix the effects. To create the illusion of a narrow depth of field, let's utilize the Iris Blur tool.

Step 1: Create Blur Layer as Smart Object

Make a copy of the background layer by pressing Ctrl or Command and J. Use the right mouse button to select the layer of blurring, and then click "Convert to Smart Object."

Step 2: Open Blur Gallery

Once you have the Blur layer selected, go to the drop-down box labeled Filter. Choose Iris Blur from the gallery beside the Blur Gallery option. The tools for blurring images will open in the column on the right of the workspace.

The sign of a caret that is located next to Iris Blur has been opened up to expose a slider. The presence of the checkmark indicates that the blur option is currently being used. If you open any other blur tools, they will become active once they are shown. Remove the checkmark from the box to disable a tool.

You can adjust the level of blur using the slider or the text box. You have a selection of options ranging from 0 to 500 pixels to pick from.

Step 3: Set a Focus Point

Your picture shows a square next to a circle that has four dots inside of it. The impact of the blur will get more pronounced as it moves outside from the center. The outside circle indicates the location where the blur is at its strongest.

To vary the gradation, you can alter the size of the circle by either increasing or decreasing its size. To alter the appearance of the shape, click and drag the square symbol.

To find the focal point, click on the center of the screen. Take hold of the center of the picture, and then drag it to the spot that is the sharpest.

This tool also functions as a circular slider in its other mode. Use the Attention button in the settings bar to alter the focus that is placed on the center point itself.

The beginning of the blur effect is shown by the position of the four pins as they circle the center. You can begin the blur effect either closer or farther away from the center point by clicking and dragging the center of one of the circles.

Simply clicking anywhere on the picture will let you create another focal point. Because of this, you can bring into focus an element that is located on a separate focal plane. It is something that cannot be accomplished with the camera that you have.

Step 4: Set Effects and Noise (Optional)

You can manage the bokeh and the sort of blur you want to create by going to the Blur Tools menu and clicking on the Effects of Noise tabs, respectively.

Gaussian

Uniform

Noise

Simply returning to the Blur Gallery is accomplished by performing a double click on the Blur Tools tab. Once you are satisfied with the blur you have created, choose OK from the options box.

Gaussian Blur in Photoshop

As an example, we will utilize the following picture, which depicts a bottle of wine together with two glasses. The objective is to make the bottle difficult to make out to focus attention on the glasses.

You can blur everything in a photograph, even the backdrop, by following the procedures that are listed below.

This might be helpful if you want your subject to stand out more or if you want to obscure aspects of your photo that are distracting from the main focus of the image.

Step 1: Duplicate the Background to Stay Safe

Duplicating the backdrop of a picture is a necessary step if editing the shot. If anything goes wrong with the picture, you can always revert to the first version using this method.

Right-clicking on the background layer in the layers window will choose that layer as the background. Choose the Duplicate Layer option.

There will be a new layer added on top of the existing backdrop.

Alternatively, you have the option of transforming the layer into a smart object. It makes no difference whether you reshape them or add intelligent filters to them. Neither option is acceptable. The contents of the layer are held securely in place by the smart objects.

Because of this, any changes we make to the object will have no impact on the layer it is contained inside.

Any modification that you make to the background from this point forward will be reflected in the layers panel underneath the layer that you are currently working on.

Step 2: Create a Path Around Your Object

To do this with Photoshop, you can utilize any of the available selection tools. In this instance, the first thing we will do is clear a path. Because of the smoothness and roundness of the bottle of wine's form, the Pen Tool is an excellent choice for this illustration.

To make the toolbar appear if it is not already, choose Window > Tools from the menu bar. You can also use the Cmd + P keyboard shortcut.

Make a path that surrounds the thing whose edges you wish to obscure. Focus on the item and make careful to maintain as much of its original smoothness and cleanliness as you can.

If you make a mistake, you can undo it by using the keyboard shortcut Cmd + Z (on Windows, this would be Ctrl + Z).

Step 3: Convert the Path to a Selection

After selecting the region, you want, you will need to make it into a selection so that you can work with it.

In the Paths panel, choose the route that you just made for yourself. If the panel is not visible, choose Window > Paths from the menu bar. This will cause the Paths panel to become visible.

To turn the route into a selection, you can do so by using the button labeled "Load Path as Selection."

Utilizing the Refine Edges tool is something we suggest doing before applying background blur. By doing so, you can ensure that the crisp edges produced by a blur effect will not do any damage to the picture.

When you are happy with the way the edges look, click the OK button, and then you will be able to begin blurring the layer.

Step 4: Apply Gaussian Blur to the Selected Area

Simply open the Filter menu, choose Blur, and then select Gaussian Blur to bring up the Gaussian Blur window.

You can search for the item you are intending to blur by dragging the picture inside the Gaussian Blur window to hunt for it. If you think it is too tiny, you can increase the size of the picture by checking the Preview box. This will make the effect of the Gaussian Filter blur evident in the image.

You can adjust the level of blur by dragging the Radius slider until you are pleased with the result.

Below is the result. You can tell that the bottle has a smooth surface and that it fits in well with the blurred backdrop.

"Before and After"

Radial Blur Effect

The effect of radial blur is analogous to the impact of motion blur. By utilizing a slow shutter speed and moving your camera in certain directions, you can create blurry effects in your photographs. The impact will be improved according to the degree to which your actions are straight and exact.

Imagine your camera is mounted on a tripod and you slowly pan it from right to left while the shutter speed remains constant. This effect is known as motion blur. This motion will take the environment of your picture and transform it into a series of blurry lines that are parallel to one another.

Imagine that your camera is mounted on a turntable and is rotating around the focal point of your lens when you want to get the radial blur effect. If you then snapped a photo with a slow shutter speed, the resulting picture would have the appearance of being round.

You can also get the illusion of radial blur by zooming in while the shutter speed is set to a very slow value. If you have done this right, it will seem as if you are moving through space at an incredible rate of speed. Alternatively, it will give the impression that you have severe tunnel vision.

