® User Guide version Adobe Photoshop 5.
1998 Adobe Systems Incorporated. All rights reserved. Adobe Photoshop 5.0 User Guide for Macintosh and Windows This manual, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated.
iii Contents Introduction About this manual ................................... 1 Learning Adobe Photoshop ............................1 Windows system requirements ..........................2 Mac OS system requirements ...........................2 The Adobe Photoshop package contents Registration ...................3 ........................................ 4 About Adobe products and services ......................
iv CONTENTS Getting Images into Photoshop Chapter 3 About bitmap images and vector graphics About image size and resolution Changing image size and resolution Scanning images . . . . . . . . . . . . . . . . . . . . . 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Creating new images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Opening and importing images . . . . . . . . . . . . . . . . . . . . . . . .
v Converting to CMYK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Managing ICC profiles in files . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Converting the color space of open images Making Color and Tonal Adjustments . . . . . . . . . . . . . . . 100 Chapter 6 Using the Adobe Photoshop color correction tools Comparing CMYK and RGB mode corrections Step 1: Calibrate your system . . . . . . . . . 105 . . . . . . . . . . . . . 109 . . . . . . . . . . . . . . . . . .
vi CONTENTS Deleting a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Removing fringe pixels from a selection . . . . . . . . . . . . . . . . . 181 Transforming objects in two dimensions . . . . . . . . . . . . . . . . . 182 Transforming objects in three dimensions . . . . . . . . . . . . . . . . 187 Using the rubber stamp tool and pattern stamp tool Using other retouching tools Painting . . . . . . . . 190 . . . . . . . . . . . . . . . . . . . . . . . . .
vii Editing layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Specifying layer options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Using channel calculations to blend layers and channels Creating clipping groups Using layer masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Selecting opaque areas on a layer Using adjustment layers Using layer effects Using Type . . . . . . . . . . . . . . . . . . . . . 281 . . . . . . .
viii CONTENTS Automating Tasks Chapter 16 Creating and recording actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Editing actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Organizing sets of actions . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Using the Automate commands External automation Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . 347 Playing actions . . . . . . . . . . . . . . . . . . . . .
1 Introduction W elcome to the Adobe® Photoshop® program—extraordinary photo retouching, image editing, and color painting software. Whether you are a novice or an expert in image editing, the Adobe Photoshop program offers you the tools you need to get professional-quality results.
2 Introduction The Adobe Photoshop Tutorials On the Tour and Training CD-ROM contain step-by-step tutorials in PDF format. These are some of the same tutorials included in Adobe Photoshop Classroom in a Book. For more information, see the Classroom in a Book section when viewing the tutorials. For information on how to install and use Adobe Acrobat and QuickTime to view these tutorials, see the Read Me file for these programs.
ADOBE PHOTOSHOP 5.0 3 User Guide • A hard drive with at least 60 MB of free space. You’ll need additional disk space if you work with very large image files. • A CD-ROM drive. For the best performance, Adobe Systems recommends the following hardware and software: Contents of the Adobe Photoshop Application CD-ROM The Application CD-ROM contains the following software: The Adobe Photoshop installer Includes every- • A 24-bit (millions of colors) video display card.
4 Introduction Adobe Acrobat Reader software Lets you view PDF files online and is required to use the Tour and Training CD-ROM. Contents of the Adobe Photoshop Tour and Training CD-ROM The Tour and Training CD-ROM contains the following documentation and software: The Adobe Photoshop Overview Is a set of inter- active movies and links to tutorials, as described in this section. Registration Adobe is confident you will find that the Adobe Photoshop program greatly increases your productivity.
ADOBE PHOTOSHOP 5.0 5 User Guide Adobe Systems training opportunities For tips on installing the software, see “Before you call Adobe Technical Support” on page 361. The Adobe Photoshop 5.0 Tutorials have been excerpted from Adobe Photoshop Classroom in a Book. Classroom in a Book is the official training series for Adobe graphics and publishing software developed by experts at Adobe and published by Adobe Press.
6 Introduction • Custom (Windows) or Custom Install (Mac OS) lets you choose the options you want to install. Note: In the Chinese, Japanese, and Korean versions of Photoshop, the Typical or Easy Install option also installs CMap files that enable the use of double-byte fonts in Photoshop images. To install the CMap files in any other version of Photoshop, you must use the Custom or Custom Install option. Registration When prompted, enter your name and company information.
ADOBE PHOTOSHOP 5.0 7 User Guide History palette Photoshop’s new History palette allows multiple undos by tracking and listing recent changes you make to an image during the current working session. Selecting any change listed in the History palette returns the image to that earlier state. (See “Reverting to any state of the image” on page 168.) Reselect command The new Reselect command lets you easily retrieve the last selection used on your image in the current work session.
8 Introduction Measure tool The measure tool lets you measure the length, angle, and location of areas in the image. (See “Using the measure tool” on page 174; “Using rulers, the measure tool, guides, and grids” on page 173.) Magnetic lasso tool Because it discriminates between different levels of contrast in an image, the magnetic lasso tool snaps a selection border to the edge of the area you drag around. (See “Using the lasso, polygon lasso, and magnetic lasso tools” on page 139.
ADOBE PHOTOSHOP 5.0 9 User Guide Changed keyboard shortcuts, tools, and commands The following are some of the Photoshop 4.0 shortcuts, tools, and commands that have been changed for Photoshop 5.0. For a complete list of shortcuts, see the online help: • To cycle through a series of related tools on the Tool palette, press Shift+(the shortcut key for the tool). • To select the add-anchor-point tool while the delete-anchor-point tool is selected, press +.
1
13 Chapter 1: A Quick Tour of Adobe Photoshop T his interactive tour introduces you to key features of Adobe Photoshop and takes about an hour to complete. For detailed instructions on how to use many of the features introduced in this tour, as well as a movie version of the tour, see the lessons on the Tutorial CD. For complete information about any feature, see the index in this user guide. You can bring images into Adobe Photoshop in many ways.
14 CHAPTER 1 A Quick Tour of Adobe Photoshop First, you’ll make a simple selection, and drag an image from one file to another. 1 Click the title bar of the CD.psd window to make it active. 2 Hold down the mouse button on the rectan- gular marquee tool ( ) in the toolbox, and drag to the elliptical marquee tool ( ). Click in the upper left corner of the image’s gray background, and begin dragging diagonally.
ADOBE PHOTOSHOP 5.0 15 User Guide 7 Select the magic wand tool ( ); then click the title bar of the Horn.psd window to make it active. 8 Click the white background in the upper right corner of the image to select it. Notice that not all the white background was selected. 9 Choose Select > Similar to add the rest of the background to the selection. You’ve now selected everything except the horn. 10 Choose Select > Inverse. The Inverse command selects everything that wasn’t selected—in this case, the horn.
16 CHAPTER 1 A Quick Tour of Adobe Photoshop By changing the order of layers, you can restack images in the artwork. 3 Drag Layer 2 (the horn layer) until it’s between Layer 1 (the CD layer) and the background on the Layers palette. Release the mouse button to set Layer 2 in its new position. The horn now appears behind the CD in the artwork. 6 Select Layer 1 in the Layers palette, and drag the opacity slider to 40%. You can now see other layers through the CD.
ADOBE PHOTOSHOP 5.0 17 User Guide 8 Select the type tool ( ), and click the image in the upper right corner. 9 Choose a font from the Font menu in the Type Tool dialog box, and enter a point size in the Size and Leading boxes (we used 22-point Lucida Sans Bold with 43-point leading). At the far right of the dialog box, select the right alignment option. 10 Type “MEZZO PIANO” in two lines in the large text box at the bottom of the dialog box.
18 CHAPTER 1 A Quick Tour of Adobe Photoshop 19 Double-click the T icon on the Mezzo Piano layer in the Layers palette. In the Type Tool dialog box, select the word “PIANO” and change it to “FORTE.” Notice how the layer effects are applied to the new word. 4 Then choose Filter > Fade Angled Strokes. In the dialog box, set the opacity to 50%, select Multiply for the mode, and click OK. 20 If you like, try applying other layer effects to the text. When you are finished, click OK. 21 Choose File > Save.
ADOBE PHOTOSHOP 5.0 19 User Guide Now you’ll paint arcs of four different colors over the bell of the French horn. The first color is white, which you’ll select through the toolbox color selection box. This box sets the foreground color, the color you paint with, and the background color, the color used when you erase part of an image. The default colors are black for foreground and white for background. 7 Now hold down Alt/Option, and click a red note to change the foreground color to red.
20 CHAPTER 1 A Quick Tour of Adobe Photoshop You can now continue working from this version of the image. All changes past Fade Angled Strokes will be deleted, and new changes will be recorded in their place. Next you’ll try out a gradient fill to “paint” or blend between two colors on the background of the image. 11 Choose Window > Show Swatches, and click a blue swatch to set your foreground color.
ADOBE PHOTOSHOP 5.0 21 User Guide 6 Select the Preview option in the dialog box, drag the top slider away from Cyan toward Red, and click OK. The horn turns more red. Now you’ll remove a scratch on the horn with the rubber stamp tool. This tool lets you sample part of an image and then paint with a copy of the sampled area. 7 Double-click the rubber stamp tool ( ) to display its Options palette, and select the Aligned option. Then choose a small feathered brush in the second row of the Brushes palette.
Book title goes here 3/30/98 14:04 c01.fm 22 CHAPTER 1 A Quick Tour of Adobe Photoshop 7 When the action is complete, choose Layer > Flatten Image, and in the dialog box click OK to discard the hidden layers. Congratulations, you’ve finished the tour. Continue experimenting by creating your own Photoshop artwork, or try some of the lessons on the Tutorial CD.
2
25 Chapter 2: Looking at the Work Area T he Adobe Photoshop work area includes the menu bar at the top of your screen, the image window containing an image, and a variety of tools and palettes for editing and adding elements such as masks, layers, and channels. You can also add commands and filters to the menus by installing software programs called plug-in modules.
26 CHAPTER 2 Looking at the Work Area Using the toolbox The tools in the toolbox let you select, paint, edit, and view images. Other controls choose foreground and background colors, create quick masks, and change the screen display mode. Most tools have associated Brushes and Options palettes, which let you define the tools’ painting and editing effects. (See “Using the Options palette” on page 29.
ADOBE PHOTOSHOP 5.0 27 User Guide Each default pointer has a different hot spot, where an effect or action begins. You can switch to precise pointers, which appear for most tools as cross hairs centered around the hot spot. For the magnetic lasso and magnetic pen tools, precise pointers appear as circles representing the lasso or pen width. With the painting tools, you can also display the pointer as a brush shape of a certain size.
28 CHAPTER 2 Looking at the Work Area Using the status bar The status bar at the bottom of the program window displays useful information—such as the current magnification and file size of the active image, and brief instructions for using the active tool. • To make a palette appear at the front of its group, click the palette’s tab. To show or hide the status bar (Windows only): Choose Window > Show Status Bar or Window > Hide Status Bar. Using palettes Palettes help you monitor and modify images.
ADOBE PHOTOSHOP 5.0 29 User Guide • To move a palette to another group, drag the • To collapse a group to palette titles only, Alt-click palette’s tab to that group. the minimize/maximize box (Windows) or Option-click the resize box (Mac OS). Or doubleclick a palette’s tab. You can still access the menu of a collapsed palette. • To display a palette menu, position the pointer on the triangle in the upper right corner of the palette, and hold down the mouse button.
30 CHAPTER 2 Looking at the Work Area Some settings in the Options palette are common to several tools (such as painting modes and opacity), some specific to one tool (such as the Auto Erase setting for the pencil tool). To display the Options palette: To use a pop-up slider: Do one of the following: • Position the pointer over the triangle next to the setting, hold down the mouse, and drag the slider or angle radius to the desired value. Do one of the following: • Choose Window > Show Options.
ADOBE PHOTOSHOP 5.0 31 User Guide To display the Info palette: • When you use a two-dimensional transfor- Choose Window > Show Info. The Info palette displays the following specific information: mation command, the Info palette displays the percentage change in width (W) and height (H), the angle of rotation (A), and the angle of horizontal skew (H) or vertical skew (V).
32 CHAPTER 2 Looking at the Work Area To change measurement units, click the cross-hair icon in the Info palette for a menu of options. To change color readout modes, click the eyedropper icon. To get online help in Windows: Do one of the following: • Press F1 to display the Help Contents menu. • Choose Help > Contents, or choose another Using context menus In addition to the menus at the top of your screen, context-sensitive menus display commands relevant to the active tool, selection, or palette.
ADOBE PHOTOSHOP 5.0 33 User Guide Viewing images The hand tool, the zoom tools, the Zoom commands, and the Navigator palette let you view different areas of an image at different magnifications. You can open additional windows to display several views at once (such as different magnifications) of an image. A list of open windows appears in the Window menu. Available memory may limit the number of windows per image.
34 CHAPTER 2 Looking at the Work Area To use the hand tool while another tool is selected, hold down the spacebar as you drag in the image. Using the Navigator palette With a thumbnail, the Navigator palette lets you quickly change the view of an image. To display the Navigator palette: Choose Window > Show Navigator. To move the view of an image using the Navigator palette: Do one of the following: • Drag the view box, which represents the bound- aries of the image window.
ADOBE PHOTOSHOP 5.0 35 User Guide • Choose View > Zoom Out to reduce to the To display an image at 100%: previous preset percentage. Do one of the following: Use these zoom shortcuts: • To activate the zoom-in tool, press Ctrl+spacebar (Windows) or Command+spacebar (Mac OS). • To activate the zoom-out tool, press Alt+ spacebar/Option+spacebar. • To zoom in, press Ctrl+(=)/Command+(=). • To zoom out, press Ctrl+(-)/Command+(-). • Double-click the zoom tool. • Choose View > Actual Pixels.
36 CHAPTER 2 Looking at the Work Area To magnify or reduce the view using the Navigator palette: Do one of the following: • Click the zoom in ( ) or zoom out ( at the bottom of the Navigator palette. ) button • Drag the zoom slider at the bottom of the palette. Once installed, plug-in modules appear as options in the Import, Export, or Automate menus; as file formats in the Open, Save As, and Save a Copy dialog boxes; or as filters in the Filter menus.
ADOBE PHOTOSHOP 5.0 37 User Guide 4 Restart Adobe Photoshop. To restore all preferences to their default settings: On the Macintosh, to select the plug-ins location immediately upon starting Adobe Photoshop, press Command+Option as you launch the program. Open the Adobe Photoshop Settings folder inside the Photoshop folder, and rename or delete the Adobe Photoshop 5.0 Prefs file and the Color Settings file.
3
41 Chapter 3: Getting Images into Photoshop I n Adobe Photoshop, you can create new images, import them from another graphics application, or capture them from video. Often you will begin by scanning a photograph, a slide, or an image. To create effective artwork, you must understand some basic concepts about how to work with digital images, how to produce highquality scans, how to work with a variety of file formats, and how to adjust the resolution and size of images.
42 CHAPTER 3 Getting Images into Photoshop Because computer monitors represent images by displaying them on a grid, both vector and bitmap images are displayed as pixels on-screen. BITMAP VS. VECTOR A bitmap image is composed of a grid of small squares known as pixels. A vector graphic is defined by mathematical objects called vectors.
ADOBE PHOTOSHOP 5.0 43 User Guide ON-SCREEN DISPLAY SIZE How large an image appears on-screen depends on a combination of factors––the pixel dimensions of the image, the monitor size, and the monitor resolution setting. The examples below show a 620 x 400 pixel image displayed with various monitor sizes and monitor resolutions. 13" Image resolution The number of pixels displayed per unit of printed length in an image, usually measured in pixels per inch (ppi).
44 CHAPTER 3 Getting Images into Photoshop To determine the image resolution to use, consider the medium of final distribution for the image. If you’re producing an image for online display, the image resolution only needs to match the typical monitor resolution (72 or 96 ppi). However, using too low a resolution for a printed image results in pixelation—output with large, coarse-looking pixels.
ADOBE PHOTOSHOP 5.0 45 User Guide IMAGE RESOLUTION AND SCREEN FREQUENCY To ensure high-quality output when printing with a halftone screen, you need to choose an image resolution based on the screen frequency of the printing device. In general, an image resolution from 1.5 to 2 times the screen frequency gives the best results. 65 lpi: Coarse screen commonly used to print newsletters and grocery coupons. 85 lpi: Average screen often used to print newspapers.
46 CHAPTER 3 Getting Images into Photoshop File size The digital size of an image, measured in kilobytes (K), megabytes (MB), or gigabytes (GB). File size is proportional to the pixel dimensions of the image. Images with more pixels may produce more detail at a given printed size, but they require more disk space to store and may be slower to edit and print.
