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If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells.

Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window.

Notice that each time you press the arrow key, the bowl of shells moves one pixel. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells. If you want to adjust the position after you stop dragging, simply start dragging again.

Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier.

A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments. Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands.

Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range.

As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee. At this point, the coral and the white background area are selected.

A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Now all the white pixels are deselected, leaving the coral perfectly selected. Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool.

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

Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. Do not release the Alt or Option key.

Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool. Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. Leave the mussel selected for the next exercise.

Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast.

You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting.

Or you can move the Magnetic Lasso tool over the starting point and click once. Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar.

To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels.

This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it.

Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK.

Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds. A black background appears under the selection, and the selection edges disappear.

We used a value of 4. Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar. Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start. To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving.

Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values.

When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original.

You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected. No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard. Notice that only one layer appears in the Beach.

An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file.

Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier.

Viewing individual layers he 04Working. Some of the layers are visible and some are hidden. To select the layer, click the layer name in the Layers panel.

A white border appears around the beach photo. Rearranging layers he order in which the layers of an image are organized is called the stacking order. In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label. Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger.

A Transform bounding box appears around the beach image. Watch the Width and Height percentages in the options bar. Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers. We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image.

Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Click OK to close the Color Picker. Do the following in the Character panel: t Select a serif font we used Birch Std.

Applying a gradient to a layer You can apply a color gradient to all or part of a layer. If you want to be sure you drag straight up, press the Shift key as either Small List or you drag. Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name.

Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time. Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text. Adding a border he Hawaii postcard is nearly done. A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer.

So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel.

Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file. With a little imagination, you can appreciate how much time this saves for more complex variations.

When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away. Now for the fun part! You can also hide individual layers as you work on other layers. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus.

Many digital cameras can save images in camera raw format. You can go back and reprocess the file any time you like to achieve the results you want.

When you download the file from your camera, it has Raw format. In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms.

Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data. Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously.

Filmstrip B. Toggle Filmstrip C. Toolbar G D. Toggle Full-Screen Mode E. RGB values F. Image adjustment H tabs G. Histogram A H.

Camera Raw Settings menu B I. Zoom levels J. Multi-image naviga- tion controls L. Adjustment sliders I J K L he Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images. Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image. Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes.

You can also save settings as a preset, and then apply them later. For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom. Or, you can click the Forward button under the main preview window to cycle through the images. A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview.

White balance comprises two components. By default, As Shot is selected in the White Balance menu. Camera Raw applies the white balance settings that were in your camera at the time of exposure.

To set an accurate white balance, select an object that should be white or gray. Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically. You can use the White Balance tool to find the best lighting for the scene quickly and easily. Select Preview again to see the modified image. Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly.

Conversely, the Blacks slider sets the black point, or the darkest point in the image. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings. Camera Raw increases the saturation and decreases the blacks and the contrast. You could use this as a starting point. Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram.

Filter tool. Even when this slider is set to 0, Camera Raw performs some sharpening. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges. Synchronizing settings across images All three of the mission images were shot at the same time under the same light- ing conditions. You do this using the Synchronize command. By default, all options except Crop and Spot Removal are selected.

When you synchronize the settings across all of the selected images, the thumb- nails update to reflect the changes you made. To preview the images, click each thumbnail in the filmstrip. Your files will be named on the web, you would probably want to open Mission They are currently much larger, and most viewers would need to scroll to see the full-size images.

Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved. In Bridge, however, you now also have JPEG versions as well as the original, unedited CRW image files, which you can continue to edit or leave for another time. If you click Open Object button the default, click the Open Image, the image opens as a standard Photoshop image.

Click OK if a compatibility dialog box appears. Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data. DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format.

You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including high- quality printing. JPEG format retains all color information in an image, but compresses file size by selectively discarding data.

The greater the compression, the lower the image quality. Also, virtually all desktop scanners can produce TIFF images. Not to be con- fused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms. Cameras and com- puter monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce.