Adobe Photoshop allows you to replicate a variety of blurring effects, including motion blur and radial blur. Photoshop can read the picture and apply a filter that creates an exact depiction of what the blur approach would appear like when applied to the image.

In Photoshop, the Radial Blur effect includes two separate parameters: spin and zoom. Both of these settings are quite easy to understand on their own. Spin provides a radial blur similar to that of a turntable, while zoom generates a blur similar to that of a tunnel.

You can get a more dramatic effect with your photographs by applying radial blurring. Images of things that are moving quickly can benefit from having a feeling of speed added by radial blur. It is also possible to give a birds-eye view or a photograph of a tall structure a vertiginous impression.

Now, I'm going to walk you through an easy adjustment called radial blur, which you can use on a wide variety of different pictures. In this particular illustration, we will be using the zoom feature of the radial blur. An original photograph of racing automobiles will be given the impression of speed by the use of a filter called Radial Blur.

Step 1: Crop Original Image and Make a Duplicate Layer

First, we open up the original photo in Photoshop.

Use the Crop tool and adjust the frame so that it looks like you want it to if the picture needs a little bit of trimming.

In the layers panel, choose 'Background' and then select 'Layer > Duplicate Layer' to make a copy of the background layer.

Step 2: Select and Make the Subject a New Layer

Now you need to pick out the area of the picture that will remain unaffected by the radial blur. For me, this was the automobile that was in front of me. Keeping the issue in clear focus is the best way to direct attention to the component in question.

At this point, we make use of the tool known as the Quick Selection tool. There are a variety of methods available to choose certain aspects of your picture. When I want to apply a radial blur in this manner, I utilize the Quick Select tool since it frees me from having to be precise about where the borders of the selection reside.

To begin, pick the Quick Selection tool from the toolbar. After that, check that the duplicate background layer is chosen in the layers panel. Additionally, check to see that the "brush" option in the top toolbar is set to "positive addition."

The next step is to begin painting within the subject so that the "marching ants" engulf the whole image. To further narrow your selection, use the Quick Select tool's "negative addition" option.

Now that the Quick Select tool has finished filling in the blanks, we can begin to delete those spots. For me, this was the shadow cast by the automobile below me. Our picture should wind up looking like this after a quick round of editing.

If we press the Command key together with the J key, Photoshop will create a new layer using this selection. The appearance of my Layers panel is as seen above.

Step 3: Add the Radial Blur

Before we can proceed with adding the radial blur, we need to make sure that the "Background copy" layer is chosen. Next, choose Filter > Blur > Radial Blur from the menu bar. Now, the Radial Blur dialogue box has appeared before us, with all of the controls that we need. I gave 12 a very small blurring effect. In the white box, you will get a preview of the degree of radial blur that you will apply to your picture once you click the Apply button.

If you raise the number to 80, the white box will display the following information.

Additionally, the blur's center point can be adjusted in this section. Apply this to a location in the picture that is roughly analogous to where the subject is located. The following demonstrates how to move the center point of the radial blur effect.

Play around with the different options available in the conversation box. It is possible that you can need to come back to this stage to make more radial blur adjustments. If you apply the radial blur effect to your picture, it should end up looking somewhat like this.

Step 4: Refine the Radial Blur

To improve the impact of the radial blur, the first thing we need to do is create a new layer mask for the subject. To add a layer mask, choose the Layers panel's bottom icon labeled "Add layer mask." This is how the layers panel on your editor should appear at this point.

Take hold of the Brush tool, and after you're done, be sure you paint in black (foreground color). In addition to that, check to see that the opacity and flow are also set to 100%.

Now, using a slow and steady brushstroke, fill in the areas surrounding the subject that you do not want to be in focus. My attention was drawn to the trunk of the vehicle because I wanted it to give the impression that it was rapidly coming into focus. This is how the thumbnail for my layer mask appeared when it was shown on its own.

After applying the layer mask, this was the final picture that I created. The before and after versions of the shot both appear quite different. The radial blur lends an impression of velocity and a feeling of immediacy to the picture.

Tip 1: Use Multiple Layers to Compare Radial Blurs

Changing the strength of the radial blur might be a time-consuming operation if you want to experiment with it. Instead of going back and adjusting the level of intensity at various points in time, you should think about creating separate layers.

Create many copies of the background layer, and then apply a distinct radial blur filter to each of the copies individually. This allows users to rapidly display and conceal various filters so that they can compare the results.

Making even very few adjustments to your process, such as this one, can save you time, particularly if you are careful. Continue with this strategy and rename the increments to which you alter the radial blur. You will then be able to view the desired intensity as well as the focal point with crystal clarity.

Tip 2: Make Sure Your Images Are Smart Objects

You need to be aware of whether or not the picture you are cutting out in Photoshop has been marked as a smart object before you begin cutting it out. A smart object is a layer in which you can make adjustments that are not damaging. Because of this, you can resize your picture an infinite number of times without having to worry about the quality of the image being affected.

Every time you make a change to the picture, there's a chance you'll ruin the quality of the layer you're working on that isn't registered as a smart object. You will see obvious pixelation, for instance, if you reduce the size of a picture and then later decide you want it to be larger after the transformation has been applied.

If your picture is not a smart object, Photoshop will warn you before allowing you to change it. Ensure that you turn your layers into smart objects!

Frequently Asked Questions

Q: How do I enlarge/reduce image size proportionately?

A: Choose the picture layer you want to scale, then go to the Menu Bar and choose Edit > Transform > Scale. While dragging, make sure the Shift is held down. Holding Shift also works for other transformations. For example, if you hold Shift while rotating, the picture will only rotate at set angles (at 45-degree rotations), allowing you to guarantee that the image will be flipped back to its original orientation if that is what you need.

Q: I can’t seem to edit my picture!

