How to Get Your Lesson Files – Adobe® Photoshop® CC Classroom in a Book® [Book]

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Book Title:. Publication Name:. Item Length:. Adobe Press. Publication Year:. Classroom in a Book Ser. Trade Paperback. Item Height:. Andrew Faulkner, Conrad Chavez. Item Width:. Item Weight:. Number of Pages:. About this product. The 15 project-based lessons in this book show users step-by-step the key techniques for working in Photoshop and how to correct, enhance, and distort digital images, create image composites, and prepare images for print and the web.

In addition to learning the key elements of the Photoshop interface, this completely revised CC release edition covers features like new and improved search capabilities, Content-Aware Crop, Select and Mask, Face-Aware Liquify, designing with multiple artboards, and much more! The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers.

All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and interactive multiple-choice quizzes. As always with the Classroom in a Book, Instructor Notes are available for teachers to download. Product Identifiers Publisher. Product Key Features Author. Publication Name. Publication Year.

Number of Pages. Dimensions Item Length. Item Height. Item Width. You can hide the Tools panel and options bar. Tip To restore the default Essentials workspace, click the workspace icon at the top right corner of the application window, and choose Reset Essentials. You cannot resize the Tools panel or options bar. You cannot stack the Tools panel or options bar in the panel dock.

The Tools panel and options bar do not have panel menus. Changing interface settings By default, the panels, dialog boxes, and background in Photoshop are dark. You can lighten the interface or make other changes in the Photoshop Preferences dialog box: 1. Select a different color theme, or make other changes. When you select a different theme, you can see the changes immediately. You can also select specific colors for different screen modes and change other interface settings in this dialog box.

You can also open a scanned image of a photographic print, a transparency or negative film frame, or a graphic. You can open images downloaded from the Internet such as photography from Adobe Stock, or images uploaded to your Cloud Documents or your Lightroom photos.

A selected tool remains active until you select a different tool. To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or click and hold the tool in the Tools panel to open a pop-up menu of the hidden tools.

You can also use keyboard shortcuts or the Navigator panel to control the display of an image. View and access files in Adobe Bridge. Straighten and crop an image.

Adjust the tonal range of an image. Use the Spot Healing Brush tool to repair part of an image. Use the content-aware Patch tool to remove or replace objects. Use the Clone Stamp tool to touch up areas. Remove digital artifacts from an image. Apply the Smart Sharpen filter to finish retouching photos. This lesson steps you through the process of acquiring, resizing, and retouching a vintage photograph.

For many images, you may need only to change the resolution, lighten the image, or repair a minor blemish. For others, you may need to perform several tasks and employ more advanced tools and techniques. Note In this lesson, you retouch an image using Photoshop. For some images, such as those saved in camera raw format, it may be more efficient to work in Adobe Camera Raw, which is installed with Photoshop.

In a basic workflow, adjusting resolution should be the first step, and sharpening should usually be your final step. For the other tasks, consider your project and plan accordingly, so that the results of one process do not cause unintended changes to other aspects of the image. For example, if an image is intended for black-and-white publication on newsprint, you might make different cropping and sharpening choices than if the image is intended for a full-color web page.

Photoshop supports RGB color mode for web and mobile device authoring and desktop photo printing, CMYK color mode for preparing an image for printing using process colors, Grayscale mode for black-and-white printing, and other color modes for more specialized purposes.

You can also use Photoshop to adjust image pixel dimensions or resolution. In Photoshop, resolution is the pixels per inch value, not the pixel dimensions. In Photoshop, resolution means the number of pixels per unit of physical length, such as pixels per inch ppi.

Does changing resolution affect file size? Only when the pixel dimensions change. But if you change the size in inches without changing the ppi value or vice versa , the pixel dimensions must change, and so will the file size. Resolution requirements vary depending on the intended output. An image might be considered low resolution when its ppi value is below to ppi. Factors such as viewing distance and output technology influence the resolution our eyes actually perceive, and this affects resolution requirements too.