Merging exposures into an HDR image When a scene contains a more complex dynamic range than you can capture in one image, take three or more, and then merge them in Photoshop.

Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image. Photoshop adds a Levels adjustment layer to the Layers panel. Photoshop replaces the histogram. You want to set the black point to match the beginning of that data. As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself.

We moved it to a value of 1. Name the layer Corrections, and click OK. Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes. Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character.

Make sure Midtones is selected in the Range menu. Today, Graham has clients in the advertising, architectural, editorial, and travel industries. Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution. Start with the best material Get all the data when you capture—at fine compression and high resolution. Graham names his files by date and possibly subject.

He would store a series of photos taken Dec. Follow Windows naming conventions to keep filenames usable on non-Macintosh platforms 32 characters maximum; only numbers, letters, underscores, and hyphens.

Each time a JPEG is re-edited and saved, compression is reapplied and the image quality degrades. Show off to clients and friends When you prepare your work for delivery, choose the appropriate color file for the destination. Convert the image to that profile, rather than assigning the profile. Adobe or Colormatch are the best profiles to use for RGB images destined for traditionally printed material such as brochures.

Use 72 dpi for electronic view- ing and dpi or higher for printing. She looks more realistic now, but you can target the surface blur more precisely using the Eraser tool.

You can also use the adjustments to pull details from the shadows in an image that is otherwise well-lit. In the Favorites panel in Bridge, click the Lessons folder. In the Content panel, double- click the Lesson05 folder. Photoshop automatically applies default settings to the image, lightening the background. Red eye is easy to fix in Photoshop. You may need to deselect Scrubby Zoom to drag a marquee. Noise can result from using a high ISO setting on a digital camera, from underex- posure, or from shooting in darkness with a long shutter speed.

Scanned images may contain noise that results from the scanning sensor, or from a grain pattern from the scanned film. Using the Reduce Noise filter, you can smooth out this area. Strength controls the amount of luminance noise. Correcting image distortion he Lens Correction filter fixes common camera lens flaws, such as barrel and pincushion distortion, chromatic aberration, and vignetting.

Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Chromatic aberration appears as a color fringe along the edges of image objects. Vignetting occurs when the edges of an image, especially the corners, are darker than the center. Some lenses exhibit these defects depending on the focal length or the f-stop used. In this exercise, you will adjust the lens distortion in an image of a Greek temple.

In Bridge, navigate to the Lesson05 folder. An alignment grid overlays the image, next to options for removing distortion, correcting chromatic aberration, removing vignettes, and transforming perspective. Alternatively, you could select the Remove Distortion tool and drag in the image preview area until the columns are straight.

Click OK if a compatibility warning appears. If you want the entire image to be in focus, take two photos—one with the background in focus and one with the foreground in focus— and then merge the two in Photoshop.

Even with a handheld camera, though, you can get some amazing results. Now the beach is in focus, but the glass is blurred. First, you need to align the layers. Because these images were shot from the same angle, Auto will work just fine. Both the wine glass and the beach behind it are in focus. You can use these techniques separately or together on your own images. What causes these defects? Camera raw files give photographers control over interpreting the image data, rather than letting the camera make the adjustments and conversions.

When you edit the image in Camera Raw, it preserves the original raw file data. DNG is an industry-wide standard for camera raw image data that helps photographers manage proprietary camera raw file formats and provides a compatible archival format.

The cutout portion of a mask can be altered, but the area surrounding the cutout is protected from change. You can create a temporary mask to use once, or you can save masks for repeated use. With masks, you can create and save time-consuming selections and then use them again. In Photoshop, you can make temporary masks, called quick masks, or you can create permanent masks and store them as special grayscale channels called alpha chan- nels.

Unlike layers, channels do not print. You use the Channels panel to view and work with alpha channels. A key concept in masking is that black hides and white reveals. As in life, rarely is anything black and white. Shades of gray partially hide, depending on the gray levels is the value for black, hiding artwork completely; 0 is the value for white, revealing artwork completely.