A: Before you do anything more, make sure that you are making changes to the appropriate layer and that it is not locked. If the answer is true, rasterize the layer by right-clicking on it and selecting the Rasterize option. The process of rasterizing a layer just converts it from a vector format (such as text or shapes) into a raster picture (pixels or dots), which means that you should now be able to modify the layer.

Q: I can’t see my images.

A: Check the placements of the layers and check if any other larger layers are obscuring the picture you desire. If this does not work, make sure that the Blending Mode is set to Normal and that the Opacity and Fill values are not both set to 0%.

Q: I drew/erased/edited my image but nothing happens!

A: Verify the selection of the layer and its location. If you have a vector mask included in your selection, you need to make sure that you choose the appropriate thumbnail (there will be 2 small boxes in the layer itself, select the correct one). Check to see that the layer is not locked, as well. Check your tool one more time. You may be sketching with an eraser instead of a pencil, which is why your "drawings" aren't appearing.

Q: How do I fill a layer/outline with color?

A: First, choose the foreground color you want to use. Next, choose the layer or outline you want to fill (you should see a flashing dotted line around it), and then hit Alt+Backspace on a Windows computer or Opt+Delete on a Mac.

Q: How do I increase history steps?

A: By going to the Menu Bar and choosing "Steps," you will be able to choose how many will be saved in the memory. Change the value in the History States text box by going to Edit > Preferences > Performance (or Photoshop > Preferences > Performance on a Mac) and altering the value there.

Q: One of my palettes disappeared somehow. How do I get it back?

A: From the menu bar, choose "Windows" and then select "name of the palette" from the drop-down menu.

Q: My image looks pixilated and blur, how do I increase its quality?

A: To alter the resolution, go to the menu bar and choose Image > Image size > adjust. It is to your advantage to get a higher score. However, there are situations in which you are working with specific dimensions, such as a banner for your blog that is 728 pixels wide and 90 pixels tall. In these scenarios, there are only a certain number of pixels in the image (do the math! 728 pixels by 90 pixels is...), and the resolution cannot get any better or bigger than that. As a result, you can anticipate a lower-quality image that is a smaller size (loads faster for web viewing).

A good rule of thumb is to always keep in mind that you can always resize a picture while maintaining its quality, but you can never increase the image size while maintaining its quality. Because of this, you should always have a spare copy of your image that has a high resolution handy.

Q: Why can’t I save in JPEG format?

A: Give this a try, go to the Image > Mode section of the Menu Bar, and ensure that the 8bit/channel box is ticked.

Q: Explain a Smart Object in Photoshop?

A: The smart object in Photoshop is a specialized layer. It maintains the integrity of an image's source material while preserving its unique configuration. There are two ways to refer to the content: pixel-based or vector-based. Both of these terms are used interchangeably. The fundamental idea behind it is that there can be several instances of the same thing. If one copy is modified, then the changes will propagate to all of the copies. It offers a great deal of versatility since changes can be made to a single duplicate of a layer style or an adjustment layer without having any impact on the other copies.

Q. Explain the process to select the exact color to match?

A: To get the desired result, the eyedropper tool was used throughout this procedure to precisely match the hue of the foreground. Please make sure that the foreground color square is chosen, and then pick one of the following tools to cover the area: the brush tool, the clone stamp tool, or the paint bucket tool. The region can be chosen with the assistance of the Alt key and a click from the location of your choice while holding down the mouse button on the region. The standard Photoshop interview looks like this: Questions that were asked during an interview for Photoshop.

Q. What do you know about Postscript and show page commands?

A: Postscript is a page description language (PDL) that is used for printing documents on a laser printer. It was created by Adobe Systems. It can also be utilized for the creation of pictures on a wide variety of electronic devices.

It is possible to transmit the contents of the currently shown page to the active output device by using the command show page. It helps to execute the initialization graphic state to the next page, executes the starting page and end page procedure in the page device dictionary, and conducts the erase page operation to wipe the content of the final page. All of these functions can be found in the page device dictionary.

Q. Explain the organizing of layers in Photoshop?

A: Photoshop cannot function without properly organized layers. A locked layer and an unlocked layer are both possible names for this feature. It is necessary to lock a layer whenever you are not actively working on it to prevent that layer from being changed in any way. You are currently working on a layer that does not have its lock enabled. The unlock layer will continue to be active at all times, and if you wish to place it on top of other layers, the background of that layer will be modified. Consequently, to guarantee the locking and unlocking of layers.

Q. Explain the difference between PSD and PSB?

A: Photoshop document is abbreviated as PSD, and Photoshop large is abbreviated as PSB; both of these file extensions are used in the process of storing digital photographs. PSD is the primary extension that is used as the default for Photoshop files. It has support for 30K-by-30K pixels, which indicates that it is used to store pictures that are either little or typical in size. PSB is an extension that is used in the process of producing huge pictures. The primary purpose of this tool is to save photos that have a resolution of 300k-by-300k pixels. Both have just a marginal distinction between them.

Conclusion

Adobe Photoshop is a time-tested program that, in my opinion, absolutely everyone should use. It is because Adobe Photoshop encourages creative thinking and cognitive processes to be explored. Because it has been the go-to application for image alteration for such a significant amount of time, the word Photoshop has evolved into a verb. It is common usage to refer to the editing or manipulation of a picture as having been "photoshopped," or even simply "shopped," which means that the image has been modified. Photoshop is used by photographers, graphic artists, web designers, those who develop Discord emoticons, and people who make memes to either modify existing photos or generate brand-new images of high quality.

The students will acquire a wide variety of abilities to encourage continued participation in their creative endeavors. Students should be provided with the opportunity to learn fundamental graphic design and Photoshop abilities in classroom settings that emphasize computer education while several alternatives to Photoshop are made available on the internet for a variety of needs. Adobe Photoshop is now the most advanced and forward-thinking application on the market because of its ongoing development and introduction of new features.