ADOBE PHOTOSHOP 5.0 47 User Guide Information about the current file size and resolution of an image is displayed at the lower left of the image window. Before you change the size of an image, you also may want to preview how the image will appear when printed. To display the file size: Position the pointer over the triangle in the bottom border of the program window (Windows) or image window (Mac OS), hold down the mouse button, and choose Document Sizes from the menu.
48 CHAPTER 3 Getting Images into Photoshop The dimensions of the page shown in the page preview box correspond to the page size specified with the Page Setup command (see “General printing options” on page 333). Other options selected appear as gray boxes. A About resampling Resampling refers to changing the pixel dimensions (and therefore file size) of an image. When you downsample (or decrease the number of pixels), information is deleted from the image.
ADOBE PHOTOSHOP 5.0 49 User Guide You can avoid the need for resampling by scanning in or creating the image at a high enough resolution. If you want to preview the effects of changing pixel dimensions on-screen or print proofs at different resolutions, resample a duplicate of your original file. (See “Duplicating images” on page 172.) Applying the Unsharp Mask filter to a resampled image can help refocus the image’s details. For instructions, see “Step 6: Sharpen the image” on page 128.
50 CHAPTER 3 Getting Images into Photoshop If you turn on resampling for the image, you can change print dimensions and resolution independently. If you turn resampling off, you can change either the dimensions or the resolution— Photoshop adjusts the other value automatically to preserve the total pixel count. For the highest print quality, it’s generally best to change the dimensions and resolution first without resampling. Then resample only as necessary. Note: If your image resolution is more than 2.
ADOBE PHOTOSHOP 5.0 51 User Guide 3 For Screen, enter the screen frequency for the output device. If desired, choose a new unit of measurement. Note that the screen value is used only to calculate the image resolution, not to set the screen for printing. Important: To specify the halftone screen ruling for printing, you must use the Halftone Screens dialog box, accessible through the Page Setup dialog box.
52 CHAPTER 3 Getting Images into Photoshop Importing scanned images To import an image using the TWAIN interface: You can import scanned images directly from any scanner that has an Adobe Photoshop-compatible plug-in module or supports the TWAIN interface. To import the scan, choose the scanner name from the File > Import submenu. (See your scanner documentation for instructions on installing the scanner plug-in; see page 36 for general plug-in information.
ADOBE PHOTOSHOP 5.0 53 User Guide 2 Multiply the result in step 1 by the ratio of final image dimensions to original dimensions to determine an estimated scan resolution. For example, suppose you are scanning a 2-inchby-3-inch image and want to produce a final 6-inch-by-9-inch image. You are using a screen frequency of 85 lpi. First multiply 85 (the screen frequency) by 2 to get 170. Then multiply 170 by 3 (the ratio of final image dimensions to original ones) to get a scan resolution of 510 ppi.
54 CHAPTER 3 Getting Images into Photoshop To identify and correct a color cast introduced by a scanner: 1 Make sure that your monitor has been calibrated. (See “Calibrating your monitor” on page 82.) 2 Open a new Photoshop file, and use the linear To create a new image: 1 Do one of the following: • To base the image dimensions and resolution on the Clipboard contents, choose File > New.
ADOBE PHOTOSHOP 5.0 55 User Guide Opening and importing images In Adobe Photoshop, you can open and import images in various file formats and have multiple images open at one time. If a file format does not appear in the Open dialog box or in the File > Import submenu, install the format’s plug-in module (see “Using plug-in modules” on page 36). For more information on a specific file format, see “About file formats” on page 321. To import an image, choose the import module from the File > Import submenu.
56 CHAPTER 3 Getting Images into Photoshop • The Paste commands to paste copied Illustrator artwork into a Photoshop image either as pixels or as a path. (See “Using drag and drop to copy between applications” on page 179.) When an Illustrator, PDF, or EPS image is opened or placed in Photoshop, it is rasterized—the mathematically defined lines and curves of the vector image are converted into the pixels or bits of a bitmap image. For more on vector and bitmap images, see page 41.
ADOBE PHOTOSHOP 5.0 57 User Guide Turning off anti-aliasing for imported objects. The Anti-alias PostScript® option removes jagged edges from a pasted or placed selection by making a subtle transition between the edges of the selection and its surrounding pixels. Turning off this option helps maintain the hard edges of line art as it is rasterized. To turn off the Anti-alias Postscript option: 1 Choose File > Preferences > General. 2 Deselect Anti-alias PostScript.
58 CHAPTER 3 Getting Images into Photoshop To view file information: To crop an image using the Crop command: Choose File > File Info. For section, choose the attribute you want to view. 1 Use the rectangle marquee tool to select the part of the image you want to keep. Make sure that the Feather option is set to 0 pixels. (See “Feathering” on page 147.) To read a Digimarc watermark: 1 Choose Filter > Digimarc > Read Watermark.
ADOBE PHOTOSHOP 5.0 59 User Guide • To rotate the marquee, position the pointer outside the bounding box (the pointer turns into a curved arrow), and drag. To adjust the point around which the marquee is rotated, drag the circle at the center of the bounding box. 4 Choose the units of measurement you want from the menus. The Columns option measures width in terms of the columns specified in the Rulers & Units preferences. 5 Enter values for the size and resolution you want for the cropped area.
60 CHAPTER 3 Getting Images into Photoshop 4 For Anchor, click a square to indicate where to position the existing image on the new canvas. 5 Click OK.
4
63 Chapter 4: Choosing a Color Mode F amiliarity with color theory and terminology can help you understand how color is measured and how Adobe Photoshop uses this information to define, display, and print color values. Color modes and models A color mode in Photoshop determines the color model used to display and print Photoshop documents. Photoshop bases its color modes on established models for describing and reproducing color.
64 CHAPTER 4 Choosing a Color Mode RGB mode Photoshop’s RGB mode uses the RGB model, assigning an intensity value to each pixel ranging from 0 (black) to 255 (white) for each of the RGB components in a color image. For example, a bright red color might have an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of gray. When the value of all components is 255, the result is pure white; when the value is 0, pure black.
ADOBE PHOTOSHOP 5.0 65 User Guide L*a*b model Specialized color modes The L*a*b color model is based on the model proposed by the Commission Internationale d’Eclairage (CIE) in 1931 as an international standard for color measurement. In 1976, this model was refined and named CIE L*a*b. Photoshop also provides specialized color modes.
66 CHAPTER 4 Choosing a Color Mode Duotone mode Creates duotone (two-color), • Converting a CMYK image to multichannel tritone (three-color), and quadtone (four-color) grayscale images using two to four colored inks. (See “Using monotones, duotones, tritones, and quadtones” on page 339.) creates cyan, magenta, yellow, and black spot channels. Indexed color mode Uses at most 256 colors.
ADOBE PHOTOSHOP 5.0 67 User Guide Therefore, some colors, such as pure cyan or pure yellow, can’t be displayed accurately on a monitor. Note: The Wide Gamut RGB mode extends this color range beyond what can be previewed on a monitor, creating a larger RGB color range in which to work. For information on editing images in this mode, see “Entering RGB setup information” on page 84. The CMYK gamut is smaller, consisting only of colors that can be printed using process-color inks.
68 CHAPTER 4 Choosing a Color Mode This understanding also will help you choose a file format for your images. For more information, see Chapter 14, Saving and Exporting Images. About bit depth Bit depth—also called pixel depth or color depth— measures how much color information is in the image to display or print pixels. Greater bit depth (more bits of information per pixel) means more available colors and more accurate color representation in the digital image.
ADOBE PHOTOSHOP 5.0 69 User Guide Converting between bit depths In most cases, RGB, grayscale, and CMYK images contain 8 bits of data per color channel. With three channels in an RGB image, this translates to a 24-bit RGB bit depth (8 bits x 3 channels), an 8-bit grayscale bit depth (8 bits x 1 channel), and a 32-bit CMYK bit depth (8 bits x 4 channels). Photoshop can also read and import 48-bit RGB, 64-bit CMYK, and 16-bit grayscale images (each with 16 bits of data per color channel).
70 CHAPTER 4 Choosing a Color Mode The following mode conversions flatten the file: To convert an image to Bitmap mode: • RGB to Indexed color or Multichannel mode. 1 Do one of the following: • CMYK to Multichannel mode. • If the image is in color, choose Image > Mode > • Lab to Multichannel, Bitmap, or Grayscale mode. • Grayscale to Bitmap, Indexed, or Multichannel mode. • Duotone to Bitmap, Indexed, or Multichannel mode.
ADOBE PHOTOSHOP 5.0 71 User Guide Specifying a halftone screen for a Bitmapmode image 4 Enter a value for the screen angle in degrees from –180 to +180. The Halftone Screen option in the Bitmap dialog box lets you convert a grayscale image to simulated halftone dots. The screen angle refers to the orientation of the screen. Continuous-tone and black-and-white halftone screens commonly use a 45° angle. Important: The halftone screen becomes part of the image.
72 CHAPTER 4 Choosing a Color Mode Diffusion Dither Converts an image by using an error-diffusion process, starting at the pixel in the upper left corner of the image. If the pixel’s value is above middle gray (128), the pixel is changed to white—if below, to black. Because the original pixel is rarely pure white or pure black, error is inevitably introduced. This error is transferred to surrounding pixels and diffused throughout the image, resulting in a grainy, filmlike texture.
ADOBE PHOTOSHOP 5.0 73 User Guide To convert an RGB image to an indexed-color image: Uniform Creates a palette by uniformly sampling 1 Choose Image > Mode > Indexed Color. colors from the spectrum. For example, if you choose an 8-bit color depth, Photoshop takes 6 evenly spaced color levels each of red, green, and blue and calculates the combinations of these colors to produce a uniform palette of 216 colors (6 x 6 x 6 = 216). A lower bit depth creates a uniform palette composed of fewer colors.
74 CHAPTER 4 Choosing a Color Mode Previous Uses the custom palette from the None Does not dither colors but instead uses the previous conversion, making it easy to convert several images with the same custom palette. color closest to the missing color. This tends to result in sharp transitions between shades of color in the image, creating a posterized effect. For a color illustration of color palettes, see figure 4-7 on page 224.
ADOBE PHOTOSHOP 5.0 75 User Guide Manipulating the color table You can change one or more colors in the color table of an indexed-color image, edit colors to produce special effects, model the colors after a predefined color table, and save a color table for reuse with other indexed-color images.
76 CHAPTER 4 Choosing a Color Mode Saving and loading a color table You use the Save and Load buttons in the Color Table dialog box to save your indexed color tables for use with other Adobe Photoshop images. Once you load a color table into an image, the colors in the image change to reflect the color positions they reference in the new color table. Note: You can also load saved color tables into the Swatches palette.
5
79 Chapter 5: Reproducing Color Accurately W hether preparing artwork for print or online use, you should begin by calibrating your monitor. This will ensure the closest possible match between your colors on-screen and those produced by a printer, a video display, or a different computer monitor, and also between your colors in Adobe Photoshop and in other software programs. If your monitor isn’t calibrated, the resulting colors may not even be close to what you originally saw on it.
80 CHAPTER 5 Reproducing Color Accurately The CMYK Setup dialog box defines which CMYK color space to use for editing and printing CMYK images. Even if you plan to print your files, you may not need to do this step. Most low-end inkjet printers and some other output devices accept RGB data directly, and don’t require that you define a CMYK color space. If you are unsure whether your printer is an RGB printer, see the documentation that came with your printer or contact the printer’s manufacturer.
ADOBE PHOTOSHOP 5.0 81 User Guide • Display RGB colors accurately on the screen. • Display CMYK colors accurately on the screen. About ICC profiles One of the methods Photoshop can use to manage color is based on the use of ICC profiles. An ICC profile is a color space description. The ICC profile format was defined by the International Color Consortium (ICC) as a cross-application standard.
82 CHAPTER 5 Reproducing Color Accurately • When opening an RGB, Grayscale, or CMYK file, to compare the file’s color space to the color space defined in the appropriate Setup dialog box. If the two color spaces are not the same, you can convert the file. (See “Managing ICC profiles in files” on page 99.) • When viewing a file on-screen, to convert the file to the monitor’s color space.
ADOBE PHOTOSHOP 5.0 83 User Guide brightness and contrast controls, you must recalibrate the system. If you haven’t done so already, after calibrating the monitor consider taping down your monitor’s brightness and contrast controls and your room’s lighting controls. To calibrate a monitor: 1 Make sure your monitor has been turned on for at least a half hour, to stabilize the monitor display. 2 Set the room lighting at the level you plan to maintain.
84 CHAPTER 5 Reproducing Color Accurately • Deselect View Single Gamma Only to adjust the gamma based on Red, Blue, and Green reading. Drag the slider under each box, until the center box matches the patterned frame. The gamma setting of your monitor defines how bright the midtones are. 11 For Desired, choose the target gamma you want. For example, the default target gamma in Windows is 2.2 and in Mac OS is 1.8. Note: This option is not available on Windows systems that cannot control the monitor.
ADOBE PHOTOSHOP 5.0 85 User Guide • Apple RGB for the RGB color space used by • SMPTE-C for the current color television earlier versions of Adobe Photoshop as well as a variety of other desktop publishing applications. Apple RGB is a good choice for online images that will be displayed on Mac OS systems. standard in the United States and other parts of the world that use NTSC-based television. • CIE RGB for the RGB color space defined by the Commission Internationale d’Eclairage.
86 CHAPTER 5 Reproducing Color Accurately 3 For Primaries, choose a set of red, green, and blue phosphor or primary types. This option is based on the different red, green, and blue phosphors or primaries used by monitors to display color. If the correct type is not listed, choose Custom, and enter the red, green, and blue chromaticity coordinates. Note: Because you are defining the color space in which to edit images, the primaries do not have to match your monitor.
ADOBE PHOTOSHOP 5.0 87 User Guide • To specify the ink and separation options yourself, see “Using the Built-in option to define the CMYK color space” on page 88. • To create or use third-party, Photoshop- compatible color separation tables, see “Using color separation tables” on page 98. 5 For Engine, choose the CMM you want to use. Built-in refers to Photoshop’s built-in CMM. Note: This option is not the same as choosing Built-in for CMYK Model.
88 CHAPTER 5 Reproducing Color Accurately Using the Built-in option to define the CMYK color space The Built-in option in the CMYK Setup dialog box lets you specify the ink and separation options. Photoshop then enters a default value for the dot gain (the change in the halftone dot size caused by absorption on the output device). After you print a proof or talk to your print shop, you might need to return to the CMYK Setup dialog box to adjust for dot gain, ink characteristics, and color casts.
ADOBE PHOTOSHOP 5.0 89 User Guide To save and load settings: Use the Save and Load buttons in the CMYK Setup dialog box to save these settings as an ICC profile. The profile can then be used again by Photoshop and other ICC-aware applications. Adjusting separation options Along with the other options when you choose Built-in as the CMYK model in the CMYK Setup dialog box, the separation options control how the CMYK plates are generated.
90 CHAPTER 5 Reproducing Color Accurately Adjusting the separation type and black generation In most cases, the Photoshop color separation defaults produce excellent results. But when necessary, you can modify the black generation method, set new ink limits, and change the separation type. If you have already converted the image to CMYK mode, you must reconvert the image after adjusting the separation options.
ADOBE PHOTOSHOP 5.0 91 User Guide You can choose from several Black Generation settings in the Separation Setup dialog box: • None generates the color separation using no black plate. • The Light and Heavy settings decrease and increase the effect of the Medium setting (the default). In most cases, Medium produces the best results. • Maximum maps the gray value directly to the black generation value.
92 CHAPTER 5 Reproducing Color Accurately Printing a color proof After calibrating your monitor and entering settings for CMYK Setup, you should print a CMYK image, called a proof, on the printer you are calibrating to. The document you use to generate the proof should contain color samples of all the CMYK color combinations and must be created or imported directly in CMYK mode. You can produce a proof by printing the Testpict.
ADOBE PHOTOSHOP 5.0 93 User Guide If you are using ICC profiles and the on-screen image doesn’t match the printed proof closely enough, you can do the following: • Check that the printer is not miscalibrated. It may not match the dot gain specified in its ICC profile. Adobe Systems strongly recommends that you calibrate the imagesetter using the manufacturer’s calibration software or a third-party imagesetter calibration device, such as Precision Color by Kodak.
94 CHAPTER 5 Reproducing Color Accurately Decreasing the dot gain makes the image onscreen appear lighter, because the dots are smaller. Increasing the dot gain makes the image appear darker, because the dots are larger. Changes don’t affect actual data in the image until Photoshop uses the setting to adjust the CMYK percentages to compensate for dot gain during the conversion process. 5 Choose Standard from the Dot Gain menu and enter the total amount of dot gain from step 2 in the Dot Gain text box.
ADOBE PHOTOSHOP 5.0 95 User Guide • Click to add an adjustment point in the dot gain curve, and drag the point to change its value. The value then appears in the appropriate text box. • Click OK. Applying dot gain settings to grayscale images If your grayscale images will be viewed only onscreen, you don’t need to compensate for dot gain. However, if you will print your images, you should apply the same dot gain values you used for CMYK output.