Select the Lessons folder, and then double-click the Lesson06 folder in the Content panel. To enlarge the thumbnail so that you can see it more clearly, move the thumbnail slider at the bottom of the Bridge window to the right. Saving a working version of the file lets you return to the original if you need it. Everything outside the selection is transparent, represented by a checker- board pattern.

Here are several keyboard shortcuts that make the zooming even faster and easier. When you finish zooming, release the keys to return to the tool you were previously using. When you finish zooming, release the keys to return to the tool you were using. Choose On Black from the pop-up menu.

Use it to paint out any white background that remains around the lips and the nose. Press [ to decrease the brush size and ] to increase it. A new layer, named Layer 0 copy, appears in the Layers panel. If necessary, zoom out or use the Hand tool to reposition the image so that you can see all of the hair. Press the ] key to increase the size of the brush. Press the [ key to decrease the brush size by about half. As you paint, Photoshop refines the mask edge, including the hair, but eliminat- ing most of the background.

If you were painting on a layer mask, the background would be included. Click once or twice in each area where background color shows. When you erase an area, the Refine Mask feature erases similar colors, cleaning up more of the mask for you. Be careful not to erase the refinements you made to the hair edge. You can undo a step or use the Refine Radius tool to restore the edge if necessary. These tips will help get you started. Black hides, white reveals, and shades of gray partially hide or reveal.

The darker the gray, the more is hidden in the mask. A red X appears over the mask thumbnail in the Layers panel when the mask is disabled. To unlink a layer or group from its layer mask or vector mask, click the link icon between the thumbnails in the Layers panel. To relink them, click the blank space between the two thumbnails. The Feather slider softens the edge of the mask. Click Yes or Delete to confirm deletion of the layers or their masks, if prompted; you do not need to apply the mask to the current layer because Layer 0 copy 2 already has the mask applied.

By default, you have been working in Standard mode. In Quick Mask mode, a red overlay appears as you make a selection, masking the area outside the selection the way a rubylith, or red acetate, was used to mask images in traditional print shops. You can apply changes only to the unprotected area that is visible and selected. Open the Brush pop-up panel, and select a small brush with a diameter of 13 px.

Click outside the panel to close it. Reduce the brush size to paint around the lenses. When using a painting or editing tool in Quick Mask mode, keep these principles in mind: t Painting with black adds to the mask the red overlay and decreases the selected area.

Unless you save a quick mask as a more permanent alpha-channel mask, Photoshop discards the temporary mask once it is converted to a selection. Click OK. You can reposition areas, such as hair or an arm, just as you might pull the strings on a puppet.

You place pins where you want to control movement. A mesh appears over the visible areas in the layer—in this case, the mesh appears over the model. Each time you click, Puppet Warp adds a pin. Approximately 10 pins should do the trick.

A larger circle appears around the pin and a curved double arrow appears next to it. Continue pressing Alt or Option as you drag the pointer to rotate the head backwards. You can see the angle of rotation in the options bar; you can enter there to rotate the head back. Alpha channels store selections as gray- scale images. Color information channels store information about each color in an image; for example, an RGB image automatically has red, green, blue, and composite channels.

To create a shadow, you want to essen- tially duplicate that mask and then shift it. In the Save Selection dialog box, make sure New is chosen in the Channel menu. Nothing changes in the Layers panel or in the image window. However, a new channel named Model Outline has been added to the Channels panel. Drag the new layer below the Model layer. Click the Commit Transform button in the options bar, or press Enter or Return, to accept the transformation. In the Channels panel, select the Black channel.

Name the channel Hair, and click OK. Individual channels appear in grayscale. If more than one channel is visible in the Channels panel, the channels appear in color. In the Layers panel, select the Model layer. In the Refine Edge dialog box, move the Feather slider to 1. In the Levels dialog box, move the sliders so that the Black slider is positioned where the blacks peak, the White slider where the whites peak, and the Midtones in between.