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INDEX

1

120 pixels, 51, 52

3

300 pixels per inch., 21

3D, 6, 12

4

4x6 or 5x7 inches, 44

A

About alpha channels, 206

About Type, 179

Add black to conceal, 179

Add gray to blend, 179

Add to Selection, 80

Add Transparency, 171

Add white to reveal, 179

Add your layer mask, 178

Adjust image color, 193

Adjust saturation, 201

Adjust saturation in isolated areas, 201

Adjust the Black Input Level, 188

Adjust the color of skin tone, 200

Adjust the White Input Level, 189

Adjusting facial features with Liquify, 204

Adjustment button, 36

adjustment layer, 36, 37, 38, 186, 197, 198, 208, 209, 268

Adjustment layers, 34, 36

Adjustments panel., 38

adjustments to the Anchor., 50

Adobe Illustrator, 31, 32, 33, 125

Adobe Photoshop, 1, 9, 71, 94, 178, 200, 219, 257, 269

Adobe RGB color space, 143

Align function, 153

ALL LINKED, 46

Alpha channel, 205

Alpha channels…, 186

Alt+Backspace, 267

Anchor, 49

anchor point, 97, 102, 103, 181

angle measured relative, 56

Angular Gradient, 162

Angular Gradient shades, 162

Anti-alias, 32

Anti-alias option, 32

Anti-Aliasing option, 91

Appearance, 12, 14

Application Bar menu, 115

Application Bar Menu, 115

Apply a filter from the Filter menu, 237

Apply a gradient fill, 162

Apply an Auto correction in Curves, 195

Apply filters, 238

APPLY GRADIENTS TO LAYERS, 164

Apply swatches to layers, 160

Applying filters to individual channels, 240

Applying filters to layers, 240

Applying Layer Styles, 114

Area Before, 154

Auto Erase feature, 93

Auto Erase Function, 93

Auto-Collapse Iconic, 16

Auto-Enhance, 76

Automatic by default, which will enable Photoshop to evaluate the picture, determine, 46

Auto-Show Hidden, 16

available lasso tools., 95

Avoid patterns, 232

B

backdrop, 3, 28, 71, 78, 79, 81, 82, 83, 85, 86, 87, 90, 91, 92, 93, 98, 100, 117, 120, 121, 175, 252, 253, 256

Background, 29, 34, 43, 78, 85, 87, 89, 90, 91, 125, 126, 185, 207, 209, 248, 252, 259, 261

Background Eraser, 87, 89, 90, 91

Background layer, 34, 43, 78, 85, 126, 185, 207

backgrounds, 86, 118, 121, 240

Baseline, 195

Basic Alignment, 153

basic blurring, 243

Basic Formatting, 152

Bicubic Sharper option., 46

Bicubic Smoother option, 46

black point, 192, 196

black point and white point sliders, 196

blemishes. Garbage, 213

Blend and fade filter effects, 239

Blend Mode, 117, 121, 218

blue-gray, 141

Blur, 6, 210, 236, 237, 242, 243, 244, 246, 247, 248, 249, 251, 252, 255, 256, 257, 258, 261, 263

BLUR, 242

Border Size, 124

bounding box, 31, 32, 182, 183, 184

box labeled Equilateral., 137

box labeled Proportional, 132

Brush Preset selection, 243

Brush Tool, 83, 84

brush-and-dotted-line symbol, 72

C

calculation marks, 54

canvas and image size, 27

Canvas Extension section, 49

caps lock, 96, 99, 101

Center Point symbol, 32

Certain zoom settings, 20

chain symbol, 45

Change a ruler’s zero origin, 55

Change color saturation or hue, 197

Change Direction, 218

Change the color of an object, 201

Change the unit of measurement, 55

CHANGING CANVAS, 44

Changing the zoom level, 18

Channels of color information, 205

Character panel,, 148, 181, 182

Choose Brush Type, 216

choose sRGB, 143

Choose the “Location”, 124

clicking and dragging, 10, 42, 58, 59, 90, 131, 132, 133, 134, 135, 137, 138, 205, 222, 250

clipboard, 28

clipping mask, 173, 174, 176, 180

CLIPPING MASK, 173, 174

clockwise (CW), 61

Clone stamp tool, 210

Clone Stamp Tool, 219, 229, 233

CLONE STAMP TOOL, 227

cloning look natural, 232

CMY component, 140

CMYK Color Mode, 140

CMYK color,, 140

color function, 15

Color Menu, 13, 15

Color Menu Items, 13, 15

color mode, 22, 24, 139

Color Model RGB (RGB), 139

color models, 139

Color Modes, 139

Color Settings, 144, 145

COLOR SETTINGS, 144

Color Settings dialog, 144

Color Settings dialog box, 144

Color Theme, 14

Color Working Spaces, 142

coloring, 15

COLORS, 127, 138

Command and V keys, 28

Command and Z keys, 62

Command key, 20, 182, 183, 199, 206, 214, 260

Command- key combination, 18

Command+Shift+Z on a Mac, 62

Commit button., 33

Common file formats, 63

complex blending effects, 116

components of the PDF file, 33

computer, 1, 8, 9, 18, 20, 28, 40, 55, 56, 58, 63, 79, 103, 109, 122, 140, 141, 156, 160, 174, 202, 203, 208, 224, 267, 269

concept of layers, 34

conceptual similarities, 121

Conclusion, 269

Content layers, 34

context menu, 9, 43, 71, 114, 150, 151, 205, 224, 230, 234, 245

Contiguous, 91, 92

Contiguous option, 91

Continuous option, 89

Contrast, 99, 196

contrast value, 100

Convert to Smart Object, 205, 245, 249

Copy & Paste, 27

Corner Radius, 133, 136

Correction of Errors, 102

counter-clockwise (CCW), 61

Crayola, 140

Create a blank layer, 39

Create a Blank Layer, 213

Create a Layer Mask, 178

Create a noise gradient, 171

Create a smooth gradient, 168

Create an adjustment layer, 36

Create button, 22, 23, 25

Create Clipping Mask, 173, 176

Create Texture, 216

CREATING A NEW DOCUMENT, 21

Creating a pattern, 125

Creating edge effects, 240

Creating type on a path, 184

Creative Cloud, 1, 2, 123

Creative Cloud website, 1

crimson hue, 2

Crop from the menu, 60

Crop tool and adjust, 258

CROPPING, 57

cropping handles., 58

Ctrl+S, 66

current window, 50

cursor, 52, 55, 56, 57, 74, 87, 93, 94, 95, 96, 97, 98, 99, 105, 106, 109, 111, 150, 158, 163, 169, 173, 183, 185, 201, 213, 231

