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Photoshop CS Bible @Team LiB - Stacy C.

Stacy C. Photoshop CS Bible @Team LiB - Wiley Publishing, 2004. - 773 p.
Download (direct link): photoshopcsbible2004.pdf
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© 2004 ... Your company
749 Photoshop CS Bible @Team LiB

controls that permit you to transform a selection or layer numerically.Figure 12-33: The Lock Transparency button enables you to paint inside the layer's transparency mask without harming the transparent pixels.Figure 12-34: The layered girl as she appears on her own (top) and when the scared woman has been clone stamped in with the Lock Transparency button turned on (bottom).Figure 12-35: The black area in the layer mask (which you can see in the thumbnail view in the Layers palette) translates to transparent pixels in the layer.Figure 12-36: Alt-click (Win) or Option-click (Mac) the horizontal line between two layers to group them into a clipping mask.Figure 12-37: After combining pool water and type layers into a single clipping mask, Photoshop applies the type layer's transparency mask to the pool layer.Figure 12-38: The impressive new Layer Comps palette enables you to leap through time without having to save up for that vintage DeLorean.Figure 12-39: The New Layer Comp dialog box lets you specify exactly what type of layer data you want to track.Figure 12-40: Nearly all the functions available to you in the Layer Comps palette menu can be accessed from icons in the palette. Chapter 13: The Wonders of Blend ModesFigure 13-1: One roboDeke means good training (top). But treat yourself to multiple roboDekes subject to all kinds of blend modes (bottom), and you get the kind of educational overload that leaves you begging for mercy.Figure 13-2: The list of layers in the "Army of roboDekes" composition, with a few essential layer-blending functions labeled on right.Figure 13-3: Paul Revere at 100-percent Opacity (left) and faded into the background (right).Figure 13-4: Whether you change the Opacity value to 50 percent (left) or the Fill value to 50 percent (right), Paul Revere looks the same.Figure 13-5: But add a layer effect or two, and the difference between Opacity and Fill becomes obvious. Opacity makes layer and effects translucent (left), Fill alters the layer independently of its effects (right).Figure 13-6: Using the Fill value, you can subordinate a layer to its effect (left) or fade the layer away entirely (right).Figure 13-7: To demonstrate the effects of Photoshop's blend modes, I'll be compositing these images in more or less the order shown here (with some occasional swapping around). The tranquil background is in fact the background layer, so no blend mode will ever be applied to it. Note that the right half of the face layer is transparent, and the layer includes an automated drop shadow, fading off to the right.Figure 13-8: Just sing this magical word and you'll be fine. I promise.Figure 13-9: The face layer subject to the Normal mode when combined with Opacity values of 100 percent (top) and 60 percent (bottom). The superimposed character indicates the keyboard shortcut Shift+Alt+N (Shift-Option-N on the Mac) and 6 for 60-percent opacity.Figure 13-10: Here I applied the Dissolve mode to a layer at an Opacity setting of 100 percent (top) and 60 percent (bottom). Instead of creating translucent pixels, Dissolve turns pixels on and off to simulate transparency, as shown by the magnified details.Figure 13-11: A backdrop composed of the background, pattern, and gradient layers (top) followed by an applica- tion of the face in the Darken mode (bottom). Only those pixels in the face that are darker than the pixels in the patterned backdrop remain visible.Figure 13-12: The Multiply blend mode (top) produces the same effect as holding two overlapping transparencies up to the light. To get an even darker effect, I duplicated the layer, removed its drop shadow, and merged the two face layers into one (bottom).Figure 13-13: After applying Screen to the pattern layer, I applied the Color Burn (top) and Linear Burn (bottom) blend modes to the face layer. Even though the back- ground is lighter, many portions of the face appear darker than they did after a single application of Multiply.Figure 13-14: Here I prepared a dark background by assigning Multiply to the gradient layer (top). Then I applied Lighten to the face layer and changed its drop shadow to white (bottom).Figure 13-15: The Screen mode produces the same effect as shining two projectors at the same screen. In this case, one projector contains the background layers, and the other contains the face (top). Want a more pronounced ghosting effect? Just duplicate the Screen layer (bottom).Figure 13-16: After slightly darkening the gradient layer and fading the pattern layer, I applied Color Dodge (top) and Linear Dodge (bottom) to the face. Never subtle, both modes simultaneously bleach the image and draw out some of the dark outlines from the Blistered Paint pattern.Figure 1317: With the pattern layer in front, I applied the Overlay mode (top), experimented with reducing its Opacity setting to 50 percent (middle), and finally settled on the Soft Light mode with an Opacity of
100 percent (bottom).Figure 13-18: Here I have the face layer in front with the gradient set to Screen behind it. Working on the face, I first applied the Overlay mode (top) and then duplicated the face to another layer (middle). I didn't like the contrast, so I deleted the cloned layer and changed the original to Hard Light (bottom).Figure 13-19: The effect of setting the face to the Vivid Light (top) and Linear Light (bottom) modes. Because the effects are so hot, I sandwiched them between a Soft Light pattern layer and a Screen gradient layer, each with Opacity settings of 50 percent.Figure 13-20: The effects of applying Vivid Light (top) and Linear Light (middle) to the gradient layer. In both cases, the Opacity value is 100 percent. I then cloned the face layer and set it to Linear Light as well
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