96 CHAPTER 5 Reproducing Color Accurately 4 Calculate the required adjustment, and type the values (as percentages) in the Transfer Functions dialog box. For example, if you specified a 50% dot, and your imagesetter prints it at 58%, an 8% dot gain occurs in the midtones. To compensate for this gain, enter 42% (50% – 8%) in the 50% text box of the Transfer Functions dialog box. The imagesetter then prints the 50% dot you want.
ADOBE PHOTOSHOP 5.0 97 User Guide The Ink Colors dialog box displays the various combinations of CMYK and the CIE coordinates measured for each. CIE coordinates are an international color definition standard supported by PostScript Level 2. 5 Using your printed CMYK proof, take a reading of the color values using a spectrophotometer or a colorimeter, and then enter those values in the Ink Colors dialog box.
98 CHAPTER 5 Reproducing Color Accurately • Avoid multiple conversions between RGB and Using color separation tables CMYK mode, because each conversion requires color values be recalculated and rounded, resulting in less accurate color. The Tables option lets you do the following: • When converting color values from one mode to another, Photoshop uses the Lab color mode, which provides a system for defining color values in all modes.
ADOBE PHOTOSHOP 5.0 99 User Guide Loading a separation table overrides any options in the CMYK Setup dialog boxes. To use the dialog box settings again, you must choose File > Color Settings > CMYK Setup, and select Built-in or ICC. The following information can help you in specifying Profile Setup options: • Embedding profiles increases the file size. • Embedding profiles provides color consistency when a file is opened in another application or on another system.
100 CHAPTER 5 Reproducing Color Accurately 3 In the Assumed Profiles area, choose which ICC profiles to use to define the RGB, CMYK, and Grayscale color spaces to convert from when opening files that don’t contain an ICC profile. For example, if an RGB image was previously saved in Photoshop 4.0 in Mac OS, choosing Monitor RGB here would open the image using the same RGB color space it used before. (This occurs because earlier versions of Photoshop edited images within your monitor’s color space.
ADOBE PHOTOSHOP 5.0 101 User Guide If you’ve changed one of the Setup dialog boxes, use this command to maintain accurate color on any open images. For example, if you’ve used the RGB Setup dialog box to change the RGB color space from sRGB to CIE RGB, you can select an open RGB image and use the Profile to Profile command to convert the image data from sRGB to CIE RGB. The Profile to Profile command is also useful if you chose to ignore ICC profiles when opening files.
6
105 Chapter 6: Making Color and Tonal Adjustments B y calibrating your system as described in Chapter 5, “Reproducing Color Accurately,” you ensure that the colors contained in images are displayed accurately on your monitor. (If you have not calibrated, you may be making adjustments to an image based on a false representation of its color.) Once your system is calibrated correctly, you are ready to adjust the color and tone of individual images by following the general steps outlined in this chapter.
106 CHAPTER 6 Making Color and Tonal Adjustments To open a color adjustment dialog box: Do one of the following: • Choose Image > Adjust and choose the command you want from the submenu. • Hold down Ctrl (Windows) or Command (Mac OS), and click the New Layer button in the Layers palette. For type, choose the color adjustment command you want, and click OK. • Choose Layer > New > Adjustment Layer. For Type, choose the color adjustment command you want and click OK.
ADOBE PHOTOSHOP 5.0 107 User Guide To turn on previewing and deactivate color table animation: Select the Preview option in any color correction dialog box. To turn off color table animation: When you work with a color adjustment dialog box, the Info palette displays two sets of color values for the pixels under the pointer. The value in the left column is the original pixel’s color value. The value in the right column is the color value after the adjustment is made.
108 CHAPTER 6 Making Color and Tonal Adjustments To display or hide color sampler information in the Info palette: To change the color space in which a color sampler displays values: • Choose Show Color Samplers or Hide Color 1 Move the pointer onto the color sampler icon in the Info palette. Samplers from the Info palette menu. 2 Hold down the mouse button and choose a To place a color sampler: Select the color sampler tool ( you want to place it. color space from the menu.
ADOBE PHOTOSHOP 5.0 109 User Guide To use the Color palette to preview color values: 1 Choose Window > Show Color. 2 Select the eyedropper tool ( ). 3 Open a color adjustment dialog box (see “Using color adjustment commands” on page 105). 4 Click the pixel you want to preview in the image. The color values of the pixel after the adjustment has been made are shown in the Color palette.
110 CHAPTER 6 Making Color and Tonal Adjustments • With certain types of separations, you must Identifying out-of-gamut colors work in RGB mode anyway. For example, if you separate an image using the Maximum Black Generation option in the CMYK Setup dialog box, it will be difficult, if not impossible, to make any corrections requiring a significant increase in the C, M, or Y components.
ADOBE PHOTOSHOP 5.0 111 User Guide You can also quickly identify all out-of-gamut colors in an RGB image by using the Gamut Warning command. This command highlights all pixels that are out of gamut in the image. STEPS IN MAKING COLOR AND TONAL ADJUSTMENTS 1 Calibrate (page 111). To turn on and off the highlighting of out-of-gamut colors: 2 Check the scan quality (page 112). Choose View > Gamut Warning. 3 Set the highlights and shadows (page 114).
112 CHAPTER 6 Making Color and Tonal Adjustments Step 2: Check the scan quality and tonal range It’s important to determine whether your image has sufficient detail to produce high-quality output. The higher the number of pixels in an area, the greater the detail. Bad photographs or bad scans can be difficult if not impossible to correct. Too many color corrections can also result in loss of pixel values and too little detail.
ADOBE PHOTOSHOP 5.0 113 User Guide To determine whether a scan captured enough detail for high-quality output, check the RGB pixel values of your highlight and shadow areas in the Info palette— generally, 240 and 10, respectively. The scan must also be free of large gaps within these ranges. The numerical values at the lower left of the Histogram dialog box display statistical information about the color values of the pixels: • Mean is the average brightness value.
114 CHAPTER 6 Making Color and Tonal Adjustments Step 3: Set the highlight and shadow values You begin professional tonal correction by assigning values to the extreme highlight and shadow pixels in the image, setting an overall tonal range that allows for the sharpest detail possible throughout the image. This process is known as setting the highlights and shadows or setting the white and black points. You can do this several ways.
ADOBE PHOTOSHOP 5.0 115 User Guide The eyedropper displays the average value of each 3-by-3-screen-pixel area, ensuring a representative sample of an area rather than the value of a single screen-pixel. 3 Identify the highlight: • Open the Info palette, and move the pointer around the image to help identify the lightest neutral areas in the image. (See “Previewing color values” on page 107.
116 CHAPTER 6 Making Color and Tonal Adjustments • The RGB equivalent is 10, 10, 10. • The grayscale equivalent is a 96% dot. • You can reproduce these same values quickly by 2 Hold down Alt (Windows) or Option (Mac OS), and drag the white or black Input Levels triangle. entering a value of 4 in the Brightness text box. 9 Click OK when you’ve entered the values. Then click the shadow area you identified in step 7.
ADOBE PHOTOSHOP 5.0 117 User Guide Setting the highlights and shadows using the Levels sliders To set the highlights and shadows using the Levels sliders: You can also set the highlights and shadows in an image by moving the Levels input sliders to the first group of pixels on both ends of the histogram. Doing so maps these pixels—the darkest and lightest pixels in each channel—to black and white, increasing the tonal range of the image.
118 CHAPTER 6 Making Color and Tonal Adjustments You can also enter values directly into the Input Levels text boxes. You can also enter values directly into the Output Levels text boxes. A B A. Decreases shadows B. Decreases highlights Original 4 If your image also needs midtone corrections, you can set them now with the Levels dialog box. Do this before applying the levels changes. (See “Adjusting the midtones using the Levels sliders” on page 119.) 5 Click OK.
ADOBE PHOTOSHOP 5.0 119 User Guide By default, the Auto feature clips the white and black pixels by 0.5%—that is, it ignores the first 0.5% of either extreme when identifying the lightest and darkest pixels in the image. This clipping of color values ensures that white and black values are based on representative rather than extreme pixel values. The Auto feature gives good results when an image with an average distribution of pixel values needs a simple contrast adjustment.
120 CHAPTER 6 Making Color and Tonal Adjustments 2 If you’re working in an image with more than one color channel, choose the channel (or channels) you want to adjust from the Channel menu. (See “Using the Channels palette” on page 240.) To edit a combination of color channels at the same time, Shift-select the channels in the Channels palette before choosing the Levels command. The Channel menu then displays the abbreviations for the target channels—for example, CM for cyan and magenta.
ADOBE PHOTOSHOP 5.0 121 User Guide The horizontal axis of the graph represents the original brightness values of the pixels (Input levels); the vertical axis represents the new brightness values (Output levels). In the default diagonal line, no pixels have been mapped to new values, so all pixels have identical Input and Output values. 4 Click the part of the curve you want to adjust.
122 CHAPTER 6 Making Color and Tonal Adjustments 6 Adjust the curve: • Arrow keys to move points on the curve. • Drag the curve until the image looks as you • Shift-click to select multiple points. want it. • Enter an Input and Output value for the selected point on the curve. • Ctrl+Tab (Windows) or Command+Tab to move forward through control points on the curve. • Shift+Ctrl+Tab (Windows) or Shift+Command+Tab to move backward through control points on the curve.
ADOBE PHOTOSHOP 5.0 123 User Guide Once again, although you can use the Levels command, Curves offers the most precise control over pixel distribution within a channel. The commands Hue/Saturation, Replace Color, and Selective Color offer additional control over specific color components and attributes. For examples of corrections of specific color imbalances, see “Correcting The Color Plates” on page 232.
124 CHAPTER 6 Making Color and Tonal Adjustments 2 Choose Shadows, Midtones, or Highlights to select the tonal range on which you want to focus the changes. 3 With RGB images, select Preserve Luminosity to prevent changing the luminosity values in the image while changing the color. This option maintains the tonal balance in the image. To adjust an image using Hue/Saturation: 1 Open the Hue/Saturation dialog box, as described in “Using color adjustment commands” on page 105.
ADOBE PHOTOSHOP 5.0 125 User Guide 3 For Hue, enter a value or drag the slider until the colors appear as you want. • Drag one of the lighter gray bars to adjust the The values displayed in the text box reflect the number of degrees of rotation around the wheel from the pixel’s original color. A positive value indicates clockwise rotation, a negative value counterclockwise rotation. Values can range from -180 to +180.
126 CHAPTER 6 Making Color and Tonal Adjustments To colorize a grayscale image or create a monotone effect: 1 If you are colorizing a grayscale image, choose Image > Mode > RGB to convert the image to RGB. 2 Open the Hue/Saturation dialog box, as described in “Using color adjustment commands” on page 105. 3 Select Colorize. The image is converted to the hue of the current foreground color. The lightness value of each pixel does not change. 4 Use the Hue slider to select a new color if desired.
ADOBE PHOTOSHOP 5.0 127 User Guide 5 Drag the hue, saturation, and lightness sliders (or enter values in the text boxes) to change the color of the selected areas. 6 Click OK to replace the color. Using the Selective Color command Like the other color correction tools, the Selective Color command lets you correct imbalances and adjust colors.
128 CHAPTER 6 Making Color and Tonal Adjustments Step 6: Sharpen the image Unsharp masking, or USM, is a traditional film compositing technique used to sharpen edges in an image. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. It is useful for images intended both for print and online. The effects of the Unsharp Mask filter are far more pronounced on-screen than in high-resolution output.
ADOBE PHOTOSHOP 5.0 129 User Guide If applying the Unsharp Mask filter makes already bright colors appear overly saturated, convert the image to Lab mode and apply the filter to the L channel only. This technique sharpens the image without affecting the color components. The two thumbnails at the top of the dialog box show the original selection (Original) and the selection with its currently selected adjustments (Current Pick). When you first open the dialog box, these two images are the same.
130 CHAPTER 6 Making Color and Tonal Adjustments • To subtract a color, click its opposite on the color wheel (see “Adjusting color balance” on page 123). For example, to subtract cyan, click red. 4 Click the thumbnails on the right of the dialog box to adjust the brightness in the image. Each time you click a thumbnail, all thumbnails change. The center thumbnail always reflects the current choices.
ADOBE PHOTOSHOP 5.0 131 User Guide To invert an image: To equalize the brightness values of pixels: Choose Image > Adjust > Invert. 1 Choose Image > Adjust > Equalize. 2 If you selected an area of the image, in the Equalize dialog box select what to equalize:. • Equalize Selected Area Only to distribute evenly only the selection’s pixels. • Equalize Entire Image Based on Selected Area to distribute evenly all image pixels based on those in the selection.
132 CHAPTER 6 Making Color and Tonal Adjustments To use the Threshold command: 1 Open the Threshold dialog box, as described in “Using color adjustment commands” on page 105. The Threshold dialog box displays a histogram of the luminance levels of the pixels in the current selection. 2 Drag the slider below the histogram until the threshold level you want appears at the top of the dialog box. As you drag, the image changes to reflect the new threshold setting.
ADOBE PHOTOSHOP 5.0 133 User Guide Using the Desaturate command The Desaturate command removes all color values from a color image, converting it to a grayscale image in the same color mode. To desaturate an image: Choose Image > Adjust > Desaturate.
7
137 Chapter 7: Selecting o modify part of an image in Adobe Photoshop, you first select the area you want to edit. A selected area is indicated by a dotted selection border, also called a selection marquee. The area outside the selection border is protected while you move, copy, paint, or apply special effects to the isolated area. T You can choose from a variety of specialized tools for creating selection borders.
138 CHAPTER 7 Selecting To use the marquee tools: 4 To make a selection, do one of the following: 1 Select and double-click one of the following marquee tools to display its Options palette: • With the rectangular or elliptical marquee, drag • Rectangular marquee ( ) to make a rectangular selection. • Elliptical marquee ( ) to make an elliptical selection. over the area you want to select. Hold down Shift as you drag to constrain the marquee to a square or circle.
ADOBE PHOTOSHOP 5.0 139 User Guide Using the lasso, polygon lasso, and magnetic lasso tools 4 To erase recently drawn segments, hold down Delete until you’ve erased the desired segment. The lasso and polygon lasso tools let you draw both straight-edged and freehand segments of a selection border. With the magnetic lasso tool, the border snaps to the edges of defined areas in the image.
140 CHAPTER 7 Selecting 6 Continue to click and Alt/Option-drag to finish selecting. 7 Close the selection border: • Position the polygon lasso tool pointer over the 4 If the border doesn’t snap to the desired edge, click once to add a fastening point manually. Continue to trace the edge and add fastening points as needed. starting point (a closed circle appears next to the pointer) and click.
ADOBE PHOTOSHOP 5.0 141 User Guide To set options for the lasso, polygon lasso, and magnetic lasso tools: 1 If needed, double-click the tool to open its Options palette. 2 Specify feather and anti-aliasing options, as described in “Softening the edges of a selection” on page 147. 3 For the magnetic lasso tool, set any of these options: • To specify a detection width, enter a pixel value between 1 and 40 for Lasso Width.
142 CHAPTER 7 Selecting To use the magic wand tool: Using the Color Range command 1 Double-click the magic wand tool to display its Options palette. The Color Range command selects a specified color or color subset within an existing selection or an entire image. If you want to replace a selection, be sure to deselect everything before applying this command. 2 For Tolerance, enter a value in pixels, ranging from 0 to 255.
ADOBE PHOTOSHOP 5.0 143 User Guide 4 Position the pointer over the image or preview area, and click to sample the colors you want included. 6 Adjust the selection: • To add colors, select the plus eyedropper from the Color Range dialog box and click in the preview area or image. • To remove colors, select the minus eyedropper, and click in the preview area or image. To activate the plus eyedropper temporarily, hold down Shift. Hold down Alt (Windows) or Option (Mac OS) to activate the minus eyedropper.
144 CHAPTER 7 Selecting To select a range using preset colors: To save and load color range settings: 1 Choose Select > Color Range. Use the Save and Load buttons in the Color Range dialog box to save and reuse settings. 2 For Select, choose a color or tonal range. The Out-of-Gamut option works only on RGB and Lab images. (An out-of-gamut color is an RGB or Lab color that cannot be printed using process color printing. See “Color gamuts” on page 66.
ADOBE PHOTOSHOP 5.0 145 User Guide Use the following methods to control selection movement: • To constrain the direction to a multiple of 45°, begin dragging, and then hold down Shift as you continue to drag. • To move the selection in 1-pixel increments, use the keyboard arrow keys. • To move the selection in 10-pixel increments, hold down Shift, and press an arrow key. To hide or show a selection border: Choose View > Hide Edges or Show Edges. This option affects the current selection only.