CURVE ADJUSTMENT LAYER, 192

Custom Keyboard, 15

Custom Settings, 24

CUSTOMIZING THE WORKSPACE, 11

D

Default Adobe, 12

default color choices, 144

Default Gradients, 165

default lasso tool, 93

default setting, 23, 55, 89, 130, 191, 195

default unit, 17

Delete a layer, 40

Delete and Fill Selection, 4

deleting a layer, 27, 40

demonstrate this notion., 100

descriptive name, 29

Deselect, 74, 124, 207

desktop edition, 2

Detailed Grid, 195

Detailed Grid displays, 195

Detailed Grid displays gridlines, 195

detrimental, 188

dialog box, 21, 22, 23, 29, 31, 32, 33, 49, 56, 57, 67, 68, 114, 115, 144, 168, 169, 170, 171, 173, 176, 177, 195, 197, 237, 239

Diamond gradient, 162

Diamond gradient shades, 162

Digital cameras, 143

Dimensions, 44, 45

Discontiguous, 89, 91

Discontiguous eraser, 89

Discontiguous eraser mode, 89

Display the Filter Gallery, 238

Distance option set, 118

Distance property, 117

Distort, 6, 180

Docking, 16

document, 5, 8, 9, 19, 21, 22, 24, 25, 28, 29, 30, 33, 41, 42, 55, 56, 65, 70, 76, 85, 94, 122, 123, 125, 141, 145, 146, 148, 150, 163, 175, 179, 184, 185, 202, 206, 269

document window, 5, 19, 41, 146, 148

Dodge and burn tool, 210

DODGE AND BURN TOOLS, 212

Dodge tool, 212

double arrow button, 13

double-click the picture, 58

Double-Clicking on a Layer, 114

Double-clicking the layer icon, 44

Drag the sliders, 205

Drop Shadow, 113, 115, 117, 118, 119, 120, 177

drop zone,, 13

drop-down menu, 12, 17, 20, 21, 24, 33, 36, 40, 44, 46, 47, 49, 59, 61, 78, 79, 84, 98, 146, 154, 158, 160, 161, 163, 165, 168, 173, 193, 195, 206, 207, 208, 210, 213, 220, 228, 238, 239, 245, 267

drop-down option, 1, 32, 163, 168, 198, 207, 208

Duplicate, 28, 29, 40, 78, 224, 230, 234, 242, 245, 252, 258, 259

duplicate images, 240

duplicating, 27

duplicating of images, 27

E

Edge Detection, 77

Edit, 13, 16, 17, 18, 32, 55, 57, 62, 98, 124, 125, 126, 151, 180, 192, 196, 198, 207, 239, 266, 267