A ppi laptop display may appear to have the same high resolution as a ppi smartphone, because the laptop is viewed farther away. But ppi might not be enough resolution for a high-end printing press or fine art inkjet printer, which might reproduce the most detail at ppi and up.

Because of the way display and output technologies work, your images may not need to match the device resolution of high-resolution printers. For example, while some commercial printing platesetters and photoquality inkjet printers may have a device resolution of dots per inch dpi or more, the appropriate image resolution to send to those devices may be only to ppi for photos.

This is because the device dots are grouped into larger halftone cells or inkjet dot patterns that build tones and colors.

Similarly, a ppi smartphone display may not necessarily require ppi images. Whatever your medium, you should verify the appropriate image resolution of your final images by consulting with your production team or output service provider. You may make copies of these files and save them under different names or locations, or you may work from the original start files and then download them from the peachpit.

After installation completes, you can start Bridge. In Lesson 1, you used the Open command to open a file. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Select the Folders tab in the upper left corner, and then browse to the Lessons folder you downloaded onto your hard disk, so that the lessons in the Lessons folder appear in the Content panel. Tip If the Favorites panel list and a folder you want to add to Favorites are both visible, you can drag the folder and drop it in the Favorites panel.

You can even drag and drop to add a folder from your computer desktop to the Favorites panel. The Favorites panel lets you quickly access files, folders, applications, and other assets that you frequently use. Click the Favorites tab to open the panel, and click the Lessons folder to open it. Then, in the Content panel, double-click the Lesson02 folder. Thumbnail previews of the folder contents appear in the Content panel. Or, press the spacebar to see a full screen preview of the selected item.

Compare the 02Start. To enlarge the thumbnails in the Content panel, drag the thumbnail slider at the bottom of the Bridge window to the right. In the 02Start. Double-click the 02Start. Choose Photoshop from the Format menu, and name the file 02Working.

This is useful if you think you might change your mind, because you can enlarge the crop area to reveal previously cropped areas.

By default, cropping deletes cropped pixels. In the Tools panel, select the Crop tool. Crop handles appear, and a crop shield covers the area outside the cropping region, to help focus your attention on the cropped area. Ratio is the default value. A crop overlay appears. Click the Straighten icon in the options bar. The pointer changes to the Straighten tool. Click at the top left corner of the photo, press the mouse button as you drag a straight line across the top edge of the photo, and then release.

Photoshop straightens the image so that the line you drew is parallel with the top of the image area. You drew a line across the top of the photo, but any line that defines either the vertical or horizontal axis of the image will work.

If you want to crop with total freedom, click the Clear button in the Crop tool options bar. Drag the corners of the crop rectangle inward to crop out the white border. If you need to adjust the position of the photo inside the crop, position the pointer within the crop rectangle and drag the photo. Press Enter or Return to accept the crop. The image is now cropped, straightened, sized, and positioned according to the Crop tool options you used. It can also automatically separate multiple photos scanned in one image.

If the image dimensions are not already displayed in the status area at the bottom of the application window, click the arrow there and choose Document Dimensions from the pop-up menu that appears. In the Adjustments panel, click the Curves icon first row, third button. This adds a Curves adjustment layer.

Select the White Point tool on the left side of the Properties panel. The White Point tool defines what color value should be made a neutral white. Once defined, all other colors and tones shift accordingly.

When done correctly, this is a quick way to remove a color cast and correct image brightness. To set an accurate white point, click an area of the image that should be the brightest neutral area of the image that contains detail — not a blown-out area like the sun or a lamp, and not a specular highlight such as a reflection of sunlight on chrome.

Clicking it removes the color cast and lightens it, dramatically improving image contrast and color. Typically, Curves is used for edits that are more specialized or complex.

In the Adjustments panel if needed, click its tab to make it visible , click the Levels icon first row, second button to add a Levels adjustment layer. The Levels histogram in the Properties panel displays the range of dark and light values in the image. Right now, you just need to know that the left triangle represents the black point the tonal level you want to set as the darkest in the image , the right triangle represents the white point the tonal level you want to set as the lightest in the image , and the middle triangle represents the midtones.