146 CHAPTER 7 Selecting • Grow and Similar to expand a selection to To expand or contract a selection border: The Border command always creates an antialiased selection (see “Softening the edges of a selection” on page 147). To paint a hard-edged border around a selection, use the Stroke command (see “Filling and stroking selections and layers” on page 211). 1 Choose Select > Modify > Expand or Contract.
ADOBE PHOTOSHOP 5.0 147 User Guide To increase the selection in increments, choose either command more than once. Note: You cannot use the Grow and Similar commands on images that are in Bitmap mode. To smooth a selection: 1 Choose Select > Modify > Smooth. 2 For Sample Radius, enter a pixel value between 1 and 16, and click OK. Adobe Photoshop checks around each selected pixel to find any unselected pixels falling within the specified range.
148 CHAPTER 7 Selecting To define a feathered edge for a selection tool: 1 Double-click the marquee, lasso, polygon lasso, or magnetic lasso tool to display its Options palette. 2 Enter a Feather value in the Options palette. This value defines the width of the feathered edge and can range from 1 to 250 pixels. A B C D To define a feathered edge for an existing selection: 1 Choose Select > Feather. 2 Enter a value for the Feather Radius, and click OK.
ADOBE PHOTOSHOP 5.0 149 User Guide About paths Using the Paths palette Paths provide an effective way to draw precise selection borders. A path is any line or shape you draw using the pen, magnetic pen, or freeform pen tool. Unlike the bitmap shapes drawn by the pencil or other painting tools, paths are vector objects that contain no pixels. As a result, paths remain separate from the bitmap image and do not print, with the exception of clipping paths.
150 CHAPTER 7 Selecting To change the size of a path thumbnail: 1 Choose Palette Options from the Paths palette menu. 2 Select a size, or select None to turn off the display of thumbnails. To change a path’s stacking order: 1 Select the path in the Paths palette. 2 Drag the path up or down in the Paths palette. When the solid line appears in the desired location, release the mouse button. Paths saved with an image appear when you open it again.
ADOBE PHOTOSHOP 5.0 151 User Guide 2 Do one of the following: Drawing freehand paths • Drag the path to the Trash button at the bottom The freeform pen tool and the magnetic pen tool let you draw paths as if you were drawing with a pencil on paper. As you draw with the freeform pen tool, anchor points are automatically set down. You do not determine where they are positioned, although you can adjust them once the path is complete.
152 CHAPTER 7 Selecting 4 To continue the existing freehand path, position the freeform pen pointer on an endpoint of the path, and drag. The most recent segment of the border remains active. As you move the pointer, the active segment snaps to the strongest edge in the image, connecting the pointer to the last fastening point. Periodically, the magnetic pen tool adds fastening points to the border to anchor previous sections.
ADOBE PHOTOSHOP 5.0 153 User Guide • Hold down Alt (Windows) or Option (Mac OS) and double-click to close the path with a straight segment. 4 Specify Frequency, Edge Contrast, and Stylus: Pressure options, as described in the procedure on page 141. See “About anchor points, direction lines, and direction points” on page 153 for more on closed and open paths. Drawing with the pen tool To specify magnetic pen tool options: 1 If needed, double-click the magnetic pen tool to display its Options palette.
154 CHAPTER 7 Selecting A path can be closed, with no beginning or end (for example, a circle), or open, with distinct endpoints (for example, a wavy line). A B C the curve on the same side of the point as the direction line is adjusted. D Adjusting smooth point and corner point Closed and open paths A. Selected line segment B. Unselected anchor point C. Selected anchor point D.
ADOBE PHOTOSHOP 5.0 155 User Guide 2 Position the pen pointer where you want the straight line to begin, and click to define the first anchor point. The anchor point remains selected (solid) until you define the next point. Drawing curved paths You create curves by dragging the pen tool in the direction you want the curve to go. To draw a curved path: 1 Select the pen tool. 2 Position the pointer where you want the curve to begin. Hold down the mouse button.
156 CHAPTER 7 Selecting 5 Do one of the following: 6 Complete the path: • To draw the next segment of a smooth curve, • To end an open path, click the pen tool in the position the pointer where you want the next segment to end, and drag away from the curve. toolbox. Or hold down the Ctrl key (Windows) or Command key (Mac OS), and then click anywhere away from the path. • To close the path, position the pointer over the first anchor point.
ADOBE PHOTOSHOP 5.0 157 User Guide • When drawing a series of smooth curves, draw To select a path or path segment: one curve at a time, placing anchor points at the beginning and end of each curve, not at the tip of the curve. Use as few anchor points as possible, placing them as far apart as possible. 1 Select the direct-selection tool ( ). 2 Do the following: • To select an entire path or subpath, hold down Alt (Windows) or Option (Mac OS), and click the path.
158 CHAPTER 7 Selecting To activate the direct-selection tool when any other tool is selected, position the pointer over an anchor point, and press Ctrl (Windows) or Command (Mac OS). To move a curved segment: 1 Select the direct-selection tool ( ), and select the points or segments you want to move. Be sure to select both the points anchoring the segment. 2 Drag the selected anchor points or segments to new positions. Hold down Shift as you drag to constrain the movement to multiples of 45°.
ADOBE PHOTOSHOP 5.0 159 User Guide • To adjust the shape of the segment on either side To add an anchor point: of a selected anchor point, drag the anchor point, or drag the direction point. Hold down Shift as you drag to constrain the movement to multiples of 45°. 1 Select the add-anchor-point tool ( ), and position the pointer on the path where you want the anchor point added (a plus sign appears next to the pointer).
160 CHAPTER 7 Selecting 2 Convert the point: Moving and copying paths • To convert a smooth point to a corner point You can reposition a path anywhere within an image. You can copy paths within an image or between two Photoshop images. You can also use the Copy and Paste commands to duplicate paths, between a Photoshop image and an image in another application, such as Adobe Illustrator, Adobe Streamline™, or Adobe Dimensions®. without direction lines, click the smooth anchor point.
ADOBE PHOTOSHOP 5.0 161 User Guide • To copy and rename a path, Alt-drag (Windows) or Option-drag (Mac OS) the path in the Paths palette to the New Path button ( ) at the bottom of the palette. Or select the path to copy, and choose Duplicate Path from the Paths palette menu. Enter a new name for the path, and click OK. To copy paths between two Adobe Photoshop files: 1 Open both images. 2 Use the direct-selection tool to select the path in the source image you want to copy.
162 CHAPTER 7 Selecting 6 Select Preserve Transparency to limit the fill to layer areas that contain pixels. (See “Preserving a layer’s transparency” on page 269.) To stroke a path and specify options: 7 Select a Rendering option: to use to stroke the path. Set the tool options in the Options palette, and specify a brush in the Brushes palette. You must specify the tool’s settings before opening the Stroke Path dialog box.
ADOBE PHOTOSHOP 5.0 163 User Guide Converting between paths and selection borders Because of their smooth outlines, paths can be converted into precise selection borders. You also can convert selection borders into paths, using the direct-selection tool for fine-tuning. Defining paths as selection borders You can define any closed path as a selection border. A closed path that overlaps a selected area can be added to, subtracted from, or combined with the current selection.
164 CHAPTER 7 Selecting • To subtract the path from the current selection, press Ctrl+Alt/Command+Option and click the path thumbnail. • To select the intersection of the path and the current selection, press Ctrl+Shift+Alt/Command+Shift+Option and click the path thumbnail. Converting selection borders into paths 3 Enter a Tolerance value. Tolerance values can range from 0.5 to 10 pixels and determine how sensitive the Make Work Path command is to slight changes in the selection shape.
8
167 Chapter 8: Editing and Retouching A dobe Photoshop makes it easy to edit and retouch your images. For example, you can move and copy selections within and between images and also between programs. A variety of editing tools let you modify your images and apply special effects. Keep in mind that pixels beyond the borders of the visible canvas cannot be edited or retouched.
168 CHAPTER 8 Editing and Retouching To reverse all changes made to the image since it was last saved: Choose File > Revert, and click Revert. To restore part of an image to its previously saved version: Do one of the following: • Use the history brush tool ( ) to paint with the selected state or snapshot on the History palette. (See “Painting with a state or snapshot of the image” on page 172.) • Use the eraser tool ( ) with the Erase to History option selected.
ADOBE PHOTOSHOP 5.0 169 User Guide • By default, selecting a state dims those below. To revert to a previous state of the image: This way you can easily see which changes will be discarded if you continue working from the selected state. (See “To specify history options:” on page 170.) Do any of the following: • By default, selecting a state and then changing to a different state. the image eliminates all states that come after.
170 CHAPTER 8 Editing and Retouching • Choose Edit > Purge > Histories to purge the list To specify history options: of states from the History palette for all open documents. This action cannot be undone. 1 Choose History Options from the History palette pop-up menu. To create a new document based on the selected state or snapshot of the image: Do one of the following: • Drag a state or snapshot onto the New Document button ( ). • Select a state or snapshot and click the New Document button ( ).
ADOBE PHOTOSHOP 5.0 171 User Guide Making a snapshot of the image The Snapshot command lets you make a temporary copy (or snapshot) of any state of the image. The new snapshot is added to the list of snapshots at the top of the History palette. Selecting the snapshot lets you work from that version of the image. Important: Snapshots are not saved with the image—closing an image removes all snapshots.
172 CHAPTER 8 Editing and Retouching • Select the snapshot, and click the Trash button ( ). • Drag the snapshot to the Trash button ( ). 4 If desired, select Impressionist to paint with an “impressionistic” copy of the source state or snapshot. This option drags and smears the pixels as you paint. Painting with a state or snapshot of the image The history brush tool lets you paint a copy of one state or snapshot of an image into the current image window.
ADOBE PHOTOSHOP 5.0 173 User Guide To duplicate an image and automatically append the name “copy” to it, hold down Alt (Windows) or Option (Mac OS) as you choose Image > Duplicate. Using rulers, the measure tool, guides, and grids 2 Position the pointer over the intersection of the rulers in the upper left corner of the window, and drag diagonally down onto the image. To make the ruler origin snap to the ruler ticks, hold down Shift as you drag.
174 CHAPTER 8 Editing and Retouching 4 For Point/Pica Size, choose from the following options: To display an existing measuring line: 1 Select the measure tool ( ). • PostScript (72 points per inch) if you are printing to a PostScript device. To measure between two points: • Traditional to use printer’s 72.27 points per inch. 1 Select the measure tool ( 5 Click OK. 2 Drag from the starting point to the ending point. Hold down the Shift key to constrain the tool to multiples of 45°.
ADOBE PHOTOSHOP 5.0 175 User Guide Using guides and the grid 2 Create a guide: Guides appear as lines that float over the entire image and do not print. You can move, remove, or lock a guide to avoid accidentally moving it. The grid appears by default as nonprinting lines but can also be displayed as dots. The grid is useful for laying out elements symmetrically. • Drag from the horizontal ruler to create a horizontal guide.
176 CHAPTER 8 Editing and Retouching • Change the guide from horizontal to vertical, or vice versa, by holding down Alt (Windows) or Option (Mac OS) as you click or drag the guide. • Align the guide with the ruler ticks by holding down Shift as you drag the guide. The guide will snap to the grid if the grid is visible and View > Snap to Grid is selected. To lock all guides: Choose View > Lock Guides. 2 For Color, choose a color for guides or the grid, or both.
ADOBE PHOTOSHOP 5.0 177 User Guide 2 In the Move Options palette, select any of the following: • Pixel Doubling to speed the preview of the move tool’s effect by temporarily doubling the size of the pixels (halving the resolution) in the preview. This option has no effect on the pixels in the file, it simply provides faster previews with the tool. • Auto Select Layer to select the topmost layer that has pixels under the move tool, rather than the selected layer.
178 CHAPTER 8 Editing and Retouching To copy a selection: 1 Select the area you want to copy. 2 Choose Edit > Copy or Edit Copy Merged. As long as you hold down Alt/Option, each press of an arrow key creates a copy of the selection and offsets it by the specified distance from the last duplicate. To copy a selection while dragging: 1 Select the move tool ( ) or hold down Ctrl (Windows) or Command (Mac OS) to activate the move tool.
ADOBE PHOTOSHOP 5.0 179 User Guide In the Layers palette, the layer thumbnail for the source selection appears next to the layer mask thumbnail for the destination selection. The layer and layer mask are unlinked—that is, you can move each one independently. 6 If you are satisfied with your results, you can choose Layer > Merge Down to merge the new layer and layer mask with the underlying layer and make the changes permanent.
180 CHAPTER 8 Editing and Retouching This automatic conversion lets you paste the Clipboard’s contents into another application. But because it can be time-consuming, you may want to disable it if you don’t plan to paste the Clipboard contents into another application. You can still paste selections between Photoshop images.
ADOBE PHOTOSHOP 5.0 181 User Guide Removing fringe pixels from a selection To decrease a fringe on a selection: When you move or paste an anti-aliased selection, some of the pixels surrounding the selection border are included with the selection. This can result in a fringe or halo around the edges of the pasted selection. These three Matting commands let you edit these unwanted edge pixels: 2 Enter a value in the Width text box for the 1 Choose Layer > Matting > Defringe.
182 CHAPTER 8 Editing and Retouching Transforming objects in two dimensions You can scale, rotate, skew, distort, and apply perspective to selected parts of an image, entire layers, paths, and selection borders. You can also rotate and flip part or all of a layer, an entire image, path, or selection border. • You cannot apply transformations to the background as a layer, or on 16-bit-per-channel images. You can, however, transform selections on the background.
ADOBE PHOTOSHOP 5.0 183 User Guide • To transform a selection border, make or load a selection. (See Chapter 7, Selecting.) To move the center point for the transformation: Drag the center point. The center point can be outside the part of the image, the path, or the selection you want to transform. • 90° CCW to rotate the image counterclockwise by a quarter-turn. • Arbitrary to rotate the image by the angle you specify. If you choose this option, enter an angle between -359.99 and 359.
184 CHAPTER 8 Editing and Retouching You can apply several commands in succession before applying the cumulative transformation. For example, you can choose Scale, drag a handle to scale, and then choose Distort, drag a handle to distort, and press Enter (Windows) or Return (Mac OS) to apply both transformations. For information about making a layer active, see “Using the Layers palette” on page 259.
ADOBE PHOTOSHOP 5.0 185 User Guide To repeat a transformation: • To scale, drag a handle. Press Shift as you drag a Choose Edit > Transform > Again, Transform Points > Again, or Transform Path > Again. corner handle to scale proportionately. When positioned over a handle, the pointer turns into a double arrow. To duplicate an item when transforming it: Press Ctrl+Alt+T (Windows) or Command+Option+T (Mac OS), or hold down Alt/Option when selecting the Transform command.
186 CHAPTER 8 Editing and Retouching • To distort relative to the center point of the • To apply perspective, press Control+Alt+Shift bounding border, press Alt (Windows) or Option (Mac OS), and drag a handle. (Windows) or Command+Option +Shift (Mac OS), and drag a corner handle. When positioned over a corner handle, the pointer turns into a gray arrowhead. Distort symmetrically • To skew, press Control+Shift (Windows) or Apply perspective Command+Shift (Mac OS), and drag a side handle.
ADOBE PHOTOSHOP 5.0 187 User Guide • To transform part or all of a path, select it. Then choose Edit > Transform Points > Numeric or Transform Path > Numeric. • To transform a selection border, make or load one. Choose Select > Transform Selection. Then choose Edit > Transform > Numeric. 2 Deselect any transformation option in the dialog box to turn it off. 3 Transform as follows: • To move, select Position.
188 CHAPTER 8 Editing and Retouching To transform an object in three dimensions: • With the direct-selection tool, drag an anchor 1 Choose Filters > Render > 3D Transform. point on the wire frame to move that anchor point. 2 Select one of these tools in the dialog box: • Cube ( ) to map the image (such as a file cabinet) to a cubic surface. Note: The wire frame turns red if you try to make a wire frame that would be impossible to re-create in three dimensions.
ADOBE PHOTOSHOP 5.0 189 User Guide • To change an added anchor point from a smooth • For Dolly Camera, enter a value between 0 and anchor point to a corner anchor point and vice versa, select the convert-anchor-point tool ( ) and click the point. A smooth anchor point creates a gentle curve when you adjust it, a corner anchor point creates a sharp corner. 100 or drag the slider to the left to magnify the transformed object, right to shrink it.
190 CHAPTER 8 Editing and Retouching 3 Click OK 2 Do any of the following: For a list of 3D transformation shortcuts, see the online help The 3D Transform dialog box previews only the active layer. As you manipulate an object in three dimensions, you can align it with the contents of the underlying layers. Duplicate the layer to align to, and place it directly under the layer to be transformed in the layer stacking order. Merge the layer to be transformed with the duplicated layer.
ADOBE PHOTOSHOP 5.0 191 User Guide • With the pattern stamp tool, deselect Aligned to center the pattern on the pointer each time you stop and resume painting. 5 Set the sampling point or pattern: • For the rubber stamp tool, position the pointer on the part of any open image you want to sample, and Alt-click (Windows) or Option-click (Mac OS). This sample point is the location from which the image is duplicated as you paint.