Edit menu, 17, 18, 98, 180, 196

editing a picture, 127

Editing layers, 43

editing photographs, 17, 202

editing software., 64

effective color, 139

effective color management, 139

effective color management tools, 139

Effects menu, 113

efficient editing, 122

Ellipse Tool, 134, 135, 137, 184

Elliptical Marquee tool, 110, 111

employing a layer mask, 85

Enable Floating Document, 16

enlarge/reduce image size, 266

Enter paragraph type, 182

Enter point type, 181

EPS, 32

equilateral triangle, 135, 137

Eraser, 44, 86, 87, 89, 92, 93

Essentials, 11, 12

extensive menu lists, 15

eye icons, 34, 76

eye symbol, 34, 41, 75, 79, 86, 113, 238

F

fantastic idea, 15

Feather, 107

few additional customization, 16

few drawbacks, 86

fewer pixel dimensions, 179

file format, 62, 65, 179

file formats, 62, 63, 67, 122

File menu, 21, 28, 31, 64, 208

Filter Gallery, 236, 237, 238, 239

Filter Gallery overview, 238

Filter menu., 6, 43, 236, 237, 238

Filters, 149, 210, 236, 237

FILTERS, 236

Find Edges, 89, 91, 237

Fixed Ratio, 59

flat edges, 97

Flatten Image, 125

Free Transform, 126

freehand selection, 108

freehand selections, 96

Frequency, 100

Frequently Asked Questions, 266

function operates, 2

fundamental shortcuts., 102

fundamental tool, 96

fundamental understanding, 186

fundamentals, 138, 161

fundamentals of digital picture, 161

fundamentals of digital picture editing, 161

fx icon, 114

G

game modes., 243

Gaussian, 236, 237, 246, 251, 252, 255

gear icon, 129, 135, 137

generating new files, 22

Gentry's sculpture, 221

Getting Started, 180

GETTING STARTED, 1

gigantic vehicle, 3

Glows and shadows, 121

Glyph Scaling, 153

Glyph Scaling and Auto Leading, 153

Glyph Scaling and Auto Leading percentages., 153

GRADIENT, 161, 165, 166

Gradient Editor, 162, 166, 167, 168, 171, 209

Gradient Picker menu, 167, 168

Gradient tool, 162, 163, 168, 171, 208, 209

gradients, 46, 161, 162, 163, 164, 165, 166, 168, 178, 209

Gradients panel., 165

Graphics and Web, 12

grays and blacks, 141

Grayscale, 141

green-gray, 141

H

Hard Disk Space, 1

Hide filter thumbnails, 238

Hide the background layer, 79

hiding adjustment layers, 34

Histogram, 195

horizontal, 19, 51, 54, 56, 57, 154, 180, 192, 195, 196, 247

Horizontal Type tool, 181, 182

How to Remove a Line, 217

Hue slider, 196

Hue/Saturation, 186, 196, 197, 198, 208

HUE/SATURATION ADJUSTMENT LAYER, 196

Hue/Saturation command, 196

Hue/Saturation layer, 186

Hue/Saturation menu., 197, 198

Hue/Saturation sliders, 198

Hyphen Limit, 154

Hyphenate Capitalized Words, 154

Hyphenation, 154

hyphenation of capitalized words, 154

hyphenation options, 154

I

Image menu, 47

Image size, 67, 267

Image Size, 44, 69

IMAGE SIZE, 44

Improve filter performance, 241

Improving a snapshot, 202

Improving image quality and consistency, 241

Indent and Space between Paragraphs, 154

Inner Glow, 113

Inner Shadow, 115, 119, 120, 121

insert, 28, 29, 30, 31, 33

inserted artwork, 32

installation, 1, 2

Intel Pentium i3, 1

interface, 1, 5, 11, 13, 14, 16, 18, 29, 207

Interface Text, 13

Intersect with selection, 107

intersection, 52, 55, 107

Intersection Line, 195

J

JPEG, 8, 63, 64, 65, 66, 67, 68, 143, 268

JPEG and PNG, 63, 64

K

Kerning and Tracking, 152

key bindings, 15

key while pressing, 18

keyboard shortcut, 21, 27, 28, 57, 93, 102, 103, 124, 253, 254

keyboard shortcut Command, 27, 28, 103, 124

Keyboard Shortcuts, 13, 15

Keyboards & Shortcuts menu, 15

L

language, 13, 14, 154, 268

lasso selection freehand, 102

Lasso Tool, 2, 4, 5, 96, 97, 98, 99, 100, 101, 102, 103

Lasso Tool., 2, 98, 99

launch, 5, 17, 18, 29, 104, 134

Launch Adobe, 71

Launch the color picker panel, 156

Launch the File menu, 27

Launch the Liquify application, 205

Layer basics, 35

layer effect, 71, 113, 115, 117, 120, 164

Layer Effect, 117, 119, 121

Layer from Background, 43

LAYER MASK, 178

LAYER MASKING IN ADJUSTMENT LAYER, 208

layer style, 113, 114, 115, 117, 121, 177, 268

Layer Style, 114, 115, 116, 124, 177

LAYER STYLE, 113

Layer Style dialog window, 115

Layer Style window, 114, 116

layer's opacity, 116, 207

layer's opacity and blend, 116

layer's opacity and blend mode., 116

Layers Palette, 175, 176

Layers panel, 9, 29, 35, 36, 39, 40, 42, 44, 78, 89, 124, 126, 128, 147, 152, 160, 164, 165, 173, 174, 180, 183, 185, 206, 207, 208, 236, 260, 263

Legacy Gradients, 165

LEVEL ADJUSTMENT LAYER, 186

Levels dialog, 187, 188, 190

Levels layer., 34

Lightroom, 2, 144

Linear Gradient, 162, 209

Linking and Embedding, 29

Linking and Embedding Images, 29

Live Gradients, 163

LOAD A LIBRARY OF PRESET, 168

load your picture, 205

location of the menu bar, 6

Luminosity, 218, 243

M

Mac OS, 15, 32, 56, 57, 166, 173, 174, 181, 182, 183, 195, 196, 198, 199, 202, 220, 227, 232

Mac OS) and drag a side handle of the bounding box. This will allow you to skew the art, 32

macOS, 2

magenta, 140

Magic Eraser, 87, 91, 92

Magic Wand Tool, 77, 78, 79, 80, 81, 82

MAGIC WAND TOOL, 77

Magnetic and Polygonal, 102

Magnetic Lasso, 99, 100, 101, 102

Making changes to the text layers, 44

manipulating, 7, 140

Manipulating selections, 110

MASKING IN PHOTOSHOP, 173

Measuring an Object, 50

Measuring Angle, 52

measuring line, 56, 57

Memory, 1

menu bar, 6, 11, 32, 49, 50, 59, 62, 125, 133, 152, 153, 156, 157, 174, 197, 198, 210, 253, 254, 261, 267

Menu Bar, 6, 21, 24, 266, 267, 268

menu items, 15, 151

Method 1, 27, 57, 81, 82

Method 2, 28, 59, 82

Method 3, 29

middle of the picture, 118

Mid-tone level, 186

Midtone Level, 188, 191

missing pieces, 109

modal dialog, 8, 17, 40, 65

modal dialog box, 8, 17, 40, 65

mode that represents, 107

Model layer, 207

modifications, 28, 34, 36, 64, 126, 150, 178, 183, 197, 203

Motion, 12, 236, 237, 244, 246, 248

mouse button, 5, 50, 52, 58, 59, 98, 102, 111, 127, 158, 160, 162, 184, 249, 268

mouse pointer, 15, 94, 158, 166

Moving a selection with the arrow keys, 112

multiple effects, 240

Multiple Layers, 265

N

natural white spot, 211

Navigator panel, 111

Neutral Density, 162

new background, 85

new document, 17, 21, 23, 25, 27, 28, 29

New Document, 21, 22, 23, 24

New Document., 21

New Layer, 39, 75, 173, 175, 176, 206, 259

New Levels Adjustment Layer, 188

New selection or Normal, 104

new Smart Object, 30

Noise, 120, 121, 171, 237, 251

non-destructive editing, 34

Normal blending, 243

normal Lasso tool, 102

NOT LINKED, 46

O

Object Selection Tool, 5

Objection Selection Tool, 2

One-Click Delete and Fill, 2

Open button, 8

open document, 16

Open documents using tabs, 16

Open the Photograph, 221, 224

opened in Photoshop, 62, 139

Opening files, 8

Operating System, 1

Opt+Delete, 267

Options, 16, 33, 51, 76, 90, 103, 114, 115, 116, 124, 128, 129, 130, 133, 134, 135, 136, 137, 144, 153, 163, 184, 185, 194, 195, 209, 212, 215, 218, 239

options bar, 31, 32, 33, 51, 52, 54, 56, 57, 166, 167, 168, 171, 181, 182, 183, 201, 207, 220