Drag the left triangle black point under the histogram to the right, where significant shadow tones start to appear. Our value was Drag the middle triangle a little to the right to adjust the midtones. Our value was. Flattening an image merges all of its layers into the Background layer, which reduces the file size; you can still make changes to the entire image. But flatten only if you no longer need the flexibility of adjusting the edits you previously made using separate layers.

The adjustment layers merge with the Background layer. He teaches workshops internationally as well as online on the care and identification of photographs. Find out more at gawainweaver. Real-world photo restoration The tools in Photoshop make restoration of old or damaged photographs seem like magic, giving virtually anyone the power to scan, retouch, print, and frame their photo collections.

However, when dealing with works by famous artists, museums, galleries, and collectors need to preserve original objects to the greatest degree possible despite deterioration or accidental damage. Professional art conservators are called upon to clean dust and soiling from print surfaces, remove discoloration and staining, repair tears, stabilize prints to prevent future damage, and even paint in missing areas of a work. Carleton E. This print was removed from its mount to remove the stains and then remounted.

In Photoshop, you can use a Curves adjustment layer to remove the color cast from an image. Likewise, you can use the Spot Healing Brush tool in Photoshop to spot out specks of dust or dirt on a scanned image.

A conservator might use Japanese papers and wheat-starch paste to carefully repair and rebuild torn paper before finalizing the repair with some skillful in-painting. In Photoshop, you can remove a crease or repair a tear in a scanned image with a few clicks of the Clone Stamp tool. After digitization, the original print can be safely stored away, while the digital version can be copied or printed for many family members. Often, we first clean or unfold family photographs to safely reveal as much of the original image as possible, and then we repair the remaining discoloration, stains, and tears on the computer after digitization.

The next task is to remove the crease in the photo. The Spot Healing Brush tool quickly removes blemishes and other imperfections. It samples pixels around the retouched area and matches the texture, lighting, transparency, and shading of the sampled pixels to the pixels being healed. Zoom in to see the crease clearly. In the Tools panel, select the Spot Healing Brush tool. Make sure Content-Aware is selected in the options bar. In the image window, drag the Spot Healing Brush down from the top of the crease.

You can probably repair the entire crease with four to six neat downward strokes. Use the scroll bars, or hold down the spacebar to temporarily use the Hand tool. Zoom in to see the white hair in the upper right area of the image. Then use the Spot Healing Brush to paint over the hair. Zoom out, if necessary, to see the full sky. Then click the Spot Healing Brush wherever there are unwanted spots you want to heal.

Save your work so far. In Content-Aware mode, the Patch tool creates nearly seamless blending with the nearby content. In the options bar, choose Content-Aware from the Patch menu. Type 4 into the Structure slider.

The Structure menu determines how closely the patch reflects the existing image patterns. You can choose from 1 to 7, with 1 allowing the loosest adherence to the source structure and 7 requiring the strictest. Drag the Patch tool around the boy and his shadow. You may want to zoom in to see him more clearly. Note The healing and content-aware tools may produce results that still need a small amount of manual touch-up. Photoshop displays a preview of the content that will replace the boy. Release the mouse button when the patch is positioned where you want it.

The selection changes to better match the area around it. The boy is gone, and where he stood is a section of the bridge wall and of a building. The effect is impressive, but not quite perfect. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. Tip You may need to set a larger brush size when editing higher resolution images.

Make sure that the Aligned option is selected. Move the Clone Stamp tool to an area where the top of the bridge wall is smooth. Alt-click Windows or Option-click Mac to sample that part of the image as a source point.

When you press Alt or Option, the pointer appears as target cross-hairs. Drag the Clone Stamp tool across the top of the bridge wall in the patched area to even it out, and then release the mouse button. It simply copies pixels from the source point to where you drag, so it may take more manual work to make an edit look good. Each time you click the Clone Stamp tool, it begins again with a new source point, in the same relationship to the tool as the first stroke you made.