192 CHAPTER 8 Editing and Retouching • The toning tools consist of the dodge tool and the burn tool. Used to lighten or darken areas of the image, the dodge and burn tools are based on a traditional photographer’s technique for regulating exposure on specific areas of a print. Photographers hold back light to lighten an area on the print (dodging) or increase the exposure to darken areas on a print (burning). 4 Select a brush size as described in “Using the Brushes palette” on page 200.
ADOBE PHOTOSHOP 5.0 193 User Guide To use the dodge, burn, or sponge tool: 1 Double-click the dodge tool ( ), burn tool ( ), or sponge tool ( ) to display its Options palette. 2 For the dodge tool or burn tool, select what to change in the image: • Midtones to change only the middle range of grays in the image. • Shadows to change the dark portions of the image. • Highlights to change only the light pixels.
9
197 Chapter 9: Painting T he painting tools and fill commands let you change the color of pixels to modify and create colored areas in an image. Using the painting tools When using the painting tools, consider the painting effects you want: • The paintbrush tool ( ) creates soft strokes of color. • The airbrush tool ( ) applies gradual tones (including sprays of color) to an image, simulating traditional airbrush techniques.
198 CHAPTER 9 Painting Using the line tool The line tool ( ) draws straight lines on an image. To use the line tool: • For the concavity of the arrowhead, enter a value from –50% to +50%. The concavity value defines the amount of curvature on the widest part of the arrowhead, where the arrowhead meets the line. 1 Specify a foreground color as described in “Choosing the foreground and background colors” on page 214. 2 Select and double-click the line tool to display its Options palette.
ADOBE PHOTOSHOP 5.0 199 User Guide Using the eraser tool The eraser tool changes pixels in the image as you drag through them. If you’re working in the background, or in any other layer with Preserve Transparency on, the pixels change to the background color (see “Choosing the foreground and background colors” on page 214). Otherwise, transparency replaces the color. You can also use the eraser to return the affected area to a state selected in the History palette.
200 CHAPTER 9 Painting Using the Brushes palette To create a brush: The brush sizes and shapes available for painting and editing appear in the Brushes palette. You can add new brushes or delete ones you don’t need. You also can use part of an image to create a custom brush shape. Brush settings are retained for each of the painting tools (airbrush, paintbrush, eraser, pencil) and editing tools (history brush, rubber stamp, smudge, focus, toning).
ADOBE PHOTOSHOP 5.0 201 User Guide To create a custom brush shape: 1 Select part of an image to use as a custom brush. The brush shape can be up to 1000 pixels by 1000 pixels in size. To be most effective, the shape should appear on a solid white background. If you want to define brushes with soft edges, select brush shapes composed of pixels with gray values. (Colored brush shapes appear as gray values.) See “Softening the edges of a selection” on page 147 for information on anti-aliasing.
202 CHAPTER 9 Painting Diameter Controls the size of the brush. Enter a value in pixels or drag the slider. Spacing Controls the distance between the brush marks in a stroke. To change the spacing, type a number, or use the slider to enter a value that is a percentage of the brush diameter. To paint strokes without defined spacing, deselect this option. Brush strokes with different diameter values Hardness Controls the size of the brush’s hard center.
ADOBE PHOTOSHOP 5.0 203 User Guide Roundness Specifies the ratio between the brush’s short and long axes. Enter a percentage value, or drag the points in the left preview box. A value of 100% indicates a circular brush, a value of 0% indicates a linear brush, and intermediate values indicate elliptical brushes. • Save Brushes to save a brush set in a file (and in Windows, append an .abr extension to the filename). Exiting Photoshop saves the current Brushes palette in the Preferences file.
204 CHAPTER 9 Painting Opacity, pressure, or exposure can range from 1% to 100%. For transparent paint or a weak effect, specify a low percentage value; for more opaque paint or a strong effect, specify a high value. • Background to fade the stroke from the foreground color to the background color.
ADOBE PHOTOSHOP 5.0 205 User Guide • Color if you want light pressure to paint with the Behind Edits or paints only on the transparent background color, making a transition to the foreground color as the pressure increases. part of a layer. This mode works only in layers with Preserve Transparency off and is analogous to painting on the back of transparent areas in a sheet of acetate. Note: If the highest pressure of your stylus does not reach 100%, contact your tablet vendor.
206 CHAPTER 9 Painting Soft Light Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were dodged. If the blend color is darker than 50% gray, the image is darkened, as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white.
ADOBE PHOTOSHOP 5.0 207 User Guide Using the paint bucket tool The paint bucket tool ( ) fills adjacent pixels that are similar in color value to the pixels you click. Note: The paint bucket tool cannot be used with images in Bitmap mode. To use the paint bucket tool: 1 Specify a foreground color as described in “Choosing the foreground and background colors” on page 214. 2 Select and double-click the paint bucket tool to display its Options palette.
208 CHAPTER 9 Painting Diamond gradient ( ) Shades from the starting point outward in a diamond pattern. The ending point defines one corner of the diamond. 8 Position the pointer in the image where you want to set the starting point of the gradient, and drag to define the ending point. To constrain the line angle to a multiple of 45°, hold down Shift as you drag. For an explanation of how the starting and ending points affect gradient appearance, see the descriptions before this procedure.
ADOBE PHOTOSHOP 5.0 209 User Guide 2 Click Edit. 3 Make sure that Color is selected for Adjust, and do one of the following: • To create a new gradient, click New. Enter a name for the gradient, and click OK. • To base your gradient on an existing one, select it in the list, and click Duplicate. To name the copied gradient, hold down Alt (Windows) or Option (Mac OS) as you click Duplicate. • To edit an existing gradient, select it in the list.
210 CHAPTER 9 Painting To add intermediate colors to a gradient: In the Gradient Editor dialog box, click below the gradient bar to define another color stop. Specify the color and adjust the location and midpoint for the intermediate point as you would for a starting or ending point. To remove an intermediate color, drag the color stop down and off the gradient bar. opacity. By default, the transparency mask is set to 100%. Turn off the mask by deselecting Transparency in the Gradient Options palette.
ADOBE PHOTOSHOP 5.0 211 User Guide 5 For Opacity, enter a value. Loading, saving, and deleting gradients In the gradient bar, white represents an opacity of 0%, black an opacity of 100%, and gray an opacity between 0 and 100%. The bar at the bottom of the Gradient Editor dialog box lets you preview the effects of the mask on the gradient fill. By saving and loading sets of gradients, you can customize the gradient list that appears in the Gradient Tool Options palette and the Gradient Editor dialog box.
212 CHAPTER 9 Painting To fill a selection or layer using shortcuts: To fill a selection or a layer: 1 Specify a foreground or background color as described in “Choosing the foreground and background colors” on page 214. 1 Specify a foreground or background color as described in “Choosing the foreground and background colors” on page 214. 2 Select the area or layer you want to fill. 2 Select the area you want to fill. To fill an entire layer, select the layer in the Layers palette.
ADOBE PHOTOSHOP 5.0 213 User Guide 7 Click OK to fill the selection. To fill a selection with a pattern: 1 Make a rectangular selection around the part of the image you want to use as the pattern. 3 Select any rasterizing options. (See“Importing Adobe Illustrator, PDF, and EPS files” on page 55 for these options.) 4 Click OK. 2 Choose Edit > Define Pattern. 5 Make a rectangular selection around the pattern, or choose Select > All. 3 Select the part of the image you want to fill.
214 CHAPTER 9 Painting Choosing the foreground and background colors Adobe Photoshop uses the foreground color to paint, fill, and stroke selections and the background color to make gradient fills and fill in the erased areas of an image. You can designate a new foreground or background color using the eyedropper tool, the Color palette, the Swatches palette, or the Photoshop Color Picker.
ADOBE PHOTOSHOP 5.0 215 User Guide To select the foreground or background color using the eyedropper: 1 Click the eyedropper tool ( ). 2 Select a color: • To select a new foreground color from an image, click the color you want. • To select a new background color from an Using the Color palette The Color palette displays the color values for the current foreground and background colors.
216 CHAPTER 9 Painting By default, the slider colors change as you drag. If you want to turn off this preview feature to improve performance, choose File > Preferences > General, and deselect Dynamic Color Sliders. 2 For Style, choose a model, and then click OK. The Current Colors style displays a transition from the current foreground color to the current background color. • Enter values next to the color sliders.
ADOBE PHOTOSHOP 5.0 217 User Guide To add a color to the Swatches palette: To delete a color from the Swatches palette: 1 Use the eyedropper tool, the Color palette, or the Color Picker to select the color you want to add. Hold down Ctrl (Windows) or Command (Mac OS), position the pointer over a swatch (the pointer turns into scissors), and click.
218 CHAPTER 9 Painting Using the Adobe Photoshop Color Picker You can use the Adobe Photoshop Color Picker to select the foreground or background color by choosing from a color spectrum or by defining colors numerically. In addition, you can select colors based on the HSB, RGB, Lab, and CMYK color models and choose from several custom color systems (see “Color modes and models” on page 63). By default, the program uses the Adobe Photoshop Color Picker.
ADOBE PHOTOSHOP 5.0 219 User Guide As you adjust the color using the color field and color slider, the numerical values change to reflect the new color. The color rectangle to the right of the color slider displays the new color in the top section of the rectangle. The original color appears at the bottom of the rectangle.
220 CHAPTER 9 Painting To ensure that the final printed output is the color you want, consult your printer or service bureau and choose your custom color based on a printed color swatch. Manufacturers recommend that you get a new swatch book each year to compensate for fading inks and other damage. Important: Photoshop prints custom colors to CMYK, or process color, plates in every image mode except Duotone. To print true spot color plates, create spot color channels.
ADOBE PHOTOSHOP 5.0 221 User Guide FOCOLTONE Consists of 763 CMYK colors. To use the Windows Color Picker: FOCOLTONE colors help avoid prepress trapping and registration problems by showing the overprints that make up the colors. 1 Choose File > Preferences > General. A swatch book with specifications for process and spot colors, overprint charts, and a chip book for marking up layouts are available from FOCOLTONE. (Contact FOCOLTONE INTERNATIONAL, Ltd. in Stafford, United Kingdom.
222 CHAPTER 9 Painting To use the Apple Color Picker: 1 Choose File > Preferences > General. 2 For Color Picker, choose Apple, and click OK. 3 Click the foreground or background color selection box in the toolbox. 4 Select a color model from the list at the left of the dialog box. The Apple Color Picker lets you select colors based on a number of different color models but does not alert you to nonprintable colors.
223 4-1 HSB Model 4-4 Luminance Model A A B B C C D A. Saturation B. Hue C. Brightness D. All hues D 4-2 Additive Color A. Luminance=100 (white) B. Green to red component C. Blue to yellow component D. Luminance=0 (black) to red component 4-5 Color Gamuts A B Additive colors (RGB) C 4-3 Subtractive Color A. Lab color gamut B. RGB color gamut C.
224 4-6 Pixel Depth 5-1 Color Proof A B o Olé No Moire 177lpi 45 cyan magenta yellow black A D C 1 C B M Y CM MY CY CMY K C D A. 1-bit (Bitmap) B. 8-bit (grayscale) C. 8-bit (indexed color) D. 24-bit (RGB) E A. Black overprint color bar B. Label C. Registration marks D. Progressive color bar E. Crop mark F. Gradient tint bar G. Star target 4-7 Color Palettes A B C A. Web palette B. Adaptive palette C.
225 5-2 GCR (Gray Component Replacement) 6-2 Color Cast A B Contrast improved by setting highlights and shadows to neutral color values (color cast eliminated), and contrast improved by adjusting Levels sliders (color cast retained) 6-3 Color Wheel A C A. No black generation (Composite image, CMY, K) B. Medium black generation (Composite image, CMY, K) C. Maximum black generation (Composite image, CMY, K) B C F 6-1 Gamut Warning Color E D A. Green B. Yellow C. Red D. Magenta E. Blue F.
226 6-4 Adjusting the Color Balance 6-6 Hue Change Original image, and with cyan hue adjusted 6-7 Colorize Option Original image with greenish cast, and magenta/green level adjusted in midtones Original image, and colorized (Hue: 108, Saturation: 22) 6-5 Hue/Saturation 6-8 Replace Color Original image, and Saturation: –40 Original image, and with colors replaced
227 8-1 Changing Saturation 10-3 Channel Mixer Original image, and increasing saturation of an image Original image, and creative color adjustment applied 10-1 Quick Mask Mode 13-1 Applying Filters to Channels Selected area, and Quick Mask mode applied Grayscale image, converted to RGB and Graphic Pen filter applied to green and blue channels 10-2 Editing a Quick Mask Quick Mask, and edited with paintbrush tool
228 13-2 Using Filters to Improve Consistency 15-2 Duotone Curves Originals Original image, and default duotone curves Same filters applied to both images 15-1 Halftone Screens Adjusted image, and adjusted duotone curves 450 00 Halftone screen with black ink 1050 900 750 450 00 Halftone screens with process ink at different screen angles; correctly registered dots form rosettes
229 COLOR MODES In addition to determining the number of colors that can be displayed in an image, color modes affect the number of channels and the file size of an image. See “Color channels” on page 67. Bitmap 12K Indexed color 90K Bitmapped images are made up of 1 bit of color (black or white) per pixel, and require the least amount of disk space. Grayscale 90K* Indexed-color images are single-channel images (8 bits per pixel) that use a color lookup table containing 256 colors.
230 DETERMINING HIGHLIGHT AND SHADOW VALUES Low-key and high-key images may benefit from slightly different target values than those shown on page 114. With a low-key image, you might want to set the highlight to a lower value to avoid too much contrast; with a high-key image, you might want to set the shadow to a higher value to avoid too much contrast. Experiment with shadow Brightness values between 4 and 20 and highlight Brightness values between 96 and 80.
231 USING CURVES FOR TONAL ADJUSTMENTS Curves lets you make precise adjustments to one area of the tonal range while controlling the effect on the others. The first curve shown here is a common curve adjustment used to boost contrast in a CMYK scan: the S-curve. The midpoint of the curve is anchored, then the quartertones are decreased to lighten the highlights, and the three-quartertones are increased to darken the shadows.
Book title goes here 3/30/98 14:17 color_sig.fm 232 CORRECTING THE COLOR PLATES Once you have identified the color balance problem in an image, it’s easy to correct the problem using Curves. These examples show common color balance problems in an image along with the Curves adjustment needed to correct the problem. You can also use the color wheel to help you identify the cause of a color problem.
233 BLENDING MODES AND OPACITY The blending modes let you control how pixels in an image affect a painting or editing tool. Using different combinations of modes and opacity, you can produce a variety of effects. For a description of each mode, see “Selecting a blending mode” on page 205.
234 LAYER BLENDING MODES The layer blending modes let you control how the pixels in the layer blend with the pixels in underlying layers. For a description of each mode, see “Selecting a blending mode” on page 205.
235 JPEG OR GIF? For online display, such as on the World Wide Web, JPEG offers you the best color and the smallest file size. If your image contains line art or requires transparent areas, use the GIF89a Export command. To minimize file size, choose Image > Mode > Indexed Color, and use the fewest number of colors that still give good results. For continuous-tone images, the Adaptive palette gives the best results. See “Saving files in JPEG format” on page 317 and “Exporting images” on page 317.
236 DUOTONES, TRITONES, AND QUADTONES These examples show sets of process color curves (supplied on the Adobe Photoshop CD-ROM set) applied to the same grayscale image. See “Modifying the duotone curve” on page 340.
10
239 Chapter 10: Using Channels and Masks I n Adobe Photoshop, channels store an image’s color information. In addition, channels and masks store selections that let you manipulate and control specific parts of an image in sophisticated ways. About channels Color information channels are created automatically when you open a new image. The image’s color mode (and not its number of layers) determines the number of color channels created.
240 CHAPTER 10 Using Channels and Masks Using the Channels palette The Channels palette lets you create and manage channels and monitor the effects of editing. The palette lists all channels in the image—a composite channel first (for RGB, CMYK, and Lab images), then individual color channels, spot color channels, and finally alpha channels. Appearing to the left of the channel name, a thumbnail of the channel’s contents automatically updates as you edit the channel.
ADOBE PHOTOSHOP 5.0 241 User Guide • If you display an alpha channel at the same time as color channels, the alpha channel appears as a transparent color overlay, analogous to a printer’s rubylith or a sheet of acetate. To change the color of this overlay or set other alpha channel options, see the procedure to change a channel’s options on page 253. Whatever the order of alpha channels, the color information channels always appear at the top.
242 CHAPTER 10 Using Channels and Masks To edit a channel: Use a painting or editing tool to paint in the image. Paint with white to add to the channel; paint with black to remove from the channel; paint with a lower opacity or a color to add to the channel with lower opacities. Duplicating channels You can duplicate any channel within or between images. (You cannot duplicate a channel to a Bitmap-mode image, however.
