adobe photoshop cs4 program window...adobe photoshop cs4 program window . dominic white page 2...
Post on 30-Sep-2020
9 Views
Preview:
TRANSCRIPT
Dominic White Page 1 12/06/2012
This is how the Adobe Photoshop CS4 program window will look when first opened. The
window can be controlled by the three buttons in the top right hand corner.
The first button minimizes the window and the second maximizes /restores the
window. The last button closes the window; in this case the close button is on the
program window, meaning Photoshop will shut down. If you have unsaved work in the program
window, a message will pop up asking if you want to save your work. Note that minimize and
close buttons can also be seen on active and inactive document windows. (See page 8)
Also found in the top right hand corner of the program window is the
Workspace Switcher. This allows you to swap between different
default program window layouts.
Adobe Photoshop CS4 program window
Dominic White Page 2 12/06/2012
The Menu Bar
The Menu bar contains drop-down menus in each of the categories shown.
At its most basic, the File menu lets you create, open, save
and print a file, as in many Windows programs.
Browse in Bridge opens a new program that allows you to
easily access documents on your computer/removable
media, viewing them as thumbnails.
The Revert option (F12) is useful if image editing has gone horribly wrong, as it will revert the
active document to its last saved version.
The Edit menu allows you undo and redo actions and cut,
copy and paste selections, again as in many Windows
programs,
Unlike other Windows programs, in which the undo option
(Ctrl+Z) allows you to undo each previous action in order of
occurrence, undo becomes redo, reapplying the action
performed.
In order to undo a number of sequential actions, select Step Backward (Alt+Ctrl+Z).
Dominic White Page 3 12/06/2012
The Image menu allows you to directly affect the image
you are working with.
Options range from making the image black and white to
resizing the image.
The Select menu is used to select the whole image, deselect
and reselect selection areas and invert a selection that has
been made.
Menu Bar Icons
The icons found in the menu bar are shortcuts to tools, options or display controls. From the
left, these icons are:
Launch Bridge
View Extras; Show Guides, Grids and Rulers
Zoom Level
Hand Tool; used to move around an image in the active document window
Zoom tool; used to zoom in on an image
Rotate View Tool; used to rotate an image in the window, for ease of use
Arrange Documents; used to change how active document windows are shown on screen
Screen Mode; used to switch between Standard, Full Screen with Menu Bar and Full
Screen Mode
Menu options will be looked at in greater detail as they are used in this booklet.
Dominic White Page 4 12/06/2012
The Options toolbar
This toolbar is used to select options available to the tool you have selected from the toolbox.
In this instance the brush tool has been selected. The number of options available depends
on the tool in use, ranging from 2 to over 16 options.
When using Photoshop, it is important to remember that the
tools you use will remain set to the options selected when last
used.
Whenever you begin a session with Photoshop, right-click the mouse cursor within the tool
icon, at the left of the options toolbar, and select Reset All Tools.
Dominic White Page 5 12/06/2012
The Toolbox
(Letters in brackets are shortcuts
to that tool from the keyboard)
Rectangular Marquee tool (M)
Lasso tool (L)
Crop tool (C)
Move tool (V)
Quick Selection tool (W)
Eye Dropper tool (I)
Spot Healing Brush tool (J) Brush tool B)
Clone Stamp tool (S) History Brush tool (Y)
Eraser tool (E) Gradient tool (G)
Smudge tool (R) Dodge tool (O)
Path Selection tool (A)
Horizontal Type tool (T) Pen tool (P)
Rectangle tool (U)
3D Orbit tool (N)
Hand tool (H) Zoom tool (Z)
Foreground Colour Switch Foreground and
Background Colour (X)
Background Colour Default Foreground and
Background Colours (D) Toggle Switch:
Standard/Quick Mask Mode
(Q)
Toolbox Toggle Switch:
Screen Length/Compact toolbox
3D Rotate tool (K)
Dominic White Page 6 12/06/2012
Foreground and Background Colour
The foreground colour shows the colour used if the brush or type tool is used on an image. In
this instance, text would be in black. The background colour will be used if an area of the
image is erased or moved/cut through a selection process (marquee, lasso, magic wand, type
mask). As with resetting the tools to default when you begin a session, it is best to reset the
foreground and background colours to default (by clicking the Default Foreground and
Background Colours button). The colours can be swapped by clicking the Switch Foreground
and Background Colours button.