That is, if you begin painting farther right, it samples from stone that is farther right than the original source point. Deselect Aligned if you want to start from the same source point each time. Select a source point where the bottom of the bridge wall is even, and then drag the Clone Stamp tool across the bottom of the wall where you patched it. Select a smaller brush size, and deselect Aligned.

Then select a source point over the rightmost windows in the lowest row on the building you patched. Click across to create accurate windows there. Repeat step 6 to make any adjustments you want to apply to the lowest area of the building and the wall that runs in front of it. Look carefully for areas that obviously repeat as a result of the cloning, and retouch them.

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

The default values are great for tiny dots of color like the ones in this image. Now that the artifacts are gone, you can sharpen the image. In the Smart Sharpen dialog box, make sure that Preview is selected, so you can see the effect of settings you adjust in the image window. You can drag inside the preview window in the dialog box to see different parts of the image, or use the magnification buttons below the thumbnail to zoom in and out. Make sure Lens Blur is chosen in the Remove menu.

Lens Blur provides finer sharpening of detail and reduced sharpening halos. Gaussian Blur increases contrast along the edges in an image. Motion Blur reduces the effects of blur that resulted from the camera or the subject moving when the photo was taken. Drag the Radius slider to about 1.

The Radius value determines the number of pixels surrounding the edge pixels that affect the sharpening. The higher the resolution, the higher the Radius setting should usually be. Your image is ready to share or print! Extra credit Converting a color image to black and white You can get great results converting a color image to black and white with or without a tint in Photoshop. Click Open. Adjust the color sliders to change the saturation of color channels. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the targeted adjustment tool in the upper left corner of the Properties panel, position it over a color you want to adjust, and drag horizontally. The tool moves the sliders associated with the original color of the pixels where you started dragging; for example, dragging on the red bike frame adjusts the lightness of all red areas.

We darkened the bike and made the background areas lighter. If you want to colorize the entire photo with a single hue, select Tint in the Properties panel. Printer resolution may be expressed in dots per inch dpi , because device dots do not always correspond to image pixels. The Clone Stamp tool copies the source area exactly; the Healing Brush and Spot Healing Brush tools blend the area with the surrounding pixels.

In ContentAware mode, the Patch tool replaces a selection with content that matches the surrounding area. Reposition a selection marquee. Move and duplicate the contents of a selection. Use keyboard-mouse combinations that save time and hand motions. Deselect a selection. Constrain the movement of a selected area. Adjust the position of a selected area using the arrow keys. Add to and subtract from a selection. Rotate a selection. Use multiple selection tools to make a complex selection.

As long as a selection is active, only the area within the selection can be edited. You first use one of the selection tools to select the part of an image you want to change.

Then you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area.

You can make selections based on size, shape, and color. When a selection is active, changes you make apply only to the selected area; other areas are unaffected.

The best selection tool for a specific area often depends on the characteristics of that area, such as shape or color. There are four primary types of selections: Geometric selections The Rectangular Marquee tool selects a rectangular area in an image. The Elliptical Marquee tool , which is hidden under the Rectangular Marquee tool, selects elliptical areas. The Single Row Marquee tool and Single Column Marquee tool select either a 1-pixel-high row or a 1pixel-wide column, respectively.

Freehand selections The Lasso tool traces a freehand selection around an area. The Polygonal Lasso tool sets anchor points in straight-line segments around an area. The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings. The Object Selection tool identifies and selects a subject within an approximate area that you define.

Color-based selections The Magic Wand tool selects parts of an image based on the similarity in pixel color. It is useful for selecting odd-shaped areas that share a specific range of colors. In the Favorites panel, click the Lessons folder. Then double-click the Lesson03 folder in the Content panel to see its contents. Study the 03End. Move the thumbnail slider to the right if you want to see the image in more detail. Note If Bridge asks you if you want to import preferences from a previous version of Bridge, click No.

The project is a shadowbox that includes a piece of coral, a sand dollar, a mussel, a nautilus, and a plate of small shells. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start. When you work with documents stored online, large file sizes upload and download more slowly; on a limited mobile data plan you may reach the data limit more quickly.