Options bar, 129, 130, 134, 135, 137, 163, 209, 212, 215

Organize swatches into groups, 161

original dimensions., 18, 132

original file., 30, 67

Outer Glow Layer, 121

Output Settings, 84, 207

P

Paint Bucket, 74, 162, 175

Paint Over the Imperfection, 235

Paintbrush, 7, 242

Painting, 12

palette, 75, 78, 79, 81, 82, 91, 151, 153, 177, 267

panels, 1, 9, 10, 11, 13, 15, 16, 156

Panels, 7, 11, 12, 13, 16

Paragraph panel's menu, 154

paragraph space, 154

paragraph type, 173, 180, 183, 184

parameters, 32, 80, 89, 118, 128, 141, 145, 170, 172, 212, 237, 239, 240, 241, 257

Patch, 74, 219, 220, 221, 224

PATCH TOOL, 220

Path Selection Tool, 133, 136, 185

Pattern Preview, 125

Patterns panel, 126

PDF file, 32, 33

Pencil tool, 87, 93

Pencil Tool, 93

Performance, 267

photograph, 22, 29, 31, 44, 82, 86, 140, 173, 188, 197, 200, 203, 208, 210, 213, 241, 252, 257, 258

photographs, 7, 18, 45, 53, 61, 63, 64, 67, 71, 120, 122, 140, 142, 143, 204, 226, 236, 237, 241, 256, 257, 269

Photography, 12

Photoshop, 1, 2, 3, 5, 7, 8, 9, 11, 12, 13, 16, 17, 18, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31, 32, 33, 34, 43, 44, 46, 47, 49, 51, 56, 57, 59, 61, 62, 64, 67, 71, 74, 76, 77, 78, 79, 80, 82, 86, 87, 89, 90, 91, 92, 93, 94, 96, 98, 99, 100, 101, 102, 103, 104, 108,109, 110, 115, 122, 123, 124, 125, 127, 128, 129, 130, 133, 134, 135, 137, 138, 139, 142, 144, 145, 149, 152, 159, 160, 165, 168, 174, 178, 179, 180, 184, 185, 186, 187, 188, 190, 191, 200, 202, 203, 204, 206, 210, 214, 216, 219, 220, 221, 224, 232, 233, 241, 242, 244, 245, 248, 252, 253, 257, 258, 260, 265, 266, 267, 268, 269

piece of artwork, 31, 33

Pigment/Ink, 195

pixels/inch, 45

Place Embedded function, 30

PLACE FILES, 31

Place Linked, 30, 125

Place PDF dialog, 31, 33

Place PDF or Illustrator files, 32

placeholder thumbnail, 30

PLACING IMAGES, 27

point type, 173, 180, 181, 184

point type and paragraph type, 184

Polygon Tool, 137

polygonal lasso, 97, 102

Polygonal Lasso, 97, 98, 102

polygonal lasso tool, 97

portion of the picture, 19, 58, 59, 162, 178

PostScript, 56, 179

Preferences, 12, 13, 14, 16, 17, 18, 55, 56, 170, 267

Prepare the Image, 123

Preserve Details, 46

Preset Details, 23, 24

PRESET GRADIENTS, 166, 167, 168

Preset Layer Styles, 115

Presets, 22, 167, 168, 171

Preview option, 117

previous version, 65, 70

primary benefit of using layers, 43

primary document., 28

primary operations, 161

Print option, 22

pro with layers, 74

Processor, 1

program, 12, 18, 30, 33, 47, 59, 63, 78, 82, 89, 102, 108, 115, 140, 185, 187, 202, 216, 217, 269

proportion of white, 186

Protect Foreground Color, 89, 91

protractor, 56, 57

PSD, 8, 62, 63, 64, 66, 67, 269

PSDC format, 122

Pupil Size and Darken Amount, 211

Q

Quick Selection, 71, 72, 74, 76, 79, 260

Quick Selection tool, 71, 72, 74, 260

QUICK SELECTION TOOL, 71

R

Radial Blurs, 265

Radial Gradient, 162, 209

Radial Gradient shades, 162

Randomize, 172

rasterization process, 32

Reading the Input Level Numbers, 189

Rectangle Tool, 130, 133, 134, 135, 137, 184

Rectangular Marquee tool, 57, 59, 111

Red eye tool, 210

RED EYE TOOL, 210

Red-Eye Tool, 210, 212

Refine Edges, 77, 255

Reflected gradient, 162

Reflected gradient mirrors, 162

Remove Skin Imperfections, 233

Remove Smaller Sections, 219

Remove Spot, 217

Removing control points from a curve, 194

Removing unwanted selections, 108, 109

RENAME A PRESET, 166

reordering, 27

Reordering, 42

Reset Essentials, 11

Resize Image, 44, 47

RESIZE METHOD, 47, 48

Resize or transform, 183

resizing option, 47

resolution, 21, 22, 44, 45, 47, 122, 127, 179, 236, 241, 267, 268, 269

Resolution, 45, 46

Restore Default Workspaces, 16

Restrict Colors, 171

Right-Clicking on a Layer, 114

Rotating, 61

Route command, 129

Ruler tool, 52, 54, 56, 57

Ruler Tool, 50, 51, 52

Rulers section, 17

S

Sample, 76, 80, 89, 92, 192, 216

Saturation slider, 197, 208

SAVE A SET OF PRESET, 167

Save for Web, 63, 64, 67, 68

Save Gradients, 167

Save Preset button, 25

Save Preset icon, 25

Save the Changes, 124

SAVING, 62

Scenario 1, 64

Scenario 2, 64

Screen Mode, 14

Screen Modes, 13, 14, 15

screen modes and Artboards, 14

screenshot, 94, 189, 203

Select a clone source, 230, 235

Select brush mode, 235

Selecting layers before editing, 44

selection marquee, 28, 110, 111

selection tool, 71, 93

Set a Focus Point, 250

Set Curve display options, 195

Set Effects and Noise, 251

settings dialog box, 14

SHAPES, 127

Sharpen, 6, 237, 242

sheer size, 18

Shift and I keys, 50, 52

Shift key, 3, 32, 55, 56, 57, 82, 98, 99, 109, 131, 134, 135, 138, 161, 163, 165, 183, 184