If a tool icon shows a black right-pointing arrow, it means a number of tools are housed within
that one area. To access different tools from one button, either:
Press and hold the left mouse button over the tool icon until the sub-menu pops out
Right click the tool icon and the sub-menu will pop out
One the sub-menu it seen, left click the desired tool in the list to select it.
If using the short-cut keys, pressing and holding the Shift key while clicking the short-cut
key will scroll though the tools available.
These tools, along with their subsequent options toolbar settings, will be looked at in more
detail as they are introduced in this booklet.
Dominic White Page 7 12/06/2012
Panels
Panel groups refer to a selection of like panels in one area. Separate panels within that group
can be selected by clicking on the tab stating their name.
In Basic workspace mode, all panels will be collapsed on
the right-hand side of the screen. The toggle switch found
at the top of this bar expands or contracts all panels, much
like to toggle switch found on the toolbox.
To expand an individual panel, click on its icon within a group.
Panels are used to select options for tools currently in use, such as brush size and colour, or
to give information on actions and tasks being performed on the image.
The information displayed in a panel can be altered using the panel menu button, with options
selected from that drop-down menu.
As with individual tools, panels will be discussed in more detail as they are put to use in this
booklet.
Collapsed Panel Icons
Collapse Panel Group
Panel Menu
Panel Groups
Dominic White Page 8 12/06/2012
Active Document Window
By default, images opened
in Photoshop will be placed
in the centre of the work
area, with large grey areas
around the outside of the
image. When the mouse
cursor is inside this grey
area, the tool in use is still
‘active’.
The tab to the top left of the window tells you the name and file type (extension) of the open
document and has a close button to close the image. If a second image is opened, it will
appear in the same document window (by default), under a second tab. Moving between open
documents is accomplished by clicking these tabs.
The arrange documents button in the menu bar can be used to change how
multiple images appear on screen. The thumbnails to the top of the drop-
down menu allow you to show sections of images on screen at the same
time.
Float All in Windows opens all images in separate document windows,
which then have minimise, maximize and close buttons to the top right of
the window.
New Window lets you open duplicate images in further document windows.
Be aware that you can ‘drag and drop’ document
windows in and out of the ‘main’ active window.
Dominic White Page 9 12/06/2012
Resolution, File types and
Printing
This section deals with the size of your digital image and how
this affects aspects such as image clarity, the best way to save
your work and print size.
Dominic White Page 10 12/06/2012
Resolution
Resolution is a very important factor when working with digital images. Every photograph
that you take with a digital camera and image that you see in Photoshop is made up of pixels.
A pixel is one small square of colour and tone. These little pixels combine to make up the
image; the more pixels you have to capture variations in colour, the more defined and
‘realistic’ the image
The number of pixels that make up an image is determined by the device used to capture that
image. If you are working with a 3 mega pixel (mp) camera, the resultant image will contain 3
million pixels. If your camera is 6 mp, the captured image will be made up of 6 million pixels.
This has a direct relationship not only to image quality, but image size (see below). With more
pixels, better colour definition is present and subtle variations in tone can be captured.
When working with Photoshop, the pixel
dimension of an image is the number of
pixels along the width and height of the
image.
This shows an image with a pixel dimension
of 800 pixel width and 600 pixel height.
That means the image contains (800x600=)
480,000 pixels
The document size shows the physical dimension of the image. By default, Photoshop opens
images with a resolution of 72 pixels per inch (ppi), meaning 72 of the million plus pixels
available are shown in an inch. This image is 11” wide by 8” high. A 6 mp image has a 2816
pixel width and a 2120 pixel height; at the same resolution, that makes the 6 mp image 39”
wide by 29” high. If these two images were printed at 6”x4”, the 6 mp image would be of
better definition, as more pixels are ‘crammed’ in to that size.