Adobe Cloud Documents help you edit online documents more efficiently, by using file formats optimized for networks. For example, editing a Photoshop file as a Cloud Document means a minor edit may not require uploading the entire file again, but only the parts affected by the change. Using Cloud Documents is easy. The only thing you have to do to use a Photoshop file as a Cloud Document is save it to Cloud Documents.

After you do this, your Photoshop document filename will have a. In Bridge, double-click the 03Start. Rename the file 03WorkingCloud, and click Save. The file is uploaded to Cloud Documents, and you can see in the document tab that the filename now ends in.

Close the document. Again, this will be slightly different than opening a document from local storage. In the Photoshop Home screen, make sure Cloud Documents is selected on the left side. Tip You can organize your Cloud Documents in folders. When viewing Cloud Documents on the Photoshop Home screen, click the folder icon near the top to create and name a new folder within Cloud Documents. Click 03WorkingCloud, the file you just saved. This downloads the file to your computer and opens it in Photoshop.

By saving the Cloud Document to your own local storage. Notice that the filename extension is now. Name the document 03Working. Now you have your own local PSD format copy that you can distribute to others and back up, like any other local document. For this lesson, you can continue with your local copy 03Working. As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. The Tolerance option sets the sensitivity of the Magic Wand tool.

This value limits or extends the range of pixel similarity. The default tolerance value of 32 selects the color you click plus 32 lighter and 32 darker tones of that color.

You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image.

Select the Zoom tool in the Tools panel, and then zoom in so that you can see the entire sand dollar in detail. Select the Magic Wand tool. In the options bar, confirm that the Tolerance value is This value determines the range of colors the wand selects. Position the Magic Wand tool over the red background outside the sand dollar, and click.

The Magic Wand tool perfectly selected the red background, because all of the colors in the background are similar enough to the position where you clicked within the 32 levels specified in the Tolerance setting. Position the Magic Wand tool over the sand dollar, and click.

Look carefully at the animated selection marquee that appears over the sand dollar. If this was a perfect selection, the selection marquee would tightly follow the outer edge of the sand dollar.

But notice that some interior areas of the sand dollar show selection marquees, because their colors differ from the color you clicked by more than 32 levels the Tolerance setting. When you want to select a subject that is mostly the same color and value, against a relatively solid background, you can often solve this by increasing the Tolerance value.

But the more complex the subject or background, the more likely a wide Tolerance value will also select unwanted parts of the background. You simply click or drag it within a subject, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. This works better than the Magic Wand tool because the Quick Selection tool is more aware of image content, instead of relying on color similarity alone. It may be hidden. Select Auto-Enhance in the options bar.

When Auto-Enhance is selected, the Quick Selection tool creates better quality selections, with edges that are truer to the object. The selection process is a little slower than using the Quick Selection tool without Auto-Enhance, but the results are superior. Click or drag within the sand dollar do not cross over into the background.

Tip If the Quick Selection tool includes areas outside the subject, you can remove unwanted areas from the selection by clicking or dragging over them while holding down the Alt Windows or Option Mac key. The Quick Selection tool looks at what content is probably connected to the area where you clicked or dragged, and finds the full edge automatically, selecting the entire sand dollar. The sand dollar is simple enough that the Quick Selection tool can isolate it easily.

Leave the selection active so that you can use it in the next exercise. The rest of the image is not affected by those changes. To move the selected area to another part of the composition, you use the Move tool. This image has only one layer, so the pixels you move will replace the pixels beneath them. If the sand dollar is not still selected, repeat the previous exercise to select it. Zoom out so you can see both the shadowbox and the sand dollar.

Select the Move tool. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist. The context menu that appears lists all layers where content exists under the pointer, so that you can select a different layer. All you have to do is draw a rough selection around the object you want to select, and the Object Selection tool identifies and selects the object.

The Object Selection tool can save you the most time with an object that has a complicated outline that would take a lot of time to select by hand, such as the coral. Tip The Object Selection tool works best on a simple background.

