Photoshop 6 for Windows Bible- P2

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Photoshop 6 for Windows Bible- P2:If you are reading this foreword, it probably means that you’ve purchased a copy of Adobe Photoshop 6.0, and for that I and the rest of the Photoshop team at Adobe thank you. If you own a previous edition of the Photoshop Bible, you probably know what to expect. If not, then get ready for an interesting trip.

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Nội dung Text: Photoshop 6 for Windows Bible- P2

Contents xxxi Ways to Change Selection Outlines . . . . . . . . . . . . . . . . . . . . . . . 330 Quick changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Manually adding and subtracting . . . . . . . . . . . . . . . . . . . . . 331 Using Shift and Alt like a pro . . . . . . . . . . . . . . . . . . . . . . . 333 Adding and subtracting by command . . . . . . . . . . . . . . . . . . 334 Softening selection outlines . . . . . . . . . . . . . . . . . . . . . . . . 338 Moving and Duplicating Selections . . . . . . . . . . . . . . . . . . . . . . . 344 The role of the move tool . . . . . . . . . . . . . . . . . . . . . . . . . 344 Making precise movements . . . . . . . . . . . . . . . . . . . . . . . . 345 Cloning a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Moving a selection outline independently of its contents . . . . . . . 349 Scaling or rotating a selection outline . . . . . . . . . . . . . . . . . . 350 The untimely demise of floating selections . . . . . . . . . . . . . . . 353 How to Draw and Edit Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Paths overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Drawing paths with the pen tool . . . . . . . . . . . . . . . . . . . . . 357 Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Filling paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Painting along a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Converting and saving paths . . . . . . . . . . . . . . . . . . . . . . . 374 Importing and Exporting Paths . . . . . . . . . . . . . . . . . . . . . . . . . 377 Swapping paths with Illustrator. . . . . . . . . . . . . . . . . . . . . . 377 Exporting to Illustrator. . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Retaining transparent areas in an image . . . . . . . . . . . . . . . . . 378 Chapter 9: Masks and Extractions. . . . . . . . . . . . . . . . . . . . . 383 Selecting Via Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Masking defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Painting and Editing Inside Selections . . . . . . . . . . . . . . . . . . . . . 386 Working in Quick Mask Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 390 How the quick mask mode works . . . . . . . . . . . . . . . . . . . . . 390 Changing the red coating . . . . . . . . . . . . . . . . . . . . . . . . . 395 Gradations as masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Creating gradient arrows. . . . . . . . . . . . . . . . . . . . . . . . . . 401 Generating Masks Automatically . . . . . . . . . . . . . . . . . . . . . . . . 404 Extracting a subject from its surroundings . . . . . . . . . . . . . . . 404 Using the Color Range command . . . . . . . . . . . . . . . . . . . . . 410 A few helpful Color Range hints. . . . . . . . . . . . . . . . . . . . . . 414 Creating an Independent Mask Channel . . . . . . . . . . . . . . . . . . . . 415 Saving a selection outline to a mask channel . . . . . . . . . . . . . . 415 Converting a mask to a selection . . . . . . . . . . . . . . . . . . . . . 418 Viewing mask and image . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Building a Mask from an Image . . . . . . . . . . . . . . . . . . . . . . . . . 419 Chapter 10: Corrective Filtering . . . . . . . . . . . . . . . . . . . . . . 427 Filter Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 A first look at filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
xxxii Contents How filters work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Fading a filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Heightening Focus and Contrast. . . . . . . . . . . . . . . . . . . . . . . . . 438 Using the Unsharp Mask filter . . . . . . . . . . . . . . . . . . . . . . . 438 Using the preset sharpening filters . . . . . . . . . . . . . . . . . . . . 446 Sharpening grainy photographs . . . . . . . . . . . . . . . . . . . . . 446 Using the High Pass filter . . . . . . . . . . . . . . . . . . . . . . . . . 451 Blurring an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Applying the Gaussian Blur filter . . . . . . . . . . . . . . . . . . . . . 455 The preset blurring filters . . . . . . . . . . . . . . . . . . . . . . . . . 458 Antialiasing an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Directional blurring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Softening a selection outline. . . . . . . . . . . . . . . . . . . . . . . . 469 Noise Factors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Adding noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Removing noise with Despeckle . . . . . . . . . . . . . . . . . . . . . 478 Averaging pixels with Median . . . . . . . . . . . . . . . . . . . . . . . 479 Sharpening a compressed image . . . . . . . . . . . . . . . . . . . . . 479 Cleaning up scanned halftones . . . . . . . . . . . . . . . . . . . . . . 482 Chapter 11: Full-Court Filtering . . . . . . . . . . . . . . . . . . . . . . 487 Destructive Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 A million wacky effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 What about the others? . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Third-party filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 One final note about RAM . . . . . . . . . . . . . . . . . . . . . . . . . 