Dominic White Page 11 12/06/2012
File Types
JPEG (Joint Photographic Experts Group): The JPEG file type is commonly used in digital
cameras. This file works through compressing the image, thereby reducing the file size. It
does this by selectively discarding data, making it a lossy file type. This type is good when
saving continuous tone images; sharp lines, curves and blocks of colour may become
compromised. The amount of compression can be selected when recording in the camera or
saving on a computer. High compression will lead to a small file size and low compression will
create a larger file size. When opening a JPEG file, it must be decompressed. Depending on
the amount of compression, compression artefacts or noise may be apparent. This is caused
by the compression size chosen deleting colour gradation and replacing it with one colour tone.
JPEG documents have a maximum file size of 2 gb.
TIFF (Tagged-Image File Format): Some digital cameras can record in a TIFF file type. This
is a lossless file type, meaning the image is not compressed so quality will not be compromised,
but it can lead to very large file sizes. When saving to TIFF in Photoshop, a number of
options are available. For beginners to the program, it is best to leave the options as they
appear. TIFF documents have a maximum file size of 4 gb.
BMP (Bitmap): This file type is a standard Windows image format, making it a multi-program
compatible format. Options when saving include converting the file to a different operating
system (to make the file ‘readable’ to non-DOS based computers). BMP documents have a
maximum file size of 2 gb.
PSD (Photoshop format): This is the default setting when saving in Photoshop. This is a useful
file type (along with TIFF) if your image is to be worked on, saved, and then worked on again
as no compression occurs. PSD documents have a maximum file size of 2 gb. Remember that
PSD files can only be opened in Adobe applications, such as Photoshop.
Dominic White Page 12 12/06/2012
Printing your Image
Before you can print your image, you may need to resize it. As seen above, images opened in
Photoshop will normally have a ppi of 72, meaning a 6 mp image would be 99 x 74 cm (A4 paper
is 21 x 29 cm). Images can be resized using the Image Size option.
To open the image size dialogue box select:
Image > Image Size (Alt + Ctrl + I)
As most photographic paper below A4 size is sold in inches, it may be best to change the
document size measurements to inches using the down arrows next to the number boxes.
With the Resample Image box checked,
changing the document size width and
height would change the document size, but
retain the resolution. If we made the image
6” x 4”, then the resolution would remain at
72 ppi.
In order to retain image quality, uncheck the resample image box. This means that the image
will retain the 6 million pixels, but they will be squashed into a much smaller area, giving a new
ppi for the image of 1192.
Dominic White Page 13 12/06/2012
When you have resized your image, select:
File > Print
Selecting the Page Setup option allows you to alter options in much the same way as other
Windows based programs, such as MSWord. You can change the paper size and its source in
the actual printer (if you have normal paper in tray 1 and photographic paper in tray 2, for
example).
Always make sure that the correct printer is selected in the Printer text box, at the top of
the dialogue box.
Once you are happy with all the settings, select print. This will open a printer dialogue box.
Click OK to print your image.
A second option when printing is to bypass resizing your image and merely selecting Scale to
fit Media in the print dialogue box. This will make the image fit into the paper size selected.
Dominic White Page 14 12/06/2012
Printer Resolution
When printing, it is important not to confuse ppi with a printers’ dots per inch (dpi). While
your photograph is made up of individual pixels of one colour, a printer may have to produce
three dots of ink to show that one colour.
This example shows that in order to produce a pink pixel, the printer may
have to produce minute dots of red and yellow to create that same colour.
The dots produced by the printer are so minute as to convince the eye it is seeing an
individual colour.
This table shows a suggested available print size in relation to the actual image size when
using a 300 dpi ink-jet printer.
When you print, dividing the pixel size of the image by the available dpi will give a good
indication of the appropriate print size.
With a picture taken at 3 mp:
2048/300 x 1536/300 = 6.8x5.12 this means that a 7”x5” inch print could be produced.