Show Channel Overlays, 195

SHOW LEGACY, 165

SHOW LEGACY GRADIENTS, 165

showing, 27, 94

Showing, 9, 41

Showing and hiding, 9, 41

significant amount of space, 102

single-layer style, 117

Single-Selection, 80

situation, 3, 6, 39, 71, 111, 225

Small or Large List, 166

Small or Large Thumbnail, 166

small triangle, 176

Smart Objects, 29, 31, 93, 236, 265

Snapshot Differ, 204

Snapshots, 186, 202, 203

Snowfall, 175, 176, 177

Space After, 154

spacebar with caution, 111

Spacing, 153, 217

Spacing percentages, 153

Specify the gradient transparency, 170

Spot Healing, 74, 210, 213, 214, 215, 216, 217, 218, 219, 220, 226

Spot Healing Brush, 213, 214, 215, 216, 217, 218, 219, 220

Spot healing brush took, 210

SPOT HEALING BRUSH TOOL, 213

Spot Remove Again, 219

Spot vs. Line, 218

Square checkbox, 131

sRGB Working Space, 142

starting location, 52, 56

starting point, 51, 53, 55, 97, 103, 162, 168, 171, 230

steer clear of patterns, 232

Straightening an Image, 53

Stroke, 113, 123

Styles Panel, 115

stylus button, 13

Subtract from selection, 74

Subtract from Selection, 76, 80, 82

Subtract from the selection, 106

subtraction mode, 106

SWATCHES, 155

Switching Between Lasso Tools, 101

Switching Workspaces, 12

System Requirements, 1

T

Technique option, 121

techniques, 29, 110

Temperature, 200

text, 13, 18, 34, 41, 44, 48, 64, 105, 121, 127, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 160, 164, 165, 166, 169, 170, 171, 172, 173, 174, 175, 177, 179, 180, 181, 182, 183, 184, 185, 194, 198, 201, 202, 205, 250, 267

TEXT, 127, 145, 174

Text section, 18

THE ADJUSTMENT LAYER, 186

The Adobe RGB Color Space, 143

The Art Box, 33

The Bleed Box Crops, 33

The Bounding Box, 33

The clone stamp's edges, 233

THE CORRECTION TOOLS, 210

The Crop Box crops, 33

THE INTERFACE, 5

the lasso tool, 93, 94, 95, 96, 103, 104, 105, 106, 107, 108, 109

The Magnetic Lasso, 97, 100

The Media Box, 33

The New Darker Dialog Box, 144

The pixel data, 28

The Range option, 122

The Replace Color command, 201

The rulers, 54

THE SELECTION TOOLS, 71

The Simple Grid, 195

The Simple Grid view, 195

The Simple Grid view displays, 195

THE SIZE OF THE IMAGE, 47

The Trim Box function, 33

these settings, 16, 194, 257

Thickness and Color options, 130

thumbnail preview, 114

Tips for creating special effects, 240

Tips for using the Spot, 218

tone with Curves, 193

Tool Options, 6, 243

Tool Options Bar, 6

toolbar, 7, 10, 20, 50, 52, 54, 71, 86, 87, 91, 93, 94, 98, 99, 101, 111, 127, 155, 162, 163, 168, 171, 194, 205, 214, 219, 224, 227, 228, 230, 242, 253, 260

Tools panel, 15, 43, 57, 59, 112, 145, 184

total length traveled, 56

tracking process, 153

Traditional, 56

Transform tool, 124, 225

Transforming blocks, 150

Transforming letters, 149

Transparency radio, 163

Transparency radio button, 163

Triangle Tool, 135, 137

Type tool tips, 147

Type tool,, 7, 152

types of layer effects., 113

U

UI Font Size, 18

Unconstrained, 130, 131, 134, 135, 138

Unconstrained box, 131, 134, 135, 138

Unconstrained box selected, 131, 138

UNDERSTANDING LAYERS, 34

Undoing changes, 62

Uniform, 251

Union selection, 105

Units & Rulers, 17, 55, 56

Up Arrow key, 112

Using cloud documents, 122

Using editing tools, 43

USING RULER, 50

Using Save As, 64

USING THE ERASER TOOL, 86

USING THE LASSO TOOLS, 93

utilization of Cloud Documents, 122

V

vast majority, 12, 66, 101, 140, 154

Vertical and Horizontal, 153

Vertical and Horizontal Scaling, 153

vertical scroll bars, 19

Vertical Type tool, 181, 182

W

Width, 24, 45, 46, 52, 99, 132, 182

width and height, 21, 22, 23, 45, 47, 128

Width and Height, 45, 132, 182

Window, 9, 11, 16, 20, 35, 78, 115, 116, 128, 129, 133, 148, 152, 153, 154, 155, 156, 157, 165, 228, 253, 254

Window menu, 9, 11, 20, 155, 156, 165

Windows, 1, 2, 13, 15, 31, 32, 55, 57, 109, 166, 175, 181, 182, 183, 195, 196, 206, 220, 227, 232, 254, 267

Woods for Trees, 221

Words Longer, 154

working on a Mac., 17

working space., 144, 211

WORKING WITH IMAGES AND LAYERS, 27

Working with layers, 41

WORKING WITH SHAPES, 127

workspace, 7, 9, 10, 11, 14, 20, 56, 155, 156, 178, 210, 215, 243, 249

Workspace, 11, 15, 16, 20, 155, 156

workspaces, 11, 12, 16

workspace's toolbar, 7

X

X and Y coordinates, 51

X ordinate, 51

Z

Zoom In, 214

Zoom tool, 111