492 The Pixelate Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 The Crystal Halo effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Creating a mezzotint . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Edge-Enhancement Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Embossing an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Tracing around edges . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 Creating a metallic coating . . . . . . . . . . . . . . . . . . . . . . . . 503 Distortion Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Reflecting an image in a spoon . . . . . . . . . . . . . . . . . . . . . . 507 Twirling spirals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Creating concentric pond ripples . . . . . . . . . . . . . . . . . . . . . 514 Creating parallel ripples and waves . . . . . . . . . . . . . . . . . . . 517 Distorting an image along a curve . . . . . . . . . . . . . . . . . . . . 524 Changing to polar coordinates . . . . . . . . . . . . . . . . . . . . . . 525 Distorting an image inside out . . . . . . . . . . . . . . . . . . . . . . 528 Distorting with the Liquify command . . . . . . . . . . . . . . . . . . 532 Wrapping an Image around a 3D Shape . . . . . . . . . . . . . . . . . . . . . 539 Using the 3D Transform filter . . . . . . . . . . . . . . . . . . . . . . . 540 Layer before you apply. . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Contents xxxiii Adding Clouds and Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Creating clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Lighting an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Part IV: Layers, Objects, and Text 553 Chapter 12: Working with Layers . . . . . . . . . . . . . . . . . . . . . 555 Layers, Layers Everywhere. . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 Sending a Selection to a Layer . . . . . . . . . . . . . . . . . . . . . . . . . . 557 Other ways to make a layer . . . . . . . . . . . . . . . . . . . . . . . . 558 Duplicating a layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Working with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Switching between layers . . . . . . . . . . . . . . . . . . . . . . . . . 561 Switching layers from the keyboard . . . . . . . . . . . . . . . . . . . 563 Understanding transparency . . . . . . . . . . . . . . . . . . . . . . . 563 Modifying the background layer . . . . . . . . . . . . . . . . . . . . . 566 Reordering layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568 Automated matting techniques . . . . . . . . . . . . . . . . . . . . . . 569 Blending layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 Fusing several layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573 Dumping layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574 Saving a flattened version of an image . . . . . . . . . . . . . . . . . . 574 Selecting the Contents of Layers . . . . . . . . . . . . . . . . . . . . . . . . 574 Drop shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Halos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578 Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580 Moving, Linking, and Aligning Layers . . . . . . . . . . . . . . . . . . . . . . 582 Linking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582 Uniting layers into sets . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Locking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587 Using guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Automatic alignment and distribution . . . . . . . . . . . . . . . . . . 590 Setting up the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 Using the measure tool. . . . . . . . . . . . . . . . . . . . . . . . . . . 592 Applying Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Transforming the entire image . . . . . . . . . . . . . . . . . . . . . . 594 Transforming layers and selected pixels. . . . . . . . . . . . . . . . . 594 Numerical transformations . . . . . . . . . . . . . . . . . . . . . . . . 597 Masking and Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Preserving transparency . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Creating layer-specific masks . . . . . . . . . . . . . . . . . . . . . . . 601 Pasting inside a selection outline . . . . . . . . . . . . . . . . . . . . . 604 Masking groups of layers . . . . . . . . . . . . . . . . . . . . . . . . . 604
xxxiv Contents Chapter 13: The Wonders of Blend Modes . . . . . . . . . . . . . . . 609 Mixing Images Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Using Opacity and Blend Modes . . . . . . . . . . . . . . . . . . . . . . . . . 612 The Opacity setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 The blend modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 Blend mode madness. . . . . . . . . . . . . . . . . . . . . . . . . . . . 624 Applying Advanced Blending Options . . . . . . . . . . . . . . . . . . . . . 627 Blending interior layer effects (or not). . . . . . . . . . . . . . . . . . 629 Blending clipping groups . . . . . . . . . . . . . . . . . . . . . . . . . 630 Blending individual color channels . . . . . . . . . . . . . . . . . . . . 631 Knocking out layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Knocking out by brightness value . . . . . . . . . . . . . . . . . . . . 633 Using Channel Operation Commands . . . . . . . . . . . . . . . . . . . . . . 638 The Apply Image command . . . . . . . . . . . . . . . . . . . . . . . . 640 Add and Subtract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645 The Calculations command . . . . . . . . . . . . . . . . . . . . . . . . 647 Combining masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649 Chapter 14: Shapes and Styles. . . . . . . . . . . . . . . . . . . . . . . 653 Some Stuff We Never Ordered . . . . . . . . . . . . . . . . . . . . . . . . . . 653 Drawing Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 The pros and cons of shapes . . . . . . . . . . . . . . . . . . . . . . . 