ADOBE PHOTOSHOP 5.0 243 User Guide To delete a channel with confirmation: 2 Choose Image > Adjust > Channel Mixer. 1 Select the channel in the Channels palette. 3 For Output Channel, choose the channel in which to blend one or more existing (or source) channels. 2 Click the Trash button at the bottom of the palette. Then click Yes.
244 CHAPTER 10 Using Channels and Masks Splitting channels into separate images Choosing the Split Channels command from the Channels palette menu splits the various channels in an image into separate images. The original file is closed and individual channels appear in separate grayscale image windows. The title bar shows the original name plus the channel abbreviation (Windows) or full name (Mac OS). Any changes since the last save are retained in the new images, lost in the original.
ADOBE PHOTOSHOP 5.0 245 User Guide 6 Click OK. 7 For each channel, make sure that the image you want is open. If you change your mind about image type, click Mode to return to the Merge Channels dialog box. 8 If merging into a multichannel image, click Next, and repeat step 7 to select the remaining channels. Note: All channels of a multichannel image are alpha channels. 9 When finished selecting channels, click OK.
246 CHAPTER 10 Using Channels and Masks • Spot colors are overprinted on top of the fully • Choose New Spot Channel from the Channels composited image. palette menu. • If you print an image that includes spot color If you made a selection, that area is filled with the currently specified spot color. channels to a composite printer, the spot colors print out as extra pages.
ADOBE PHOTOSHOP 5.0 247 User Guide 6 If desired, enter a name for the spot channel. If you chose a custom color in step 4, the channel automatically takes the name of that color. To edit a spot channel: Remember that it’s important to name spot colors so they’ll be recognized by other applications reading your file. Otherwise the file might not print correctly—or print at all. image. Paint with black to add more spot color at 100% opacity; paint with gray to add spot color with lower opacity.
248 CHAPTER 10 Using Channels and Masks The spot color is converted to and merged with the color channels. The spot channel is deleted from the palette. Merging spot channels flattens layered images. The merged composite reflects the preview spot color information, including the Solidity settings. For example, a spot channel with a solidity of 50% will produce different merged results from the same channel with a solidity of 100%.
ADOBE PHOTOSHOP 5.0 249 User Guide To remove an underlying spot color: 1 In the Channels palette, select the spot channel whose color you want to print. 5 In the Channels palette, select the underlying spot channel that contains areas you want to knock out. Press Delete. 2 Choose Select > Load Selection. To quickly select an image in a channel, hold down Ctrl (Windows) or Command (Mac OS), and click the channel in the Channels palette. 3 For Channel, choose the spot channel from step 1 and click OK.
250 CHAPTER 10 Using Channels and Masks In addition, masks let you save and reuse timeconsuming selections as alpha channels. (Alpha channels can be converted to selections and then used for image editing.) Because masks are stored as 8-bit grayscale channels, you can refine and edit them using the full array of painting and editing tools. When a mask channel is selected in the Channels palette, foreground and background colors appear as grayscale values. (See “Using Quick Mask mode” on page 250.
ADOBE PHOTOSHOP 5.0 251 User Guide A color overlay (similar to a piece of rubylith) covers and protects the area outside the selection. The original selection is left unprotected by this mask. By default, Quick Mask mode colors the protected area using a red, 50% opaque overlay. 6 Choose Select > None to deselect the selection, or save the selection as described in the saving procedures on page 252.
252 CHAPTER 10 Using Channels and Masks 4 To change the opacity, enter a value between 0% and 100%. Both the color and opacity settings affect only the appearance of the mask and have no effect on how underlying areas are protected. Changing these settings may make the mask more easily visible against the colors in the image. 5 Click OK.
ADOBE PHOTOSHOP 5.0 253 User Guide To edit an alpha channel: Use a painting or editing tool to paint in the image. Paint with black to add to the channel; paint with white to remove from the channel; paint with a lower opacity or a color to add to the channel with lower opacities. 5 If you’re saving the selection to an existing channel, select how to combine the selections: • Replace Channel to replace the current selection in the channel.
254 CHAPTER 10 Using Channels and Masks 2 Enter a new name for the channel. 3 Choose display options, as explained in steps 2 through 4 of the procedure on Quick Mask options in “Using Quick Mask mode” on page 250. See “Using spot channels” on page 245 for information on changing Spot Color channel options. Note: You cannot modify options for the default color channels.
ADOBE PHOTOSHOP 5.0 255 User Guide 5 Click Invert if you want to make the nonselected areas selected and vice versa. 6 If the destination image already has a selection, indicate how to combine the selections. (For information on these options, see step 5 of the procedure on saving a selection to a new or existing channel in “Creating and saving alpha channels” on page 252.) 7 Click OK to load the selection.
11
259 Chapter 11: Using Layers hen you create, import, or scan an Adobe Photoshop image, it consists of a background layer, analogous to the base layer of a painting. You can add more layers to the image, allowing you to organize your work into distinct levels. W You can draw, edit, paste, and reposition elements on one layer without disturbing the others. Until you combine, or merge, the layers, each one remains independent of the other layers in the image.
260 CHAPTER 11 Using Layers You use the Layers palette to create, hide, display, copy, merge, and delete layers. (Additional commands appear in the menu.) Changes to an image affect only the highlighted or active layer. You select a layer to make it active, and only one layer can be active at a time. The active layer’s name appears in the image window’s title bar, and a paintbrush icon appears next to the layer in the Layers palette, indicating that the layer can be modified.
ADOBE PHOTOSHOP 5.0 261 User Guide Only visible layers are printed. Making layers temporarily invisible can speed performance. 3 For Grid Colors, select an option: Note: You can make the active layer invisible. Keep in mind, however, that changes still affect the hidden, active layer. pattern. • Light, Medium, or Dark to specify a gray • Any other color from the list to display the checkerboard in that color. • Custom to choose a color that does not appear in the list.
262 CHAPTER 11 Using Layers To move a selected layer one level up in the Layers palette, press Ctrl+] (Windows) or Command+] (Mac OS). To move one level down, press Ctrl+[ or Command+[. To move to the topmost level, press Ctrl+Shift+] or Command+Shift+]. To move to the bottommost level (above the background), press Ctrl+Shift+[ or Command+Shift+[. To change the order of layers by dragging: 1 In the Layers palette, select the layer that you Zebra layer dragged below Lion layer want to move.
ADOBE PHOTOSHOP 5.0 263 User Guide 2 Click in the column immediately to the left of any layers you want to link to the selected layer. The link icon appears in the column. To add a new layer and specify options: To unlink layers: • Choose New Layer from the Layers In the Layers palette, click the link icons to remove them. palette menu. 1 Do one of the following: • Choose Layer > New > Layer. • Alt-click (Windows) or Option-click (Mac OS) the New Layer button at the bottom of the Layers palette.
264 CHAPTER 11 Using Layers To convert a background into a layer: To duplicate a layer in an image: 1 Double-click Background in the Layers palette. 1 Select the layer in the Layers palette. 2 Enter a name, opacity, and mode for the layer. 2 Duplicate the layer: See the section, “Specifying layer options” on page 271. • To duplicate and rename the layer, choose 3 Click OK.
ADOBE PHOTOSHOP 5.0 265 User Guide • Use the move tool ( ) to drag the layer from the source image to the destination image. The copied layer appears in the destination image where you release the mouse button (and above the active layer in the Layers palette). If the layer you’re dragging is larger than the destination image, only part of the layer is visible, but its contents remain available. Use the move tool to drag other sections of the layer into view.
266 CHAPTER 11 Using Layers To reposition a layer in an image: To align or distribute layers: 1 In the Layers palette, select the layer that you want to move. 1 To align layers to a selection border, make a selection. 2 Select the move tool ( ). To activate the move tool when any other tool is selected, hold down Ctrl (Windows) or Command (Mac OS). 2 In the Layers palette, specify the layers you want to align or distribute: 3 Drag anywhere in the image to move the layer active.
ADOBE PHOTOSHOP 5.0 267 User Guide • Horizontal Center to align the horizontal • Right to space the linked layers evenly starting centermost pixel on the linked layers to the horizontal centermost pixel on the active layer or the horizontal center of the selection border. from the rightmost pixel on each layer. • Right to align the rightmost pixel on the linked layers to the rightmost pixel on the active layer or the rightmost edge of the selection border.
268 CHAPTER 11 Using Layers To delete a layer: 2 Merge the layer: 1 Select the layer in the Layers palette. • Choose Layer > Merge Down. 2 Delete the layer: • Choose Merge Down from the Layers • Click the Trash button at the bottom of the palette menu. Layers palette, and click Yes. • Choose Layer > Delete Layer. • Choose Delete Layer from the Layers palette menu.
ADOBE PHOTOSHOP 5.0 269 User Guide Flattening all layers Saving layered documents In a flattened image, all visible layers are merged into the background, greatly reducing file size. Flattening an image discards all hidden layers and fills the remaining transparent areas with white. In most cases, you won’t want to flatten a file until you have finished editing individual layers.
270 CHAPTER 11 Using Layers 2 Select Preserve Transparency in the Layers palette. 2 Select Use All Layers in the tool’s Options palette. Note: For type layers, Preserve Transparency is on by default and cannot be turned off. Cloning with zebra layer, and with merged data from all layers Painting with Preserve Transparency on Note: Unless you are using the rubber stamp tool, painting or editing in a new layer produces the best results when Use All Layers is selected.
ADOBE PHOTOSHOP 5.0 271 User Guide Specifying layer options The layer options let you change a layer’s name and opacity and control how the pixels in the layer blend with the layers underneath. It’s important to remember that the opacity and blending modes chosen for a specific layer interact with the opacity and mode settings for the tools you use to paint and edit the pixels on the layer. For example, suppose you are working on a layer that uses the Dissolve mode and an opacity of 50%.
272 CHAPTER 11 Using Layers If you have selected a tool without an opacity option in its Options palette, use the following shortcuts to change the opacity of the active layer: • Press a number key to set the opacity in multiples of 10% (pressing 1 sets to 10%, pressing 0 sets to 100%). • To specify an exact opacity, type the desired value. To define a range for the blending operation: 1 In the Layer Options dialog box, select a Blend If option: • Gray to specify a blending range for all channels.
ADOBE PHOTOSHOP 5.0 273 User Guide • Use the Underlying sliders to specify the range of • Each pixel in a channel has a brightness value pixels in the underlying visible layers that will blend in the final image. Blended pixels are combined with pixels in the active layer to produce composite pixels, while unblended pixels show through overlying areas of the active layer.
274 CHAPTER 11 Using Layers 4 Select Preview to preview the results in the image window. 5 Select Invert to use the negative of the channel contents in the calculation. 6 For Blending, choose the blending option you want to apply. Descriptions of the Add and Subtract options appear at the end of this section. Other blending options are the same ones listed in the Options palette of the painting and editing tools and in the Layers palette (see “Selecting a blending mode” on page 205).
ADOBE PHOTOSHOP 5.0 275 User Guide 8 Select Mask if you want to apply the blending through a mask. Then choose the image and layer containing the mask. For Channel, you can choose any color or alpha channel to use as the mask. You can also use a mask based on the active selection or the boundaries of the chosen layer (Transparency). Select Invert to reverse the masked and unmasked areas of the channel. (See “About masks” on page 249.
276 CHAPTER 11 Using Layers Note that only successive layers can be included in a clipping group. When you create a clipping group, dotted lines appear between the grouped layers in the Layers palette. The name of the base layer in the group is underlined, and the thumbnails for the overlying layers are indented. Applying a blending mode to an indented layer affects only the blending of the layers within the group.
ADOBE PHOTOSHOP 5.0 277 User Guide In the Layers palette, a layer mask appears as an additional thumbnail to the right of the layer thumbnail. This thumbnail represents the grayscale (alpha) channel created by Adobe Photoshop when you add the layer mask. (See Chapter 10, Using Channels and Masks.) To add a mask that shows or hides a selection: 1 In the Layers palette, select the layer to which you want to add a mask. 2 Select the desired area in the image.
278 CHAPTER 11 Using Layers For information on viewing the contents of the layer mask channel, see “Viewing layer masks” on page 279. • To reveal the layer and subtract from the mask, paint the mask with white. To edit a layer mask: 1 Click the layer mask thumbnail in the Layers palette to make it active (the mask icon appears to the left of the layer thumbnail). 2 Select any of the editing or painting tools.
ADOBE PHOTOSHOP 5.0 279 User Guide To paste a selection into a layer mask, Alt-click (Windows) or Option-click (Mac OS) the layer mask thumbnail in the Layers palette to select and display the mask channel. Choose Edit > Paste, drag the selection in the image to produce the desired masking effect, and choose Select > Deselect. Click the layer thumbnail in the Layers palette to deselect the mask channel.
280 CHAPTER 11 Using Layers 2 To turn on the mask, do one of the following: Applying and discarding layer masks • Click the layer mask thumbnail in the Layers When you have finished creating a layer mask, you can either apply the mask and make the changes permanent or discard the mask without applying changes. Because layer masks are stored as alpha channels, applying and discarding layer masks may help reduce file size. For more information, see “About channels and file size” on page 239. palette.
ADOBE PHOTOSHOP 5.0 281 User Guide Selecting opaque areas on a layer By loading a transparency mask, you can quickly select all the opaque areas on a layer—that is, the areas within the layer boundaries. This is useful when you want to exclude transparent areas from a selection. You can also load the boundaries of a layer mask as a selection.
282 CHAPTER 11 Using Layers When you create an adjustment layer, its effect appears on all the layers below it. This lets you correct multiple layers by making a single adjustment, rather than making the adjustment to each layer separately. To confine the effects of an adjustment layer to the layers immediately below it, create a clipping group consisting of these layers (see “Creating clipping groups” on page 275).
ADOBE PHOTOSHOP 5.0 283 User Guide Adjustment layers are also layer masks, as indicated by the mask icon to the left of the layer thumbnail. When an adjustment layer is active, the foreground and background colors default to grayscale values. By painting the adjustment layer, you can apply the adjustment to just portions of the underlying layers. 5 Choose layer options as desired, and then click OK. (See “Specifying layer options” on page 271.
284 CHAPTER 11 Using Layers 4 Use the following methods to view the adjustment layer mask: • Alt-click (Windows) or Option-click (Mac OS) the adjustment layer thumbnail to view only the grayscale mask. Alt/Option-click the thumbnail again to redisplay the other layers. • Hold down Alt+Shift (Windows) or Option+Shift (Mac OS), and click the adjustment layer thumbnail to view the mask in a rubylith masking color.
ADOBE PHOTOSHOP 5.0 285 User Guide Adding layer effects Photoshop has numerous different effects that you can apply in any combination to a layer. • The Drop Shadow effect lets you add a shadow that falls behind the contents on the layer. • The Inner Shadow effect lets you add a shadow that falls just inside the edges of the layer contents, giving the layer a recessed appearance.
286 CHAPTER 11 Using Layers 3 For Style, choose one of the following: Specifying options for layer effects • Outer Bevel to create bevelling along the outside When applying layer effects, you can specify a number of common options. edges of the layer contents. • Inner Bevel to create bevelling along the inside edges of the layer contents. Preview Displays a preview of the layer effect in the image as you change the layer effect settings.
ADOBE PHOTOSHOP 5.0 287 User Guide Angle Determines the lighting angle at which the effect is applied to the layer. You can define a global angle that applies to all layer effects in the image; you can also assign a local angle that applies only to a specific layer effect. Using a global angle gives the appearance of a consistent light source shining on the image. Editing and removing layer effects You can edit the options for the effects you have applied to a layer at any time.
288 CHAPTER 11 Using Layers 2 Do one of the following: To convert a layer effect to image layers: • Hold down Alt (Windows) or Option (Mac OS), 1 In the Layers palette, select the layer containing the effect you want to convert. and choose the desired layer effect from the Layer > Effects menu. Applied effects have checkmarks next to their command names; removing a layer effect removes the checkmark. • Choose the desired layer effect from the top of the Effects dialog box, and deselect Apply.
12
ADOBE PHOTOSHOP 5.0 291 User Guide Chapter 12: Using Type Adobe Photoshop lets you add horizontal and vertical type to an image. You can specify the leading, kerning, tracking, baseline shift, size, and alignment of the type and edit its characters. In addition, Photoshop lets you create type in double-byte fonts, enabling you to create designs that include Chinese, Japanese, and Korean text (if you have the correct system software installed on your system).
292 CHAPTER 12 Using Type Creating type Use these tools to create type in an image: • The type ( ) and vertical type ( ) tools let you create colored type that is stored in a new type layer. You can edit the text at any time using the type layer. • The type mask ( ) and vertical type mask ( ) tools let you create selection borders in the shape of type. Type selections appear on the active layer, and can be moved, copied, filled, or stroked just like any other selection.