Select the Object Selection tool , hidden under the Quick Selection tool. Drag a selection around the piece of coral. Tip In a busy image, a rectangular Object Selection tool selection might include adjacent objects or background patterns, making it hard to isolate the object you want. To more precisely indicate the object you want, choose Lasso from the menu in the options bar, and draw a tight selection following the shape of the object.

The Object Selection tool analyzes the area inside the rectangular selection, finds the object, and creates a selection marquee along its complicated edge. One of the most useful things you may find in this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky.

As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1.

Select the Elliptical Marquee tool Marquee tool. Move the pointer over the plate of shells, and drag diagonally across the oval plate to create a selection, but do not release the mouse button. If you accidentally release the mouse button, draw the selection again.

In most cases—including this one—the new selection replaces the previous one. Still holding down the mouse button, press the spacebar, and continue to drag the selection. Position it so that it more closely aligns with the plate.

Carefully release the spacebar but not the mouse button and continue to drag, trying to make the size and shape of the selection match the oval plate of shells as closely as possible. If necessary, hold down the spacebar again, and drag to move the selection marquee into position around the plate of shells. When the selection border is positioned appropriately, release the mouse button. Leave the Elliptical Marquee tool and the selection active for the next exercise. If the plate of shells is not still selected, repeat the previous exercise to select it.

With the Elliptical Marquee tool selected in the Tools panel, press Ctrl Windows or Command Mac , and move the pointer within the selection.

Continue to hold down the key for the next step. The pointer icon now includes a pair of scissors , indicating that the selection will be cut from its current location. Note You can release the Ctrl or Command key after you start dragging, and the Move tool remains active.

Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving a selection with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys. You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selection border, but not the contents. When the Move tool is active, the arrow keys move both the selection border and its contents.

Before you begin, make sure that the plate of shells is still selected in the image window. Select the Move tool , and press the Up Arrow key keyboard a few times to move the oval upward. Experiment by pressing the other arrow keys to see how they affect the selection.

Softening the edges of a selection To smooth the hard edges of a selection, you can apply anti-aliasing or feathering, or use the Select and Mask option. Anti-aliasing smooths the jagged edges of a selection by softening the color transition between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images.

Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection.

Feathering effects become apparent when you move, cut, or copy the selection. To feather a selection edge using the Select and Mask option, make a selection, and then click Select and Mask in the options bar to open its dialog box. In there you can smooth the outline, feather it, or contract or expand it.

To anti-alias a selection edge, select a lasso tool, or the Elliptical Marquee or Magic Wand tool, and select Anti-alias in the options bar. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Hold down the Shift key as you press an arrow key. When you hold down the Shift key, the selected pixels move ten pixels every time you press an arrow key.

Sometimes the selection marquee can distract you as you make adjustments. They are typically most useful for selecting simple shapes or adjusting an existing selection. As we mentioned earlier, Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool.

You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Select the Lasso tool. Starting at the lower left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible.

Do not release the mouse button. When you reach a corner or straight part of the edge, press the Alt Windows or Option Mac key, and then release the mouse button so that the lasso pointer changes to the polygonal lasso shape release the Alt or Option key.

Do not 4. Begin clicking along the end of the mussel to place anchor points, following the contours of the mussel. Be sure to hold down the Alt or Option key throughout this process. This lets you create perfectly straight segments along the selection. The selection border automatically stretches like a rubber band between anchor points.

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

Click along the straight segments of the lower side of the mussel as needed. Continue to trace the straight and curved mussel edges until you arrive back at the starting point of your selection at the left end of the mussel. Note To make sure that the selection is the shape you want when you use the Lasso tool, end the selection by dragging across the starting point of the selection. If you start and stop the selection at different points, Photoshop draws a straight line between the start and end points of the selection.

Click the starting point of the selection, and then release Alt or Option. The mussel is now entirely selected. Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected.

The mussel and selection marquee are enclosed in a bounding box. Tip You can constrain rotation to common angles such as 90 degrees by holding down the Shift key as you drag the bounding box. Move the pointer outside the bounding box so that it becomes a curved, two-headed arrow. Drag to rotate the mussel to a degree angle. You can verify the angle in the transformation values display next to the pointer, or in the Rotate box in the options bar.