655 The shape tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657 The shape drawing process . . . . . . . . . . . . . . . . . . . . . . . . 659 Combining and editing shapes . . . . . . . . . . . . . . . . . . . . . . 662 Editing the stuff inside the shape . . . . . . . . . . . . . . . . . . . . . 664 The Bold New Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667 The advantages of layer effects . . . . . . . . . . . . . . . . . . . . . . 673 Inside the Layer Style dialog box . . . . . . . . . . . . . . . . . . . . . 673 Modifying and Saving Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 680 Disabling effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 Duplicating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 Scattering effects to the four winds . . . . . . . . . . . . . . . . . . . 682 Saving effects as styles . . . . . . . . . . . . . . . . . . . . . . . . . . . 682 Chapter 15: Fully Editable Text. . . . . . . . . . . . . . . . . . . . . . . 685 The State of Type in Photoshop 6 . . . . . . . . . . . . . . . . . . . . . . . . 685 The five flavors of text . . . . . . . . . . . . . . . . . . . . . . . . . . . 686 Text as art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687 Using the Type Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689 Creating vertical type . . . . . . . . . . . . . . . . . . . . . . . . . . . 693 Creating and manipulating text in a frame . . . . . . . . . . . . . . . . 694 Selecting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695 Applying character formatting . . . . . . . . . . . . . . . . . . . . . . 696 Applying paragraph formatting . . . . . . . . . . . . . . . . . . . . . . 706
Contents xxxv Warping text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712 Editing text as shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Character Masks and Layer Effects . . . . . . . . . . . . . . . . . . . . . . . 715 Creating a text mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Converting type to a path . . . . . . . . . . . . . . . . . . . . . . . . . 716 Type masks on the march . . . . . . . . . . . . . . . . . . . . . . . . . 717 Layer effects bonanza . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Part V: Color for Print and the Web 725 Chapter 16: Essential Color Management . . . . . . . . . . . . . . . . 727 Plunging Headlong into Color . . . . . . . . . . . . . . . . . . . . . . . . . . 727 A Typical Color-Matching Scenario . . . . . . . . . . . . . . . . . . . . . . . 728 Setting up the source monitor. . . . . . . . . . . . . . . . . . . . . . . 729 Selecting the ideal working space. . . . . . . . . . . . . . . . . . . . . 732 Embedding the profile . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Setting up the destination space . . . . . . . . . . . . . . . . . . . . . 735 Defining color management policies . . . . . . . . . . . . . . . . . . . 736 Converting the color space . . . . . . . . . . . . . . . . . . . . . . . . 737 Color Conversion Central. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Working spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Color management policies . . . . . . . . . . . . . . . . . . . . . . . . 742 Advanced mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746 Custom CMYK Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Loading CMYK settings from a previous version of Photoshop. . . . 752 Chapter 17: Mapping and Adjusting Colors . . . . . . . . . . . . . . . 755 What Is Color Mapping? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755 Color effects and adjustments . . . . . . . . . . . . . . . . . . . . . . 755 The good, the bad, and the wacky . . . . . . . . . . . . . . . . . . . . 756 Quick Color Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Equalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759 Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761 Posterize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764 Quick Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Sucking saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 The Auto Levels commands . . . . . . . . . . . . . . . . . . . . . . . . 766 The Auto Contrast command . . . . . . . . . . . . . . . . . . . . . . . 767 Hue Shifting and Colorizing . . . . . . . . . . . . . . . . . . . . . . . . . . . 768 Using the Hue/Saturation command . . . . . . . . . . . . . . . . . . . 768 Adjusting hue and saturation . . . . . . . . . . . . . . . . . . . . . . . 773 Colorizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
xxxvi Contents Shifting selected colors . . . . . . . . . . . . . . . . . . . . . . . . . . 777 Shifting predefined colors . . . . . . . . . . . . . . . . . . . . . . . . . 778 Using the Variations command . . . . . . . . . . . . . . . . . . . . . . 780 Enhancing colors in a compressed image . . . . . . . . . . . . . . . . 782 Making Custom Brightness Adjustments . . . . . . . . . . . . . . . . . . . . 784 The Levels command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785 The Curves command . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Gradient maps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796 Practical applications: continuous curves. . . . . . . . . . . . . . . . 797 Practical applications: arbitrary curves . . . . . . . . . . . . . . . . . 799 Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801 The advantages of layer-based corrections . . . . . . . . . . . . . . . 803 Correcting a flat image using layers . . . . . . . . . . . . . . . . . . . 805 Chapter 18: Printing Images . . . . . . . . . . . . . . . . . . . . . . . . 807 Welcome to Printing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807 Understanding Printing Terminology . . . . . . . . . . . . . . . . . . . . . . 