We used the values 58, 1. Your magazine cover is ready to go! What they have in common is that they all store selections, and they all let you edit an image nondestructively, so you can return at any time to your original.

You can add alpha channels to create and store masks. A layer mask controls which part of a layer is revealed or hidden. Resolution-independent, vector masks have crisp edges and are created with the pen or shape tools. Their thumbnails appear the same as layer mask thumbnails. Thumbnails of a clipped layer are indented with a right-angle arrow pointing to the layer below. The name of the clipped base layer is underlined. Channel masks are useful for making intricate, fringed, or wispy-edged selections.

You can create a channel mask based on a dominant color in an image or a pronounced contrast in an isolated channel, for example, between the subject and the background. Review answers 1 Quick masks are helpful for creating quick, one-time selections. In addition, using a quick mask is an easy way to edit a selection using the painting tools. Unless you explicitly display a channel, it does not appear in the image or print.

When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file—zooming in on characters shows jagged edges. However, Photoshop preserves the vector-based type outlines and uses them when you scale or resize type, save a PDF or EPS file, or print the image to a PostScript printer.

Increase the thumbnail size to see the image clearly by 07Start. Creating a clipping mask from type A clipping mask is an object or a group of objects whose shape masks other artwork so that only areas that lie within the clipping mask are visible. In Photoshop, you can create a clipping mask from shapes or letters. Adding guides to position type he 07Working.

Photoshop lets you create hori- zontal or vertical type anywhere in an image. You can enter point type a single letter, word, or line or paragraph type. You will do both in this lesson.

Any Current Edits button or switching to another tool or layer. You cannot commit to current edits by pressing Enter or Return; doing so merely creates a new line of type. You can edit and manage the type layer as you would any other layer.

You can add or change the text, change the orientation of the type, apply anti-aliasing, apply layer styles and transformations, and create masks. You can move, restack, and copy a type layer, or edit its layer options, just as you would for any other layer. A new layer appears in the Layers panel for the 07Working. Press Shift as you resize it to approximately the same width as the area of text. Pressing Shift retains the image proportions. Reposition the circuit board so that the image covers the text.

A small arrow in the Circuit Board layer and the underlined type layer name indicate the clipping mask is applied. Choose Check Spelling to run a spell check. Creating type on a path In Photoshop, you can create type that follows along a path you create with a pen or shape tool.

When you use the Horizontal Type tool to add text to a path, the letters are perpendicular to the baseline of the path. If you change the location or shape of the path, the type moves with it. Click the Commit Edits button in the options bar.

Rotate the left side of the path approximately 30 degrees, and then shift the path up above the first path. Click the Commit Transform button in the options bar. Rotate the left side of the path approximately degrees, and move it below the original path. Warping lets you distort type to conform to a vari- ety of shapes, such as an arc or a wave.

Repeat steps 2 and 3 to warp the other two text layers you typed on a path. However, many designs call for full paragraphs of text. Using guides for positioning You will add paragraphs to the cover in Photoshop. In a real design environment, the text might be provided to you in a word-processing document or the body of an email message, which you could copy and paste into Photoshop.

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

Pressing the Shift key as you begin dragging ensures that you create a new text box instead of selecting the title. Your vertical text now appears as the layer named VOL 9. Use the Move tool to drag it to the right, if necessary. Click OK if you see the Maximize Compatibility dialog box. Keeping a layered version lets you return to the 07Working.

Review answers 1 Type in Photoshop consists of mathematically defined shapes that describe the letters, numbers, and symbols of a typeface. When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file.

You can add and edit the text, change the orientation of the type, and apply anti-aliasing as well as move, restack, copy, and change the options for layers. To convert the letters on any text layer to a clipping mask, select both the text layer and the layer you want to show through the letters, and then choose Create Clipping Mask from the Layers panel menu.