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

Select the Magnetic Lasso tool , hidden under the Lasso tool. Tip In low-contrast areas, you may want to click to place your own fastening points. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Click once along the left edge of the nautilus, and then move the Magnetic Lasso tool along the edge to trace its outline. When you reach the left side of the nautilus again, double-click to return the Magnetic Lasso tool to the starting point, closing the selection.

Or you can move the Magnetic Lasso tool over the starting point and click once. Double-click the Hand tool to fit the entire image in the window. Make sure that you can see the entire screw head in your image window. Select the Elliptical Marquee tool in the Tools panel. Move the pointer to the approximate center of the screw. Click and begin dragging.

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

If necessary, reposition the selection border using one of the methods you learned earlier. If you accidentally released the Alt or Option key before you released the mouse button, select the screw again.

Before you begin, make sure that the screw is still selected. Select the Move tool in the Tools panel. Position the pointer within the screw selection. The pointer becomes an arrow with a pair of scissors , indicating that dragging the selection will cut it from its current location and move it to the new location. Drag the screw onto the lower right corner of the shadowbox. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Both resize proportionally by default.

Press Enter or Return to commit the change and remove the transformation bounding box. Use the Move tool to reposition the screw after resizing it, so that it is centered in the corner of the shadowbox frame. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the screw is no longer selected, reselect it now, using the techniques you learned earlier. With the Move tool selected, press Alt Windows or Option Mac as you position the pointer inside the screw selection.

The pointer changes, displaying the usual black arrow and an additional white arrow, which indicates that a duplicate will be made when you move the selection. Continue holding down the Alt or Option key as you drag a duplicate of the screw straight up to the top right corner of the frame. Pressing the Shift key as you move a selection constrains the movement horizontally or vertically in degree increments. Repeat step 3 to drag a fourth screw to the lower left corner of the frame.

Copying selections You can use the Move tool to copy selections as you drag them within or between images, or you can copy and move selections using commands on the Edit menu.

Photoshop has several copy and paste commands on the Edit menu: Copy takes the selected area on the active layer and puts it on the clipboard. Copy Merged creates a merged copy of all the visible layers in the selected area.

Paste inserts the clipboard contents at the center of the image. If you paste into another image, the pasted content becomes a new layer. It helps ensure that text pasted from another document or application matches the formatting of a Photoshop text layer. Paste in Place pastes clipboard content at the location it had in the original image, instead of at the center of the document. Paste Into pastes clipboard content inside the active selection in the same or a different image.

The source selection is pasted onto a new layer, and the area outside the selection is converted into a layer mask. Paste Outside is the same as Paste Into except that Photoshop pastes the content outside the active selection and converts the area inside the selection to a layer mask.

If two documents have different pixel dimensions, content you paste between them may appear to change size. This is because content maintains its pixel dimensions when pasted into a document with different pixel dimensions.

You can resize a pasted selection, but the image quality of the selection may decrease if enlarged. You can use either the Crop tool or the Crop command to crop an image. Select the Crop tool , or press C to switch from the current tool to the Crop tool. Photoshop displays a crop boundary around the entire image.

In the options bar, make sure Ratio is selected in the Preset pop-up menu and that there are no ratio values specified. Then confirm that Delete Cropped Pixels is selected. When Ratio is selected but no ratio values are specified, you can crop the image with any proportions. Tip To crop an image with its original proportions intact, choose Original Ratio from the Preset pop-up menu in the options bar.

Drag the crop handles so that the shadowbox is in the highlighted area, omitting the backgrounds from the original objects at the bottom of the image. The shadowbox is complete!

What is tolerance, and how does it affect a selection? To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract. You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac as you drag or click. The Tolerance value determines how many color tones the Magic Wand tool will select. The higher the tolerance setting, the more tones are selected.

Create, view, hide, and select layers. Rearrange layers to change the stacking order of artwork. Apply blending modes to layers. Resize and rotate layers. Apply a gradient to a layer. Apply a filter to a layer.