808 Printing Composites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811 Choosing a printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Setting up the page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814 Specifying a transfer function . . . . . . . . . . . . . . . . . . . . . . . 826 Printing pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828 Creating Color Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Outputting separations. . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Color trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Printing Duotones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Creating a duotone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833 Reproducing a duotone . . . . . . . . . . . . . . . . . . . . . . . . . . 835 Editing individual duotone plates. . . . . . . . . . . . . . . . . . . . . 836 Spot-Color Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837 Printing Contact Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838 Chapter 19: Creating Graphics for the Web . . . . . . . . . . . . . . . 841 The World of Web Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841 Photoshop and ImageReady . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Rules of Web Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 The smaller, the speedier . . . . . . . . . . . . . . . . . . . . . . . . . 843 Mac and PC monitor brightness . . . . . . . . . . . . . . . . . . . . . 843 More rules of Web imagery . . . . . . . . . . . . . . . . . . . . . . . . 845 Saving JPEG Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846 Preparing and Saving GIF Images . . . . . . . . . . . . . . . . . . . . . . . . 849 Using the Indexed Color command . . . . . . . . . . . . . . . . . . . . 850 Specifying the palette . . . . . . . . . . . . . . . . . . . . . . . . . . . 851 Editing indexed colors . . . . . . . . . . . . . . . . . . . . . . . . . . . 857 Making colors transparent. . . . . . . . . . . . . . . . . . . . . . . . . 859 Saving (and opening) GIF with transparency . . . . . . . . . . . . . . 859
Contents xxxvii Optimizing JPEG and GIF Images . . . . . . . . . . . . . . . . . . . . . . . . 861 GIF optimization settings . . . . . . . . . . . . . . . . . . . . . . . . . 864 JPEG optimization settings . . . . . . . . . . . . . . . . . . . . . . . . 867 The Optimization menu . . . . . . . . . . . . . . . . . . . . . . . . . . 869 The Preview menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870 Output settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871 Saving PNG Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873 Slicing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874 Creating slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874 Editing slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876 Setting slice options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878 Saving slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879 Doing More in ImageReady . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880 Creating an image map . . . . . . . . . . . . . . . . . . . . . . . . . . . 880 JavaScript rollovers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882 Creating Web animations . . . . . . . . . . . . . . . . . . . . . . . . . 885 Animations and rollovers . . . . . . . . . . . . . . . . . . . . . . . . . 890 Appendix: Using the CD-ROM . . . . . . . . . . . . . . . . . . . . . . . 893 Bonus Chapters On the CD-ROM Chapter A: Constructing Homemade Effects Chapter B: Actions and Other Automations Chapter C: Macintosh Shortcuts Chapter D: Windows Shortcuts Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899 End-User License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . 940 CD-ROM Installation Instructions . . . . . . . . . . . . . . . . . . . . . . . 946
Inside Photoshop 2 C H A P T E R ✦ ✦ ✦ ✦ In This Chapter A First Look at Photoshop 6 Getting comfortable with a brand-new These days, most computer applications speak a common Photoshop desktop graphical language, and Photoshop is no exception. It sub- scribes to the basic structure of on-screen nouns and verbs Finding your favorite proposed and first spoken by the operating system. As a tools and meeting a result, Photoshop may seem tolerably comprehensible the few new ones first time you meet it. Without any prior knowledge of its ori- gins or behavior, you should be able to pick up a paintbrush Working with and specify a color in a matter of a few seconds, simply based the Photoshop 6 on the rudimentary vocabulary that you’ve picked up from Options bar other programs. After years of staring into cathode ray tubes, you can’t help but get the picture. Zooming in 0.01- percent increments But Photoshop has its own special dialect, one that differs from every other program out there. The dialect is so distinct Scrolling from that it’s only peripherally understood by other applications, the keyboard including those from Adobe, the very siblings that Photoshop grew up with. Photoshop has its own way of turning a phrase, Using the Navigator it speaks its words in a different order than you might expect, palette and yes, it uses a lot of strange and sometimes unsettling jar- gon that it has picked up on the street. Photoshop is always Expanded coverage and will forever be a foreigner unnaturally introduced to your of Photoshop’s hard drive. For all you may think you share in common, it preference settings doesn’t know you and you don’t know it. ✦ ✦ ✦ ✦ Even you experienced users — you hearty few who have car- ried on more conversations with Photoshop than you have with most of your friends and family — may find yourselves stumbling when negotiating with Version 6. The program speaks differently every time it upgrades. In fact, it’s wrong to think of Photoshop 6 as an older, wiser version of its former self. This is a completely new beast, bearing about as much resemblance to Photoshop 1.0 as you bear to a fellow human located on the exact opposite end of the earth.
