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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
757 Photoshop CS Bible @Team LiB

mess. So before I could begin work, I had to fix my face. I was hoping to eliminate the scaly bumps un der my eye. I selected the healing brush, pressed Alt (Option on the Mac), and clicked in the shadow to the side of my nose, where the skin appeared smoother (middle left). Having set the source point, I be gan my brushstroke inside the shadow just below my eye. This ensured that the shadows from the sou rce and destination areas aligned properly. By sampling texture and color independently, the healing br ush fixed my scaly eye bumps in the first pass (middle right). For larger areas, give the patch tool a try. First, select the area that you want to fix, such as the lovely cluster ofscars on my forehead (bottom lef t). I also feathered the selection slightly to soften the transitions. Then drag the selection outline overth e texture you want to emulate (bottom right). The moment I released, Photoshop healed the scars usin g the texture from the new area and the colors that surrounded the selection outline.Color Plate 72: Having healed a few of my most alarming facial defects I'm not looking for sympathy or anything, I' m just saying, no tool can heal everything that's wrong with my mug I set about building up some of t he makeup I now regret I wasn't wearing. Because a nice duotone helps make even a troll look present able, I colorized my face blue using Image ®Adjustments ® Hue/Saturation (discussed in Chapter 17). To give my skin a haunting glow, I used Select ® Color Range (Chapter 8) to select the highlights in th e image. Then I feathered the selection and filled it with white, as shown on top. To complete the ad, I enlarged my eyes slightly, painted in new irises and pupils, painted away some ofmy beard, and drew a pacifier using the shape tools and a few layer effects (Chapter 14). The result is an image that makes me look remotely handsome. If I also happen to look a trifle insane, well, that's the price I pay. Anythin g for vanity, after all.Color Plate 91: The top image shows an elliptical selection outline rotated a few degrees counterclockwise and feat hered by a Radius value of64 pixels. But you wouldn't know any feathering had occurred by the marchi ng ants-style selection outline, which appears as hard-
edged as ever. Ifyou express the selection outline as a mask (middle), however, you can see it forwha t it really is a feathered ellipse. White represents the selected area; black represents the deselected, o r masked, area. From the Channels palette, you can choose to view any kind of mask quick mask, lay er mask, or independent alpha channel by itself or along with the image. If you choose the latter, Phot oshop shows you the mask as a traditional rubylith (bottom). Red-
tinted areas are masked; untinted areas are unmasked, and thus represent selections. Ifan image alre ady contains a preponderance of red, you can change the red overlay to any coloryou like.Color Plate 9^
2: Among otherthings, the quick mask mode affords you the option offeathering one portion ofa sele ction independently of another. For example, let's say that I wanted to take this native African mask (up per left) and make it appear as if it were emerging from the ground like a giant totem. I began by selecti ng the mask using the pen tool and then switching to the quick mask mode by pressing the Q key. The n I drew a black-to-
transparent gradient from the chin ofthe mask upward (upper right). This feathers the bottom ofthe sel ection while leaving the rest of it unharmed. I pressed Q again to switch out ofthe quick mask mode an d Ctrl+C (z -
C on the Mac) to copy the selection. I next switched to a different image that featured grassy plains ag ainst a clouded sky and pressed Ctrl+V (z -
V) to paste the mask into its new background (lower left). Finally, I pressed Ctrl+T (z -T) to enterthe Free Transform mode. Then I scaled and distorted the image by Ctrl-dragging (z -dragging) the corner handles (lower right).Color Plate 93: What do you do when you want to composite a complex image with hair and everything (top left) a gainst a new background? The solution is to create a complex mask. Using the technique outlined in th e section "Building a Mask from an Image" in Chapter 9 which hinges on Filter ® Other ® High Pass a nd Image ® Adjustments ® Levels I arrived at the highly detailed mask shown above right. I used this mask to copy the girl and paste her against a new background. But while the edges were accurate, I sti
ll had a ways to go to make the composition look natural. I painted in colors from the background using the brush tool set to the Color mode. Finally, I used the brush tool set to Normal with the foreground c olor set to black to paint in a few very fine hairs. Here, it helped to have a Wacom pressure-sensitive drawing tablet. As it turns out, these painted hairs never occurred in the original image, but th ey helped sell the effect (bottom).Color Plate 101: Arguably Photoshop's most useful filter, Unsharp Mask sharpens the focus of an image by increasin g the contrast ofedge details. You can apply the filter to an entire image orto independent colorchann els to achieve different effects. Starting with an image from the Corbis Royalty Free library (upper left),
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