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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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J on the Mac) to clone it to an independent layer. This new layer will serve as the meat of your sandwic h. The meat holds the effect, so apply the filter of your choice. In my case, I was feeling rather famishe d, so I decided to fix three sandwiches. The top row shows my tray of meats, subject to three random fi lters Unsharp Mask, Radial Blur, and Stamp. When you're finished filtering, selectthe Difference blend mode in the Layers palette. The middle row of images shows the effect ofapplying Difference to each
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List of Figures
of my meats. Now forthe top slice of bread. Return to the original Background layer and press Ctrl+J ( orz -J) to again clone it. Then press Ctrl+Shift+1 (z -Shift-
1 on the Mac) to move the bread to the top ofthe stack. Now choose the Difference blend mode. That's all there is to it. In less time than it takes to say "baloney," I slapped togetherthe bottom row of Differe nce sandwiches.Color Plate 141: In addition to enabling you to define drop shadows and glows, layer effects let you devise libraries o fgraphic styles. They are, in fact, Photoshop's answerto parametric effects, which are forever editable formatting attributes painted on with numerical values. Considerthe white 7 and black S in the upper-left image. I painted each on an independent layer using the brush tool. The layers have interesting sha pes, but flat fills. So I set about applying layer effects. In the upper-
right image, I applied a drop shadow and inner bevel to the 7 and an inner bevel and outer glow to the
S. The middle-
left image shows the effect ofadding gradient and pattern overlays. To create the middle-right image, I added a satin effect to the 7 and color overlays to both the 7 and S with the blend mode s et to Overlay. Next, I applied blend modes to the overall layers, but my settings had no effect. This is b ecause the blend modes assigned to the interior effects take precedence overthose assigned to the la yers themselves. To change this, I doubleclicked on each layer and turned on the Blend Interior Effects as Group check box. Now, all interior eff ects were governed by the layers' blend modes, as shown in the final image.Color Plate 171: Here we see three sets oftricks pulled off by applying the Threshold command to independent color channels when working in the RGB (top row), Lab (middle), and CMYK (bottom) modes. The techniqu es are largely experimental, but they show you the kinds of high-
contrast, graphic effects you can achieve using Threshold. The labels explain the specifics, but just so everything's crystal clear, I'll walk through one ofthe techniques: In the top row, I began by selecting th e Green and Blue channels and choosing the Equalize command (upper left). Next, I clicked on the Re d channel, applied the Median filter with a Radius of2 pixels, the High Pass filter with a Radius of3, a nd Threshold with a Threshold Level value of122. Then I thickened the lines with the Minimum filter usi ng a Radius of 1, and I smoothed out the edges by again applying Median with a Radius of 2 (upper mi ddle). Finally, I switched to the Green channel, applied Median with a Radius of6, and followed that wi th Threshold setto 126. I experimented quite a bit before arriving atthese specifictechniques. In the e nd, I was able to achieve vivid silk-screen effects, and with any luck, so will you.Color Plate 172: Here we see the results ofcorrecting the seemingly snooty Giuliano de' Medici as rendered by 15th-century master artist Sandro Botticelli, the same deft daddy-
o responsible forThe Birth ofVenus , which latergained so much fame as the logo forAdobe Illustrato r. In each case, I corrected the image using one of Photoshop's automatic adjustment operations: Auto Levels, Auto Contrast, and Auto Color, all underthe Image ®Adjustments submenu. Auto Levels enh ances the contrast of an image on a channel-by-
channel basis, which may result in a colorshift. In the case ofgood old Giuliano, the painting shifts fro m a green background to cool blue. If a color shift is not desired, use Auto Contrast instead. As the thir d image demonstrates, we now have sharper contrast, but the green background stays green. The Aut
o Color command seeks to neutralize the highlights, shadows, and midtones in an image, producing in the last example a gray background and perhaps the most naturalistic skin tones ofthe bunch. Rumor has it, Giuliano may have been painted posthumously. Perhaps his skin should be gray and the backgr ound a fleshy peach. Only my homey Sandro knows forsure.Color Plate 173: The Hue/Saturation command permits you to shift the colors in an image or altogether replace them . By way of example, consider this image of me and my Little Puppet Friend (as played by my {ta 2261} Photoshop Elements For Dummies coauthor, Galen Fott). In the upper-right example, I entered a Hue value of 120 degrees, which rotated the colors one-third the way around the rainbow, shifting the flesh tones to green, the puppet tones to pink, and so on. In the middle-left example, I performed the same Hue shift, but also increased the Saturation value to +40 percent, making the colors slightly more vivid. But let's say I wanted to alter the colors inside LPF only. Using the Edit pop-up menu, I adjusted the settings for the Cyans and Blues only those colors that make up LPF's flesh changing my buddy's skin from bluish to pinkish while leaving my own flesh unchanged (middle right). If you select the Colorize check box, Hue/Saturation replaces the colors in the image (lower left), but you can't limit the colorized areas as you can when Hue shifting. So if I wanted to colorize LPF's skin only (lower right), I would have to first select the cyans and blues using Select ® Color Range or the like, and then apply the Hue/Saturation command.ColorPlate 174: Young Sammy has grown a lot since the last edition ofthe {ta 2262}Photoshop Bible . And we here
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