16 Part I ✦ Welcome to Photoshop 6 So in this chapter, I introduce to you the Sixth Beast, insubordinate child of its ances- tors, spoiler of photographic traditions, and speaker of the new language that you now have to learn. These pages represent a low-level primer you need to ingest before you can utter so much as a coherent “gack!” Granted, it comes to you second hand — I am a non-native myself, with my own peculiar dialect as you’ll discover — but given that Photoshop 6 itself is the only native speaker on the planet, this foreigner’s perspective will have to do. See Photoshop Run Shortly after you launch Photoshop, the splash screen appears. Shown at the top of Figure 2-1, the splash screen explains the launching process by flashing the names of plug-in modules as they load and listing the various initialization procedures. Tip You can access the splash screen by choosing Help ➪ About Photoshop. To make the splash screen go away, just click it. Splash screen tricks In a typical program, there isn’t much reason to revisit the splash screen. But Photoshop 6 offers a few splash screen–related tips and tricks: ✦ Press Alt while choosing the About Photoshop command to display Photoshop team member Mike Shaw’s highly disciplined secret Venus In Furs screen, pic- tured at the bottom of Figure 2-1. ✦ After a few seconds, the list of programmers and copyright statements at the bottom of the screen starts to scroll. Press the Alt key to make the list scroll more quickly. Tip ✦ Photoshop 3 introduced us to Adobe Transient Witticisms — a series of arbi- trary gags invented by Photoshop’s sleep-deprived, espresso-swilling program- mers — and they’ve been a staple ever since. To see the Witticisms, wait for the credit messages to scroll by one complete cycle. Then Ctrl-click the eye in the standard splash screen or the Venus In Furs screen.
Chapter 2 ✦ Inside Photoshop 17 Ctrl-click for witticisms Figure 2-1: Photoshop 6 splash screens feature genuine Adobe Transient Witticisms and more.
18 Part I ✦ Welcome to Photoshop 6 Online studios resource Click the icon at the top of the toolbox or choose Help ➪ Adobe Online to open yet another variation on the splash screen titled Adobe Online. Pictured in Figure 2-2, this screen provides access to Adobe’s Internet-based resources, which include technical support, tips and tricks, and information about upgrades and related products. You also can choose one of the other commands on the Help menu to link directly to a few specific areas of the online resources. Click to launch Adobe Online Click to display links Figure 2-2: Adobe offers a series of online support options for Photoshop 6. To tell Photoshop how you want your online help delivered — including whether you want Adobe to automatically download and install product updates — click the Prefer- ences button to display the Preferences dialog box. If you’re unsure what each option means, click the Setup button, which launches a wizard that spells the options out more clearly. After setting your preferences, click OK and then click the Refresh button to launch your Internet browser and hightail it to the Photoshop area of the Adobe Web site. (If you have problems, connect to the Internet, start your browser as you usually do, and then return to Photoshop and click Refresh again.) Alternatively, click the links icon in the lower-right corner of the dialog box (see Figure 2-2) to display a list of links that take you directly to pages related to specific topics. If you have a cable modem or other setup that provides a sustained Internet connection, click the Refresh button every now and then to keep the links current. You can instruct Photoshop to update the links automatically in the Preferences dialog box, but I for one am not crazy about Photoshop using my modem without my permission.
Chapter 2 ✦ Inside Photoshop 19 The Photoshop Desktop After the launch process is complete, the Photoshop desktop consumes the fore- ground. Figure 2-3 shows the Photoshop 6 desktop as it appears when an image is open and all palettes are visible. Toolbox Options bar Menu bar Palettes Title bar Image window Docking well Magnification box Preview box Status bar Task bar Image window controls Color controls Mask controls Figure 2-3: The Photoshop 6 desktop as it looks on a 17-inch screen. Many of the elements that make up the Photoshop desktop are well known to folks familiar with the Windows environment. For example, the menu bar provides access to menus and commands. You can drag the title bar to move the image window. And the scroll bars let you look at hidden portions of the image.