This lesson will take about 90 minutes to complete. You can draw vector shapes and paths in your Photoshop images and add vector masks to control what is shown in an image. You can use Photoshop to work with either type of graphic; in fact, you can combine both bitmap and vector data in an individual Photoshop image file. Bitmap images, technically called raster images, are based on a grid of dots known as pixels.

Each pixel is assigned a specific location and color value. In working with bitmap images, you edit groups of pixels rather than objects or shapes. Because bit- map graphics can represent subtle gradations of shade and color, they are appropri- ate for continuous-tone images such as photographs or artwork created in painting programs.

A disadvantage of bitmap graphics is that they contain a fixed number of pixels. As a result, they can lose detail and appear jagged when scaled up onscreen or printed at a lower resolution than they were created for.

Vector graphics are made up of lines and curves defined by mathematical objects called vectors. A path is a curved or straight line segment you draw using the Pen tool or Freeform Pen tool. Tool tips from the Photoshop evangelist Each tool in the Tools panel has a single-letter keyboard shortcut. Type the letter, get the tool. For example, press P to select the Pen tool. Press Shift with the shortcut key to cycle though any nested tools in a group.

Paths can be open or closed. Open paths such as a wavy line have two distinct endpoints. Closed paths such as a circle are continuous. Paths that have no fill or stroke do not print when you print your artwork. Select the Favorites folder, and then the Lessons folder. If so, click as well as ways to use Smart Objects. Correct number of Too many points points Creating paths with the Pen tool You can use the Pen tool to create paths that are straight or curved, open or closed.

Understanding the elements of a path and how to create them with the Pen tool makes paths much easier to draw. To create a straight path, click the mouse but- A A ton. The first time you click, you set the starting point.

Each time that you click thereafter, a straight line is drawn between the previous point and the current point. To draw complex straight-segment paths with the Pen tool, sim- ply continue to add points. B B To create a curved path, click to place an anchor point, drag to create a direction line for that point, and then click to place the next anchor point. Each direction line ends in two direction points; the positions of direction lines and points determine the size and shape of the curved segment.

Moving the direction lines and points reshapes the curves in a path. Curved line segment B. Direction point C. Direction line D. Selected anchor point E. Sharply curved paths are connected by corner points.

When you move a direction line on a smooth point, the curved segments on both sides of the point adjust simultaneously, but when you move a direction line on a corner point, only the curve on the same side of the point as the direction line is adjusted. When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path, or select all of the anchor points in a path to edit the entire path.

Use the Direct Selection tool to select and adjust an anchor point, a path segment, or an entire path. To end an open path, click the Pen tool in the Tools panel. To create a closed path, position the Pen tool pointer over the starting point, and click.

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

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

Do the same for points D and E. Click point G, and drag up from point G to its red dot. Do the same for point H. Alt-click or Option-click to create another corner point at point H. Click Point Q, and drag the handle to the corresponding red dot to create the curve around the tail of the fin.

You can convert any selection made with a selection tool into a path. You no longer need this layer. Converting paths to selections Just as you can convert selection borders to paths, you can convert paths to selec- tions. With their smooth outlines, paths let you make precise selections.

As Selection button at the bottom of the Paths panel to convert the active path to a selection. A new layer appears in the Layers panel, called Layer 2. Click the 08Working. A bounding box appears around the spaceship. Select the Background layer to make it active. Now the foreground color is white.

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

Background Color button release. Deselecting paths You may need to deselect paths to see the appropriate options in the options bar when you select a vector tool. Notice that the border between the white kidney shape and the background has a grainy quality. What you see is actually the path itself, which is a nonprinting item. About shape layers A shape layer has two components: a fill and a shape. A B C In the Layers panel, the Retro Shape layer sits above the Background layer, because the background was selected when you started to draw.