ADOBE PHOTOSHOP 5.0 293 User Guide • To change the view magnification, click the zoom buttons at the bottom of the dialog box. Click the percentage value to specify a 100% view. 3 Specify type attributes, as described in “Setting type attributes” on page 295. fits in the text area, select Fit in Window. Selecting this option makes the zoom buttons unavailable. 4 Click inside the text area at the bottom of the dialog box, and enter the text you want.
294 CHAPTER 12 Using Type • Layer effects • Press Ctrl+A (Windows) or Command+A • Fill shortcuts (see “Filling and stroking selec- (Mac OS) to select all the characters in the text area. tions and layers” on page 211). To apply the full range of Photoshop effects (such as filters) to a type layer, you can convert the type layer to a regular layer. Converting a type layer makes its contents uneditable as text. To edit a type layer: 1 Double-click the name of the type layer in the Layers palette.
ADOBE PHOTOSHOP 5.0 295 User Guide Setting type attributes Adobe Photoshop gives you precise control over type attributes, including font, type size, leading, kerning, tracking, baseline shift, alignment, and rotation. In addition, you can specify anti-aliasing for the type. To apply most attribute changes to existing type, you must first select the desired characters. Choosing a font family A font family is a complete set of characters, letters, and symbols of a particular typeface design.
296 CHAPTER 12 Using Type Specifying leading Leading specifies the spacing between baselines and is measured in the units you specify in the Type Tool dialog box. Positive kerning or tracking values move characters apart; negative values move characters closer together. Kerning and tracking values are measured in units that are 1/1000 of an em space. The width of an em space is relative to the current type size.
ADOBE PHOTOSHOP 5.0 297 User Guide Specifying characters with auto-kerning To use a font’s kerning information to space characters better, select the Auto Kern option in the Type Tool dialog box. Many fonts have information about the spacing of character pairs. For example, the spacing between an A and a W often is less than the spacing between an A and an F.
298 CHAPTER 12 Using Type Specifying anti-aliasing Anti-aliasing lets you produce smooth-edged type by partially filling the edge pixels. As a result, the edges of the type blend into the background. You’ll probably want to use anti-aliased type in your images, unless you are working with small type sizes (anti-aliasing can make small type sizes appear blurry).
13
301 Chapter 13: Using Filters F ilters let you apply special effects to your images, such as impressionistic or mosaic effects, lighting effects, and distortions. You can also create your own effects using the Custom filter or the Filter Factory (included on the Adobe Photoshop CD-ROM). For detailed information on individual filters and a gallery of examples, see online help. Adobe Photoshop also supports plug-in filters developed by non-Adobe software developers.
302 CHAPTER 13 Using Filters • Drag in the preview window to center a specific Blending filter effects area of the image in the window. The Fade command fades the effect of a filter, painting tool, or color adjustment. You choose a blending opacity and a mode to determine how pixels are modified. The blending modes available are a subset of those in the painting and editing tools Options palette (excluding the Behind and Clear modes).
ADOBE PHOTOSHOP 5.0 303 User Guide Using filter shortcuts These techniques can help save time when working with filters: • To cancel a filter as it is being applied, press Esc or Command-(.) (period) (Mac OS only). • To undo a filter, press Ctrl+Z (Windows) or Command+Z (Mac OS). • To reapply the most recently used filter with its Screen mode applied using Fade command, and 50% opacity applied using Fade command last values, press Ctrl+F (Windows) or Command+F (Mac OS).
304 CHAPTER 13 Using Filters All textures must be in the Photoshop format. Most filters use only the grayscale information of a color file. To use texture and glass surface controls: 3 Click OK. 1 From the Filter menu, choose Artistic > Rough Pastels or > Underpainting; Distort > Glass; Sketch > Conté Crayon; or Texture > Texturizer. Defining undistorted areas 2 For Texture, choose a texture type or choose Load Texture to specify a Photoshop file.
ADOBE PHOTOSHOP 5.0 305 User Guide Tips for creating special effects Try the following techniques to create special effects with filters. Create edge effects You can use various techniques to treat the edges of an effect applied to only part of an image. To leave a distinct edge, simply apply the filter. For a soft edge, feather the edge, and then apply the filter. For a transparent effect, apply the filter, and then use the Fade command to adjust the selection’s blending mode and opacity.
306 CHAPTER 13 Using Filters Improve image quality and consistency You can disguise faults, alter or enhance, or make a series of images look related by applying the same effect to each. Use the Actions palette to record the process of modifying one image, and then use this action on the other images.(See Chapter 16, Automating Tasks.) For a color illustration of using filters to improve consistency in unrelated artwork, see figure 13-2 on page 228. • Allocate more RAM to Photoshop.
ADOBE PHOTOSHOP 5.0 307 User Guide Blur filters Soften a selection or an image. Blur Pixelate filters Sharply define a selection by filters are useful for retouching. They smooth transitions by averaging the pixels next to the hard edges of defined lines and shaded areas in an image. clumping pixels of similar color values in cells. Note: To apply a Blur filter to the edges of a layer, be sure to turn off the Preserve Transparency option in the Layers palette.
308 CHAPTER 13 Using Filters Sketch filters Add texture to images, often for a 3-D effect. The filters also are useful for creating a fine-arts or hand-drawn look. Many of the Sketch filters use the foreground and background color as they redraw the image. For information on the Conté Crayon filter, see “Using texture and glass surface controls” on page 304.
14
311 Chapter 14: Saving and Exporting Images A choose a format. Unavailable formats are not visible (Windows) or dimmed (Mac OS). File format and export choices appear in either the Save As or Save a Copy dialog box or in the Export menu. Saving files Important: Only the Photoshop format is available for layered files. In addition, many formats do not support files in certain color modes or files with alpha channels (see “About file formats” on page 321).
312 CHAPTER 14 Saving and Exporting Images 5 To remove data such as paths, guides, grids, thumbnail previews, color and printing ink profiles, and file information (such as captions) from the image, select Exclude Non-Image Data. (This option may be unavailable to some formats.) Excluding non-image data can help reduce the image’s file size. 6 Click Save. To copy an image without saving it to your hard disk, use the Duplicate command (see “Duplicating images” on page 172).
ADOBE PHOTOSHOP 5.0 313 User Guide • Macintosh Thumbnail to display the preview in the Open dialog box. • Windows Thumbnail to save a preview that can 2 Position the pointer on the filename in the file list, click the right mouse button, and choose Properties from the context menu that appears. display on Windows systems. 3 Click the Photoshop Image tab. • Full Size to save a 72-ppi version of the file for 4 For Icon Thumbnails, select a preview icon, and click OK.
314 CHAPTER 14 Saving and Exporting Images To load, save, or append file information: In the File Info dialog box, do one of the following: For Urgency, specify the editorial urgency of the image—not its handling priority. • Click Load to replace the current information Credits Provides the correct credit for a with information stored in a File Info file. • Click Save to save the current file information in a File Info file for later use.
ADOBE PHOTOSHOP 5.0 315 User Guide If you’re exporting files to an application that doesn’t support the Adobe Photoshop format, use the Save a Copy command to save a duplicate file in a format supported by that application. To print EPS and DCS files, you must use a PostScript printer. For more information on the types of files supported by the EPS and DCS formats, see “About file formats” on page 321. Note: Only files that were created in Adobe Photoshop 5.
316 CHAPTER 14 Saving and Exporting Images 3 If you are saving to the DCS format, follow these guidelines when choosing a DCS option: • The DCS 1.0 format creates five files: one for each color channel in the CMYK image and a fifth master file corresponding to the composite channel. You can choose to include a 72-ppi grayscale or color version of the composite image in the master file. By printing the low-resolution composite from the destination application, you can proof the image.
ADOBE PHOTOSHOP 5.0 317 User Guide Saving files in JPEG format Exporting images When saving in Joint Photographic Experts Group (JPEG) format, you can specify the image quality and compression level. To specify image quality and compression, enter a value between 0 and 10, or choose an option for Quality, or drag the slider. There’s always a trade-off between image quality and the amount of compression: higher-quality images use less compression (and more disk space) than lower-quality images.
318 CHAPTER 14 Saving and Exporting Images For a color illustration of images saved as GIF, see figure on page 235. Note: To assign transparency to specific colors in the image, convert to indexed-color mode before exporting to GIF. See “Exporting indexed-color images to GIF” on page 319 for more information. To export an RGB image to GIF: 1 To create background transparency, select the foreground object of the image. Copy the selection onto a new, transparent layer.
ADOBE PHOTOSHOP 5.0 319 User Guide 4 Specify a color palette: • For Palette, choose Exact to create a palette using the colors in the image. This option is visible (Windows) or not dimmed (Mac OS) only if the image contains 256 or fewer colors. • For Palette, choose Adaptive to create a palette using a representative sample of colors in the image. (This gives the best image quality if Exact is unavailable.) Then choose or enter the least number of colors that retains the necessary detail in your image.
320 CHAPTER 14 Saving and Exporting Images To export an indexed-color image to GIF: • To navigate the image preview, follow the guide- 1 To define background transparency using a lines described in step 5 of “Exporting RGB images to GIF” on page 317. mask, select the area of the image you want to remain visible. Then click the Save Selection button ( ) at the bottom of the Channels palette to create an alpha channel based on your selection. 2 Choose File > Export > GIF89a Export.
ADOBE PHOTOSHOP 5.0 321 User Guide About file formats You can use various file formats to get images into and out of Adobe Photoshop. Graphic file formats differ in the way they represent graphic information—either as vector drawings or as bitmap images. Some formats contain only vector drawings or bitmap images, but many include both in the same file.
322 CHAPTER 14 Saving and Exporting Images DCS EPS TIFF or EPS PICT Preview Desktop Color Separations (DCS), developed by Quark, is a version of the standard EPS format. The DCS 2.0 format supports multichannel and CMYK files with a single alpha channel and multiple spot channels; the DCS 1.0 format supports CMYK files without alpha channels. Both DCS 1.0 and DCS 2.0 support clipping paths. (See “Saving files in Photoshop EPS or DCS format” on page 315.
ADOBE PHOTOSHOP 5.0 323 User Guide GIF IFF The Graphics Interchange Format (GIF) is the file format commonly used to display indexed-color graphics and images in hypertext markup language (HTML) documents over the World Wide Web and other online services. GIF is a LZW-compressed format designed to minimize file size and electronic transfer time. The GIF format does not support alpha channels.
324 CHAPTER 14 Saving and Exporting Images PCX PICT File The PCX format is commonly used by IBM PCcompatible computers. Most PC software supports version 5 of the PCX format. A standard VGA color palette is used with version 3 files, which do not support custom color palettes. The PICT format is widely used among Macintosh graphics and page-layout applications as an intermediary file format for transferring files between applications.
ADOBE PHOTOSHOP 5.0 325 User Guide PIXAR • Sub optimizes the compression of images with The PIXAR format is designed specifically for exchanging files with PIXAR image computers. PIXAR workstations are designed for high-end graphics applications, such as those used for threedimensional images and animation. The PIXAR format supports RGB and grayscale files with a single alpha channel. even horizontal patterns or blends. • Up optimizes the compression of images with even vertical patterns.
326 CHAPTER 14 Saving and Exporting Images CMYK images saved in Scitex CT format often have extremely large file sizes. These files are generated for input using a Scitex scanner. Files saved in Scitex CT format are printed to film using a Scitex rasterizing unit, which produces separations using a patented Scitex halftoning system. This system produces very few moiré patterns and is often demanded in professional color work—for example, ads in magazines.
ADOBE PHOTOSHOP 5.0 327 User Guide Using clipping paths When printing a Photoshop image or placing it in another application, you may want only part of the image to appear. For example, you may want to print or show a foreground object and exclude its rectangular background. A clipping path lets you isolate the foreground object and make everything outside the object transparent when the image is printed or placed in another application.
328 CHAPTER 14 Saving and Exporting Images • To print the file using a non-PostScript printer, save in TIFF format and export to Adobe PageMaker 5.0 or higher. Note: If you import an EPS or DCS file with a TIFF preview into applications such as Adobe Illustrator, the clipping path transparency will not display properly. This display affects the on-screen preview only; it does not affect the printing behavior of the clipping path on a PostScript printer.
ADOBE PHOTOSHOP 5.0 329 User Guide 5 Open the path in Adobe Illustrator as a new file. You can now manipulate the path or use the path to align Adobe Illustrator objects. Note that the crop marks in Adobe Illustrator reflect the dimensions of the Adobe Photoshop image. The position of the path within the Adobe Photoshop image is maintained, provided you don’t change the crop marks or move the path. Once in the container application, an image can be double-clicked for editing in Photoshop.
330 CHAPTER 14 Saving and Exporting Images 2 Modify the image as desired. 3 Do one of the following: • For embedded images, close the file, or choose File > Update or File > Close & Return to . • For linked images, save and close the file. Note: You can also modify linked files without first opening the container document. The linked image will be updated the next time you open the document in its OLE container application.
15
333 Chapter 15: Printing I n most instances, the default print settings in Adobe Photoshop produce good results. To ensure that your color images on-screen match your printed color images, it’s important to make sure that your system is correctly calibrated. Calibrating for variations in monitors, printing inks, and output devices is described in Chapter 5, “Reproducing Color Accurately.
334 CHAPTER 15 Printing For a color illustration of a printed page, see figure 5-1 on page 224. The Page Setup dialog box may include these options: Orientation Prints the page using either the Landscape or Portrait setting. Because printing with the Portrait setting is much faster, you may want to rotate your landscape image 90 degrees by using the Rotate Canvas command, and then print using Portrait orientation. Properties or Options Sets specific options for the printer you have selected.
ADOBE PHOTOSHOP 5.0 335 User Guide Border Lets you print a black border around an image, specifying its width in the unit of measurement you choose. Caption Lets you print any caption text entered in the File Info dialog box. (See “Adding file information” on page 313.) Caption text always prints as 9-point Helvetica plain type. Background Lets you select a background color to be printed on the page outside the image area.
336 CHAPTER 15 Printing In traditional print production, a halftone is produced by placing a halftone screen between a piece of film and the image and then exposing the film. In Photoshop, you specify the halftone screen attributes just before producing the film or paper output. For best results, your output device (a PostScript imagesetter, for example) should be set to the correct density limit, and your processor should be properly calibrated. Otherwise results can be unpredictable.
ADOBE PHOTOSHOP 5.0 337 User Guide For optimal output on a PostScript printer, the image resolution should be 1.5 to 2 times the halftone screen frequency. If the resolution is more than 2.5 times the screen frequency, an alert message appears (see “About image size and resolution” on page 42). If you are printing line art or printing to a non-PostScript printer, see your printer documentation for the appropriate image resolutions to use.
338 CHAPTER 15 Printing Converting the color space of images while printing Photoshop has several color management features to help you print a composite image on a printer. To convert the color space of an image while printing: 1 Choose File > Print. 2 On the Macintosh, choose Adobe Photoshop 5.0 from the dialog box menu.
ADOBE PHOTOSHOP 5.0 339 User Guide Keep in mind that trapping is intended to correct the misalignment of solid tints in CMYK images. In general, you should not create trap for continuous-tone images such as photographs. Excessive trapping may generate a keyline effect (or even cross-hair lines) in the C, M, and Y plates. These problems may not be visible in the composite channel and might show up only when you output to film.
340 CHAPTER 15 Printing Because duotones use different color inks to reproduce different gray levels, they are treated in Photoshop as single-channel, 8-bit, grayscale images. In Duotone mode, you do not have direct access to the individual image channels (as in RGB, CMYK, and Lab modes). Instead, you manipulate the channels through the curves in the Duotone Options dialog box. To convert an image to duotone: 1 Convert the image to a grayscale image by choosing Image > Mode > Grayscale.
ADOBE PHOTOSHOP 5.0 341 User Guide To modify the duotone curve for a given ink: 1 To preview any adjustments, select the Preview option. 2 Click the curve box next to the ink color box. The default duotone curve, a straight diagonal line across the grid, indicates that you are mapping the current grayscale value of every pixel to the same percentage value of the printing ink. At this setting, a 50% midtone pixel prints with a 50% dot of the ink, a 100% shadow with a 100% dot of the ink, and so on.
342 CHAPTER 15 Printing To adjust the display of overprint colors: To view the individual colors of a duotone image: 1 Choose Image > Mode > Duotone. 1 After specifying your ink colors, choose Image > Mode > Multichannel. 2 Click Overprint Colors. The Overprint Colors dialog box displays the combinations that will result when the inks are printed. 3 Click the color swatch of the ink combination you want to adjust. 4 Select the color you want in the color picker, and click OK.
ADOBE PHOTOSHOP 5.0 343 User Guide Click the Auto button in the Halftone Screens dialog box to set the optimal screen angles and frequencies (see “Selecting halftone screen attributes” on page 335). Make sure that you select Use Accurate Screens in the Auto Screens dialog box if you’re printing to an imagesetter equipped with PostScript Level 2 (or higher) or an Emerald controller.