20 Part I ✦ Welcome to Photoshop 6 Other potentially less familiar elements of the Photoshop desktop work as follows: ✦ Image window: Like any halfway decent product, Photoshop lets you open multiple images at a time. Each open image resides inside its own window. ✦ Status bar: Just above the Windows taskbar sits Photoshop’s status bar, which provides running commentary on the active tool and image. (If the Status bar doesn’t appear on your screen, choose Window ➪ Show Status Bar.) The left end of the status bar features two special boxes. The magnification box tells you the current view size, and the preview box lists how much room the image takes up in memory. Cross- For complete information on the magnification box, read the “Navigating in Reference Photoshop” section later in this chapter. The very next section explains the preview box. ✦ Toolbox: The toolbox icons provide one-click access to the various Photoshop tools. To select a tool, click its icon. Then use the tool by clicking or dragging with it inside the image window. Photoshop 6 Photoshop 6 not only offers several new tools, but new tool groupings. The crop tool, for example, now has its own apartment instead of sharing quarters with the marquee tools. For a summary of these changes, read “The tools,” later in this chapter. The bottom four rows of the toolbox contains controls for changing your paint colors, entering and exiting the quick mask mode, changing the screen area available for image display, and switching to Adobe ImageReady (which ships with Photoshop). ✦ Floating palettes: Photoshop 6 offers a total of 12 palettes, one more than Version 5. (This number excludes the toolbox and the new Options bar, which are technically palettes as well.) Each palette is said to be “floating,” which means that it’s independent of the image window and of other palettes. Palettes can be grouped together or dragged apart to float separately accord- ing to your tastes. Photoshop 6 Two palettes found in earlier versions of Photoshop, the Options palette and Brushes palette, take on a new look in Version 6. Controls formerly contained in the palettes now appear on the Options bar, labeled in Figure 2-3. For more information on the Options bar and other palettes, see the upcom- ing section “The floating palettes.” Photoshop ✦ Docking well: The gray bar at the end of the Options bar is the docking well, 6 another window item new to Photoshop 6. You can drag palettes to the well to save screen space but still keep the palettes easily accessible. For more infor- mation, see “Rearranging and docking palettes” later in this chapter.
Chapter 2 ✦ Inside Photoshop 21 Note Unfortunately, the docking well is only visible if you use a screen resolution with a horizontal pixel display of more than 800 pixels. The preview box The preview box is Photoshop’s way of passing you a memo marked FYI. No biggie, nothing to fret about, just a little bit of info you might want to know. As an unusu- ally obliging piece of software, Photoshop likes to keep its human masters informed on the latest developments. Document size By default, the preview box contains two numbers divided by a slash. The first number is the size of the base image in memory. The second number takes into account any additional layers in your image. Photoshop calculates the first value by multiplying the height and width of the image (both in pixels) by the bit depth of the image, which is the size of each pixel in mem- ory. Consider a typical full-color, 640 × 480-pixel image. A full-color image takes up 24 bits of memory per pixel (which is why it’s called a 24-bit image). There are 8 bits in a byte, so 24 bits translates to 3 bytes. Multiply that by the number of pixels and you get 640 × 480 × 3 = 921,600 bytes. Because there are 1,024 bytes in a kilobyte, 921,600 bytes is exactly 900K. Try it yourself — open a 640 × 480-pixel RGB image and you’ll see that the first number in the preview box reads 900K. Now you know why. But it’s the second value, the one that factors in the layers, that represents the real amount of memory that Photoshop needs. If the image contains one layer only, the numbers before and after the slash are the same. Otherwise, Photoshop measures the opaque pixels in each layer and adds approximately 1 byte of overhead per pixel to calculate the transparency. The second number also grows to accommodate paths, masks, spot-color channels, undoable operations, and miscellaneous data required by the image cache. Now obviously, it’s not necessary that you be able to predict these values (which is lucky, because predicting the second value is virtually impossible). Photoshop asks no help when calculating the values in the preview box and will summarily ignore any help you might care to offer. But it’s a good idea to know what’s going on as you start piling layers on top of an image. The larger the preview numbers grow, the more work Photoshop has to do and the slower it’s likely to perform. Image position Photoshop 6 A welcome new print feature, called Print Options, enables you to position a picture precisely on a page before printing. You can find Print Options on the File menu, near the other printing commands; skip to Chapter 18 for details on using this tool.