Add text and layer effects to a layer. Add an adjustment layer. Save a copy of the file with the layers flattened. This lesson will take less than an hour to complete. Each layer can then be edited as discrete artwork, giving you tremendous flexibility as you compose and revise an image. The lesson files in this chapter are Photoshop documents in RGB color mode. Every Photoshop file contains one or more layers.

All new layers in an image are transparent until you add text or artwork. Working with layers is analogous to placing portions of a drawing on clear sheets of film, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without affecting the other sheets.

When the sheets are stacked, the entire composition is visible. Many of the lesson files for this book have a background layer, a layer behind all others that is always completely opaque. Photoshop documents intended for print, digital camera images, and scanned images typically have a background layer. When prompted, click Yes to delete the Adobe Photoshop Settings file. For more information, see page 3.

Then double-click the Lesson04 folder in the Content panel to see its contents. Study the 04End. This layered composite represents a postcard. You will assemble it in this lesson as you learn how to create, edit, and manage layers. Double-click the 04Start.

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

Right-click Windows or Control-click Mac a thumbnail in the Layers panel to open the context menu, and then choose a thumbnail size. Notice the layer thumbnail and the icons shown for the Background layer: 1. The lock icon indicates that the layer is protected from layer changes. The eye icon indicates that the layer is visible in the image window. If you click the eye, the image window no longer displays that layer. The first task for this project is to add a photo of the beach to the postcard.

The Layers panel changes to display the layer information for the active Beach. Notice that only one layer appears in the Beach. When you flatten the layers of a Photoshop document, the document contains only a background layer. You can convert a background layer to a regular layer, or create a document without a background layer.

That makes it possible for the content in a Photoshop document to have a non-rectangular shape when placed over another background in Photoshop or in other applications.

To convert a background layer into a regular layer: 1. Click the lock icon next to the layer name. The layer name changes to a numbered default layer name. Rename the layer. To convert a regular layer into a background layer: 1. Select a layer in the Layers panel. Renaming and copying a layer Tip Dragging many layers to another document can be easier if you combine them into a layer group first. Now you have only one thing to drag: the layer group which looks like a folder.

To add content to an image and simultaneously create a new layer for it, drag an object or layer from one document into the image window of another document. You can drag one or more selected layers from the image window of the source document or from its Layers panel.

Before you begin, make sure that both the 04Working. Note When you rename a layer, make sure you double-click the layer name text. If you double-click outside the name, other layer options may appear instead. Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. Tip If you hold down Shift as you drag an image from one file into another, the dragged image automatically centers itself in the target image window.

Select the Move tool , and use it to drag the Beach. Tip Need images for a project like this one? If you license the images, Photoshop replaces the placeholders with high-resolution images. The Beach layer now appears in the 04Working.

Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier. Close the Beach. The 04Working.

Some of the layers are visible and some are hidden. The eye icon next to a layer thumbnail in the Layers panel indicates that the layer is visible. Click the eye icon next to the Pineapple layer to hide the image of the pineapple. Select the Beach layer. To select the layer, click the layer name in the Layers panel.

 
 

Adobe photoshop cc classroom in a book (2017 release) lesson files free download

 

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About this product. The 15 project-based lessons in this book show users step-by-step the key techniques for working in Photoshop and how to correct, enhance, and distort digital images, create image composites, and prepare images for print and the web.

In addition to learning the key elements of the Photoshop interface, this completely revised CC release edition covers features like new and improved search capabilities, Content-Aware Crop, Select and Mask, Face-Aware Liquify, designing with multiple artboards, and much more!

The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers. Cassroom buyers of the book get full access to the Web Edition: a Web-based version of frer complete ebook enhanced with video and interactive multiple-choice quizzes.

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to learn Adobe Photoshop choose Adobe Photoshop CC Classroom in a. Book ( release) from Adobe Press. The 15 project-based lessons in. The 15 project-based lessons in this book show users step-by-step the key techniques for working in Photoshop and how to correct, enhance. To work through the projects in this book, you will need to download the lesson files from replace.me You can download the files for individual lessons or it.