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

You can also use the Path Selection tool and the Direct Selection tool to move, resize, and edit shapes. Currently, that layer is hidden. When you release the mouse button, the star shape becomes a cutout, allowing the sky to show through. Notice that the star has a grainy outline, reminding you that the shape is selected. Another indication that the shape is selected is that the Retro Shape vector mask thumbnail is highlighted outlined in white in the Layers panel.

Notice how the thumbnails have changed in the panels. In the Layers panel, the left thumbnail for the Retro Shape layer is unchanged, but the mask thumbnails in both the Layers panel and Paths panel show the retro shape with the star-shaped cutout. Working with defined custom shapes Another way to use shapes in your artwork is to draw a custom or preset shape.

Doing so is as easy as selecting the Custom Shape tool, picking a shape from the Custom Shape picker, and drawing in the image window. Rename the new layer Pattern, and then press Enter or Return.

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

Adding the title he toy-store name was created in Illustrator. A new layer, title, appears in the Layers panel. When you commit to the transformation, the layer thumbnail icon changes to reflect that the title layer is a Smart Object. EPUB The open industry format known for its reflowable content and usability on supported mobile devices.

This eBook requires no passwords or activation to read. We customize your eBook by discreetly watermarking it with your name, making it uniquely yours. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in Photoshop CS5. In addition to learning the key elements of the Photoshop interface, this completely revised CS5 edition shows readers how to edit images with precise selection control, correct a wide range of lens-based errors, interactively transform their images with the new Puppet Warp tool, and easily remove or replace image elements with the new Content-Aware Fill mode.

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Adobe photoshop cs5 classroom in a book lesson files free download. Adobe Photoshop CS5 Classroom in a Book: The official training workbook from Adobe Systems

Adobe Photoshop CS5 Classroom in a Book: The official training workbook from Adobe Systems Read it now on the O\’Reilly learning platform with a day free. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in Photoshop CS5. The book also covers new powerful.


– Adobe photoshop cs5 classroom in a book lesson files free download


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Made in the USA. Photoshop CS5 pushes the boundaries of digital image editing and helps you turn your dreams into designs more easily than ever before. You can follow the book from start to finish, or do only the lessons that match your interests and needs. New exercises and lessons cover: t Using the Mixer Brush tool and bristle tip options to achieve realistic paint strokes. Photoshop Extended features include: t he ability to import 3D images and video, and to edit individual frames or image sequence files by painting, cloning, retouching, or transforming them.

Prerequisites Before you begin to use Adobe Photoshop CS5 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. You must purchase the Adobe Photoshop CS5 software separately.

Photoshop and Bridge use the same installer. Follow the onscreen instructions. Make sure that your serial number is accessible before installing the application. Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons. In case you overwrite them, you 2 Browse the contents and locate the Lessons folder. Restoring default preferences he preferences files stores information about panel and command settings.

Each time you quit Adobe Photoshop, the positions of the panels and certain command settings are recorded in the respective preferences file. Any selections you make in the Preferences dialog box are also saved in the preferences file. If you prefer to preserve your preferences, be aware that the tools, panels, and other set- tings in Photoshop CS5 may not match those described in this book. If you have custom-calibrated your monitor, save the calibration settings before you start work on this book.

To save your monitor-calibration settings, follow the simple procedure described below. To save your current color settings: 1 Start Adobe Photoshop. You do not need to perform steps 4—6 of this procedure.

To restore your color settings: 1 Start Adobe Photoshop. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products. Search results will show you not only content from Adobe, but also from the community.

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Resources for educators: www. Adobe Photoshop CS5 product home page: www. Adobe certification he Adobe training and certification programs are designed to help Adobe custom- ers improve and promote their product-proficiency skills. You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources.

For information on the Adobe Certified programs, visit www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems.

Adobe CS Review is for creative professionals who want a new level of efficiency in the creative review process. Unlike collaborating via email and attend- ing time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences. NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process.

You can access aggregate user data such as browser type, operating system, mobile device profile, screen resolution, and more, which can be shown over time. The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow.

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