22 Part I ✦ Welcome to Photoshop 6 To get a rough idea of the current image position, however, click and hold on the preview box. Photoshop displays a pop-up window showing the size and placement of the image in relation to the paper. The preview also shows the approximate placement of crop marks and other elements requested in the Page Setup dialog box (File ➪ Page Setup). Tip Press Alt and mouse down on the preview box to view the size and resolution of the image. You can also Ctrl-click the preview box to see the tile sizes. Photoshop uses tiles to calculate pixel manipulations. If you confine your work to a single tile, it will proba- bly go faster than if you slop a little over into a second tile. But who cares? Unless you’re some kind of tile-reading robot, this technical information is rarely of any practical use. Click the right-pointing arrowhead next to the preview box to display a pop-up menu of six options. The first option — Document Sizes — is selected by default. This option displays the image-size values described in the previous section. You can find out what information the other choices provide in the next few sections. Tip The prefix displayed before the values in the preview box indicates which of the options is active: Doc shows that Document Sizes is selected; Scr, Scratch Sizes; and Eff, Efficiency. When the Timing option is active, an s appears after the numerical value. If a tool name appears in the preview box, you know the final option, Current Tool, is active. Similarly, if you see a color profile statement, such as “untagged RBG,” the Document Profile setting, new to Version 6, has the floor. Image color profile Photoshop 6 If you work regularly with many different color profiles, you may find the new Document Profile option handy. When you select this option, the name of the cur- rent color profile appears in the preview box. Adobe changed several other features related to color profiles, too; Chapter 16 tells you what you need to know. Memory consumption and availability When you select Scratch Sizes, Photoshop changes the values in the preview box to represent memory consumption and availability. The first value is the amount of room required to hold the currently open images in RAM. The second value indi- cates the total amount of RAM that Photoshop has to work with. For the program to run at top efficiency, the first number must be smaller than the second. In the old days, the number before the slash was generally equal to between three and five times the size of all open images, including layers. But thanks to the advent of multiple undos, this value can grow to more than one hundred times as big as any one image. This is because Photoshop has to store each operation in memory on the off chance that you may want to undo to a previous point in time. For each
Chapter 2 ✦ Inside Photoshop 23 and every action, Photoshop nudges the first value upward until you reach the ceil- ing of undoable operations. The second value is simply equal to the amount of memory available to your images after the Photoshop application itself has loaded. For example, suppose you’ve assigned 100MB of RAM to Photoshop. The code that makes up the Photo- shop application consumes about 15MB, so that leaves 85MB to hold and edit images. If the second value is bigger than the first, then all is happiness and Photoshop is running as fast as your particular brand of computer permits. But if the first value is larger, Photoshop has to dig into its supply of virtual memory, a disk-bound adjunct to RAM. Virtual memory makes Photoshop run more slowly because the program must swap portions of the image on and off your hard disk. The simple fact is, disks have moving parts and RAM does not. That means disk-bound “virtual” memory is slower than real memory. To increase the size of the value after the slash, you have to get more RAM to your images in one of the following ways: ✦ Purchase more RAM. Installing an adequate supply of memory is the single best way to make Photoshop run more quickly. ✦ Quit other applications so that only Photoshop is running. ✦ Quit Photoshop and remove any filters that you don’t need from the Plug-Ins folder (which resides in the same folder as the Photoshop 6 application). Don’t throw the filters away, just move them to a location outside the Plug-Ins folder so they won’t load into RAM when you launch Photoshop. ✦ Choose Edit ➪ Preferences ➪ Memory and Image Cache and increase the Physical Memory Usage value as explained later in this chapter. Operating efficiency When you select the Efficiency option, Photoshop lists the amount of time it spends running operations in RAM compared with swapping data back and forth between the hard disk. A value of 100 percent is the best-case scenario. It means Photoshop never has to rely on scratch files. Low values indicate higher reliance on the hard disk and, as a result, slower operations. Adobe recommends that if the value falls below 75 percent, you should either assign more memory to Photoshop or pur- chase more RAM for your computer. The Efficiency option is a reality check. If it seems Photoshop is dragging its feet, and you hear it writing a little too often, you can refer to the Efficiency rating to see if per- formance is as bad as you suspect. Keep in mind, hearing Photoshop occasionally write to disk is not, in and of itself, cause for concern. All versions of Photoshop since 3.0 automatically copy open images to a disk buffer in case virtual memory is later warranted. In fact, this is the reason Adobe added the Efficiency option to Version 3.0.1 — to quash fears that a few sparks from your hard drive indicated anything less than peak performance.
24 Part I ✦ Welcome to Photoshop 6 Photoshop operations timing If you select Timing, the preview box tells how long Photoshop took to perform the last operation (including background tasks, such as transferring an image to the sys- tem Clipboard). Adobe may have added this option to help testing facilities run their Photoshop tests. But built-in timing helps you as well. For example, suppose you’re trying to decide whether to purchase a new computer. You read a magazine article comparing the newest super-fast system. You can run the same filters with the same settings on your computer and see how much slower your results are, all without picking up a stopwatch. At the risk of starting interoffice feuding, the Timing option also provides you with a mechanism for testing your computer against those of coworkers and friends. The Timing option serves as a neutral arbitrator, enabling you and an associate to test identical operations over the phone. Like Efficiency, Timing is a reality check. If you and your associate own similarly configured computers and your Timing values are vastly different, something’s wrong. The active tool Choose Current Tool, and Photoshop displays the name of the active tool. Why do you need such a condescending option? Surely you’re not so far gone that you need Photoshop telling you what you already know. Adobe’s intention is not to drum you over the head with redundant information, but to offer a helping hand if you find the tool configuration confusing. Also, the tool name serves as a companion to the tool description to the right of it in the status bar. Now you see not just what the tool does, but what the tool is. Still, my guess is that this option will prove as rarely useful to everyday image edit- ing as Timing. Use it if you’re having problems when first using Photoshop 6 and then set it back to Document Sizes, Scratch Sizes, or Efficiency. The original three options continue to be the best. The tools Photoshop 6 Photoshop 6 brings with it many changes, including some significant revamping of the toolbox. Here’s a quick summary: ✦ Adobe added a row of icons to the toolbox, and the new shape tools and annotation tools quickly set up housekeeping therein. ✦ The crop tool left the digs that it shared with the marquee tools and took up residence on its own nearby. ✦ The measure tool moved in with the eyedroppers, the paintbrush shacked up with the pencil, and the line tool got kicked out on the street. Fortunately, the new shape tools welcomed it as one of their own.