16
347 Chapter 16: Automating Tasks A dobe Photoshop lets you automate tasks by grouping a series of commands into a single action. For example, you can create an action that applies a series of filters to reproduce a favorite effect or combine commands to prepare images for online publishing. Actions can be grouped into sets to help you better organize your actions. Using the example above, you could create a set of actions, where each action applied a different series of filters.
348 CHAPTER 16 Automating Tasks • The gradient, marquee, crop, polygon, lasso, • Until you specifically save a set of actions with line, move, magic wand, paint bucket, and type tools, and the Paths, Channels, Layers, and History palettes can be recorded. the Save Actions command, actions are automatically saved in the file Actions Palette.psp (Windows) or Actions Palette (Mac OS) located in the Adobe Photoshop Settings folder within the Photoshop folder.
ADOBE PHOTOSHOP 5.0 349 User Guide To create and record an action: 1 Open a file. 2 In the Actions palette, click a set or an item within a set. 3 In the Actions palette, click the New Action button ( ) or choose New Action from the popup menu on the palette. 4 Name the action, assign it to any combination of the Ctrl key (Windows) or Command key (Mac OS), the Shift key, and the Function keys (for example, Ctrl+Shift+F3), and choose a color for its display in the Actions palette. 5 Click Record.
350 CHAPTER 16 Automating Tasks An inserted command is not executed until the action is played. No values for the command are recorded in the action, so the file remains unchanged when the command is inserted. If the command has a dialog box, the dialog box appears during playback, and the action pauses until you click OK or Cancel. You can insert a command when recording an action or after it has been recorded.
ADOBE PHOTOSHOP 5.0 351 User Guide 4 If you want the option to continue the action without stopping, select Allow Continue. 5 Click OK. Setting modal controls and excluding commands After recording an action, you can insert a modal control. This lets you pause a command to display its dialog box and specify different values, and to manipulate a modal tool to apply new settings. (A modal tool requires pressing Enter or Return to apply its effect.
352 CHAPTER 16 Automating Tasks Playing actions When you play an action, Photoshop executes the series of commands as you recorded them. But you can begin with any command, exclude commands, or play a single command in an action. If you have inserted a modal control in your action, you can specify values in a dialog box or reapply a modal tool (any tool that requires you to press Enter or Return to apply it) when the action pauses. (See “Setting modal controls and excluding commands” on page 351.
ADOBE PHOTOSHOP 5.0 353 User Guide To play a single command in an action: Batch processing 1 Select the command you want to play. The Batch command lets you play an action on a folder of files and subfolders. If you have a digital camera or a scanner with a document feeder, you can also import and process multiple images with a single action. Your scanner or digital camera may need an acquire plug-in module that supports actions.
354 CHAPTER 16 Automating Tasks 3 For Action, choose the desired action. 7 For Errors, choose an option: 4 For Source, choose Folder to play an action on files (including subfolders) already stored on your computer. Click Choose to locate and select the folder. • Stop for Errors to suspend the batch process 5 To ensure that the files are opened from the specified folder, select Override Action “Open” Commands. Any Open commands that were recorded as part of the original action are ignored.
ADOBE PHOTOSHOP 5.0 355 User Guide To move an action to a different set: 3 Record the additional commands. In the Actions palette, drag the action to a different set. When the highlighted line appears in the desired position, release the mouse button. 4 Click the Stop button to stop recording. Note: You can also insert nonrecordable commands (see page 349), or drag commands from other actions (see the procedure for duplicating a set, action, or command on page 356).
356 CHAPTER 16 Automating Tasks 2 If desired, type a new name for the action, choose a color for the action button, or assign a Function key, Shift-Function key, Ctrl-Function key (Windows) or Command-Function key (Mac OS), or Ctrl-Shift-Function key (Windows) or Command-Shift Function key (Mac OS), to the action. 3 Click OK. To delete a set, action, or command: 1 In the Actions palette, select the set, action, or command you want to delete.
ADOBE PHOTOSHOP 5.0 357 User Guide Organizing sets of actions To rename a set of actions: To help you organize your actions, you can create sets in which to place them and save the sets to disk. You can organize sets of actions for different types of work—for example, such as print publishing and online publishing—and transfer sets to other computers. You can save only the entire contents of the selected set in the Actions palette, not individual actions.
358 CHAPTER 16 Automating Tasks Using the Automate commands External automation The Automate commands simplify complex tasks by combining them into one or more dialog boxes. Photoshop includes the following commands (third-party companies may provide additional commands as well): Photoshop supports some external automation using OLE Automation under Windows or AppleScript on the Macintosh. Using either of these methods lets you start Adobe Photoshop and execute actions externally.
361 Appendix: Troubleshooting T his appendix contains common solutions to problems you may encounter when using the Adobe Photoshop program. The following areas provide further technical support information: • For last-minute information not included in this user guide, see the Read Me file installed with the program. If you encounter problems installing or reinstalling Photoshop, delete all of your Photoshop applications files, including the preferences file.
362 APPENDIX Troubleshooting • On the Macintosh, use the Extensions Manager Check for a software conflict In Windows, remove control panel or a third-party extension manager utility to temporarily turn off all extensions except your CD ROM extension. On most Macintoshes, this is the Apple CD ROM extension. Then reinstall Adobe Photoshop. items that will launch at startup. Use Windows Explorer to move the shortcut files in the Windows\Start Menu\Programs\Startup folder to a different folder.
ADOBE PHOTOSHOP 5.0 363 User Guide To deactivate the preferences file on the Macintosh, drag the Adobe Photoshop Prefs file (located in the Adobe Photoshop/Adobe Photoshop Settings folder) to the Trash. If the problem disappears, delete the preferences. If the problem persists, restore the preferences file to its original names (Windows) or location (Mac OS) to preserve your preferences settings.
364 APPENDIX Troubleshooting Operations seem unusually slow, or out-of-memory messages appear frequently. Your system settings—such as the amount of RAM and use of the system’s virtual memory—may be slowing down Adobe Photoshop operations. For information on setting up RAM and virtual memory in Photoshop and for other tips on improving performance, see the section “Improving Performance” in online Help. Scratch disk full messages appear.
ADOBE PHOTOSHOP 5.0 365 User Guide Problems starting Photoshop or opening or saving files (Windows 95 only) When you start or work in Adobe Photoshop in Windows 95, one of these messages appears: “Could not launch Photoshop because of a program error” “Could not open file because of a program error.” “Could not save file because of a program error.
366 APPENDIX Troubleshooting Problems with image appearance Printed image appears different from image on-screen. For accurate color printing, it is essential to calibrate your monitor and the Adobe Photoshop program for the various factors that affect the printed output. See Chapter 4, Choosing a Color Mode, and Chapter 5, Reproducing Color Accurately, for more information. On-screen preview of image appears different after file is flattened.
ADOBE PHOTOSHOP 5.0 367 User Guide You might also be attempting to paint or fill a layer that has the Preserve Transparency option selected. In this case, painting is limited to the areas of the layer that contain pixels. Deselect this option in the Layers palette to edit anywhere on the layer. The pointer disappears (Mac OS only). Try either disabling or enabling the Direct Cursors extension in the Extensions folder.
369 Index Symbols 68–69, 183–185, 187–190 Actual Pixels command 35 Adobe Online 32 Adaptive Palette option 73 Adobe PageMaker Add Layer Mask button 277 creating type in 291 Numerics 16 Bits/Channel command 69 Add Noise filter 307 exporting Pantone color to 343 Add option 275 Adobe Photoshop 2.
370 INDEX saving and loading selections as masks 250 arrowhead options 198 from filter effects 305 Artistic filters 306 layer effects and 284 saving selection in 253 ASCII encoding 316 layers and 259 See also channels, spot channels Ask When Opening option 100 moving 262 America Online 4 aspect ratio 56 banding, reducing 307 Amiga Interchange File Format (IFF) 323 Assumed Profiles option 100 base color 205 authorship information 57 base layer 275 Auto Erase option 199 baseline shift 297
371 blend tool. See gradient tool burn tool 192 file size of 239 blending modes Button Mode command 347 for color information 67 button view 347, 352 hiding and showing 241 described 205–206 for channel calculations 274 layer 271 inverting 243 C Cache Level option 113 layer mask 279 Blur (layer effect) 287 Calculations command 274 merging 244 Blur filters 307 mixing 243 Blur More filter 72 calibrating.
372 INDEX purging. See online help CMYK inks.
373 color modes definition 64 color trap 338 color values 67 changing automatically 358 generating black plate for 89–91 CMYK mode 64 tables 98 Bitmap mode 65 clipping 129 measuring 67, 108 color settings 81–82 measuring CMYK 64 CMYK 86–91 previewing 107–109 specifying 219 converting to CMYK 98 for converting image color space when printing 338 Grayscale mode 65 preferences 37 indexed color 229 profile 92 Indexed color mode 66 RGB 84–86 compared to color models 63 converting images bet
374 INDEX Constrain Proportions and File Size options 56 Constrained Aspect Ratio option 138 layers 263 preferences 37 type 292–293 restoring palette positions 29 credits 314 restoring tool settings 30 Crop command 58 Define Brush command 201 Crop Marks option 334 Define Pattern command 213 crop tool 31, 58, 59 Defringe command 181 cropping images 58–59 De-Interlace filter 308 Current Layer option 171 Delete Layer command 268 Current tool option.
375 Direct Cursors extension 367 reading values in Info palette 341 direct-selection tool 157 saving and loading settings 342 embedding. See OLE, linking and embedding disk cache setting. See online help saving curves 341 embossing effect 286 disk drive. See hard disk specifying overprint colors 341 Emerald controller 336 Display & Cursor preferences 68 viewing individual plates 342 Display Background option 189 Duplicate command 172–173, 312 Encapsulated PostScript (EPS) format.
376 INDEX transparency 326–328 supporting paths 150 Filmstrip file format 322 See also saving See also names of individual formats filter dialog box 302 exposure setting 203 external automation 358 File Info command 313 eyedropper options file information 313 in Levels dialog box 119 file size Filter Factory 3 filters and performance efficiency.
377 focus tools 191 GIF format converting to high-contrast black-and-white images 131 font family 295 compared to JPEG 235 foreground color exporting indexed-color images to 319–320 converting to RGB mode 65 exporting RGB images to 317–319 for storing selections 239 choosing 214, 216 editing with Color palette 215 filling selections with 212 selecting with eyedropper tool 215 definition 65 GIF89a Export command 323 halftone screen attributes for 336 Glow effect 285 scaling 70 Free Transform
378 INDEX handtinted images 243 hard disk history states deleting 169 image size and 42–45 scanning and 52–53 optimizing 363 guidelines 168 restoring space on 364 options 170 space used by channels 242 painting with snapshot 172 constraining 49–50 replacing 199, 212 file size and 42 Hard light mode 206 type 291 image size Hardness option 202 horizontal type mask tool 292, 293 Hardware option 84 hot spots 27 Help system 1, 32 HP DeskJet printer 90 hidden tools 26 HSB color model 63 Ima
379 moving 34 converting RGB images to 72–74 opening 55 converting to CMYK 97–99 colors 130 placing in other applications 326–330 dithering options 74 images 130–131 previewing 47–48 removing data from 312 inverting manipulating color tables for 75 table 75–76 Info palette J Japanese text 291 repositioning 333 color corrections display 31 Japanese version 6 resampling 48–51 customizing 31 resizing automatically 358 information displayed 31 Joint Photographic Experts Group (JPEG) compress
380 INDEX Lab layers thumbnails 260–261 color model 65 adjustment 281–284 transparency 269 mode 67 backgrounds and 259 type 292, 294 blending modes 271 viewing 260–261 Lab images blending modes 272 blending range 272 Layers palette 179, 259–260 channel display 240 copying between images 264–265 leading 296 converting to CMYK 97–99 creating 263 Lemple-Zif-Welch (LZW) compression 321 selecting color in 219 defined 259 Levels dialog box 115 unsharp masking 129 deleting 268 Levels slid
381 Log Errors to File option 354 permanent 252–255 low-key images 114 saving and loading as alpha channels 250 adjustment layers 284 saving as alpha channels 249 layers 259, 268 luminance 65 composite 113 merging channels 244 Luminosity mode 206 saving selections in 249 Microsoft ICM CMS 81 Luminosity option 113 selections as 254 Microsoft Windows.
382 INDEX Monochrome option 243 Noise filters 307 Kodak CD format 57 monotones 339–342 nonprintable colors 216, 219 previewing before 55 move tool 177 nonrecordable actions 349–350 procedures for 55 movies 2 Normal mode 205, 271 See also importing moving Norton Utilities 363 operations, monitoring 167 objects 187 NTSC (1953) color space 85 palette groups 28 NTSC Colors filter 308 Options palette 29–30, 197, 203–206 selection borders 144–145 Numeric command 187 selections 176 numeric
383 paint bucket tool 207 deleting 150 pencil tool 197–198, 199 paintbrush tool 197 deselecting 149 Perceptual (Images) option 87 painting drawing freehand 151–153 performance multiple copies 190 drawing with pen tool 154–157 with patterns 190 editing 157–160 Painting Cursors options 27 erasing 159 painting options 205–206 exporting paths as Adobe Illustrator documents 328 painting tools 27, 197–198 improving for filters 306 problems with 363–364 performance efficiency.
384 INDEX displaying color values 31 patterns, filling with 213 color selections 143 distribution in image 112 points 174 color values 107–109 explained 41 printers 365 files before opening 55 interpolating when resampling 49–51 PostScript Color Management option 338 filters 301–302 lost during color correction 112 PostScript language file formats 321 layers 260–261 PostScript Language Reference Manual 336 path segments 154 partial color values 127 resolution and 42–44 selecting 137 Pixels
385 R radial gradient tool 207 Resize Image command 46 overview 333–335 QMS ColorScript 88 Radius option 128 resizing repositioning image 333 RAM (random access memory) overprint colors 341 selected part of an image 337 out-of-memory message 364 Resize Windows To Fit option 35 images 49–50 resolution and 59 printing inks raster images 41 Resolution option 189 colors 64 rasterizing 179 resolution, of type 291 density 247 impurities 89 Adobe Illustrator artwork 56, 180 EPS, PDF file 56 res
386 INDEX Rotate Canvas command 183, 334 Save command 311 Rotate command 184 Save Palette Locations option 29 optimizing the dynamic range 53 rotating 187 Save Path command 150 quality check 112–113 for landscape printing 334 Save Selection command 253 scan resolution 52–53 images 183, 184, 185–187 Save Swatches command 217 TWAIN interface 52 layers and selections 184, 185–187 saving using Acquire modules 54 batch-processed files 354 Scitex CT format 66, 69, 325 brushes 203 scratch disk
387 tools 25, 26 editing as masks 250–254 Separations option 337 type 294 feathering 147–148, 251 sepia-tone images 243 unselected areas 145 filling 211–213 setup problems 363–364 flipping or rotating 184 shadows selection borders anti-aliasing 147–148 freehand 139 adjusting 114–119, 129, 193 contracting 145–147 CMYK mode 64 converting to paths 164 Grayscale mode for efficiency.
388 INDEX Show Tool Tips option. See online help Spectrum color-table option 75 Stylize filters 308 specular highlight 115 showing. See hiding and showing specular white 127 stylus pressure options 190, 204–205 Similar command 146 speed.
389 3-D transformations 187, 190 toning tools 192–193 transfer functions 95–96, 335 3D Transform filter 187, 190 tool overview. See online help Transform Path command 187 three-quartertones 121 tool pointers Transform Points command 187 Threshold command 131 changing appearance of 27 Threshold mode (Levels) 116 disappearance of 367 Transform Selection command 185, 187 Threshold option (Unsharp Mask filter) 128 hot spots of 27 transformation commands 31 Thumbnail Size options.
390 INDEX 24-bit image 68 2-D transformations 183, 185 type anti-aliased 298 attributes 295–298 color 292 creating 292–293 editing 293–294 filling 294 masking 292, 293 resolution 291 scaleable 291 selecting 294 style 295 transforming 293 vector graphics and 41 type layers 292, 293–294 Use As Default Monitor Profile option 84 white and black points Use Printer’s Default Screens option 336 White Matte 143 USM.
Production Notes This book was created electronically using Adobe FrameMaker®. Art was produced using Adobe Illustrator and Adobe Photoshop. The Minion®, Frutiger*, and Granjon* families of typefaces are used throughout this book. Photography CMCD, Inc. (p. 42: Bike, p. 325: Football) Digital Stock Corp. (p. 232: Native Girl) Don Day, Penumbra Photo/Graphics (p. 230: Dolls) p. 131: Cat Statue, p. 137: Button, p. 137: Key, p. 137: Frame, p. 143: Flower Jar, p. 144: Flower, p. 149: Teapot, p. 155: Mug, p.