Chapter 2 ✦ Inside Photoshop 25 ✦ The magnetic pen, type mask, vertical type, and vertical type mask tools fled the toolbox and hid away on the Options bar. You now access the magnetic pen by selecting a check box on the Options bar when the freeform pen is active. Similarly, you bring the type mask, vertical type, and vertical type mask tools into the open by clicking Options bar icons when the type tool is selected. ✦ Clicking the gradient tool icon no longer displays a choice of gradient styles; you now select those styles from the Options bar. The gradient tool rented out the room formerly occupied by the gradient styles icons to the paint bucket. Finally, when multiple tools share a single toolbox slot, you select the tool you want from a menu-style list, as shown in Figure 2-4, rather than a horizontal pop-out row of tool icons as in previous editions. A tiny, right-pointing triangle in the lower-right corner of an icon indicates that more tools lurk beneath the surface. You can click the triangle and then click the name of the tool you want to use. Or, to get the job done with one less click, just drag from the icon onto the name of the tool and then release the mouse button. Tip You can cycle between the tools in the pop-up menu by Alt-clicking a tool icon. Pressing the key that appears to the right of the tool names also does the trick — however, depending on a tool setting that you establish in the Preferences dialog box, you may need to press Shift with the key. (See the upcoming section “General preferences.”) Drag from tool. . . . . . to display pop-up menu Figure 2-4: Drag from any tool icon with a triangle to display a pop-up menu of alternate tools.
26 Part I ✦ Welcome to Photoshop 6 Also, when you hover your cursor over a tool, Photoshop tells you the name of the tool and how to select it from the keyboard. I explain more about keyboard short- cuts in Chapters D and E on the CD-ROM. If you find the tool tips irritating, turn to “General preferences” to find out how to turn them off. Note I’ve catalogued each tool in the following lengthy list, with tool icons, pithy sum- maries, and the chapter to which you can refer for more information. No need to read the list word for word; just use it as a reference to get acquainted with the new program. The list presents the tools in the order that they appear in the toolbox. Incidentally, unless otherwise noted, each of the following descriptions tells how to use the tool inside the image window. For example, if an item says drag, you click the tool’s icon to select the tool and then drag in the image window; you don’t drag on the tool icon itself. Rectangular marquee (Chapter 8): Drag with this tool to enclose a por- tion of the image in a rectangular marquee, which is a pattern of moving dash marks indicating the boundary of a selection. Shift-drag to add to a selection; Alt-drag to delete from a selection. The same goes for the other marquee tools, as well as the lassos and magic wand. Photoshop 6 As an alternative to using these time-honored shortcuts, you can click mode icons on the Options bar to change the behavior of the selection tools. Elliptical marquee (Chapter 8): Drag with the elliptical marquee tool to enclose a portion of the window in an oval marquee. Single-row marquee (Chapter 8): Click with the single-row marquee to select an entire horizontal row of pixels that stretches all the way across the image. You can also drag with the tool to position the selection. You rarely need it, but when you do, here it is. Single-column marquee (Chapter 8): Same as the single-row marquee, except the single-column marquee selects an entire vertical column of pixels. Again, not a particularly useful tool. Move (Chapter 8): Drag to move a selection or layer. In fact, the move tool is the exclusive means for moving and cloning portions of an image. (You can also Ctrl-drag selections with any tools except the shape, path, and slicing tools, but only because Ctrl temporarily accesses the move tool.) Lasso (Chapter 8): Drag with the lasso tool to select a free-form portion of the image. You can also Alt-click with the lasso to create a straight- sided selection outline. Polygonal lasso (Chapter 8): Click hither and yon with this tool to draw a straight-sided selection outline (just like Alt-clicking with the standard lasso). Each click sets a corner point in the selection.