Image Size Pixel Size Print Size (inches)
1 mega pixel 1280x960 pixels 6x4
2 mega pixels 1600x1200 pixels 7x5 / 6x4
3 mega pixels 2048x1536 pixels 10x8 / 7x5
6 mega pixels 2816x2120 pixels 10x8
Dominic White Page 15 12/06/2012
Resizing your images Digital and Physical changes
There are many reasons you may want to change the size of your image, in both Pixel
Dimensions and Document Size.
We have already seen how the document size
of the image can be altered to prepare the
image to print on specific paper sizes. We
can also alter the image sizes to reduce the
file size of the image.
One of the main reasons for reducing the file
size is too allow ease of use when e-mailing
the image or posting it on the internet.
The first thing to do is create a duplicate of the image. This ensures that the original file is
untouched, remaining at the same size and quality. To do this:
Open the intended image
Select: File > Save As
Click the As a Copy check box in the save options area
Click Save
Close the image on screen and open the new copy of the image, to ensure you are working on
the correct copy. Examine the image and decide whether you can crop1 the image, which
reduces the image and file size immediately. Once you have cropped (or not) select:
Image > Image Size
1 If you crop the image, you may find that the image and file size are low enough to remove the need for
further resizing.
Dominic White Page 16 12/06/2012
This will open the dialogue box shown above. By default Photoshop will open an image at 72
ppi. The megapixel amount the image was captured at will decide the Document Size. If shot
at 6 mp the image (before cropping) will be around 39 x 29 inches.
Changing the Document Size often reduces the file size, as the pixels in the image are
‘compressed’ to fit in to the new space. When altering Document Size remember to uncheck
Resample Image, or your image may end up containing only one hundred thousand pixels!
Save the image and the select File > Open. The original file and copy should be one after the
other in the file list. Hover the mouse cursor over the original and the copy to see the initial
change in file size.
The file size will not have changed by a great amount, but we can reduce this further by now
resampling the image. Again open the Image Size dialogue box and check the Resample box.
If you know the image will be printed by the person receiving it, 300 ppi should be the lowest
amount entered if you wish to retain quality (as much as possible). If the image will remain
‘digital’ then 150 ppi should be acceptable. Again save your image and check the new file size.
One further step we can take is in the JPEG compression of the image. It is assumed that
you have saved the image in this file type, as it is the most common and ‘readable’. Remember
that the higher the compression setting, the more the image quality will degrade and you run
the risk of compression artefacts appearing when the image is decompressed.
Remember to check your image as you work through reducing size, as you may find that
quality becomes too poor in the image. Also remember that you can undo changes to the
image size and select different sizes for each step as you go along.
Dominic White Page 17 12/06/2012
Individual Panels
In this section we will look at the functions and use of the
individual panels used in this booklet
Dominic White Page 18 12/06/2012
Navigator Panel
The navigator panel provides an easy way to move around an image. A thumbnail of the active
image is shown, with the proxy view area (red box) indicating what is being shown in the
active document window. The zoom text box shows the percentage of zoom currently in use;
this can be changed by highlighting the text with the mouse cursor and typing a new figure.
The zoom in and out buttons zoom incrementally and the zoom slider, used by dragging the
tab left or right, zooms the image in relation to the direction chosen. However the zoom is
implemented, the zoom text box will show the current percentage of zoom.
The hand icon visible in the proxy view area box can be used to move that box around the
thumbnail, moving the image in the active document window. Moving the mouse cursor outside
of the red box means a different area of the image can be selected and shown in the active
document window. The panel menu button allows you to change the proxy view area box
colour, through the panel options button.
Proxy View Area
Zoom Text Box
Zoom Out Button Zoom Slider Zoom In Button
Collapse Panel Button
Panel Menu Button
Dominic White Page 19 12/06/2012
Histogram Panel
Exposure refers to the balance of shadows, midtones and highlights in your image. An
underexposed image will be overly dark and an overexposed image will be overly bright.
The histogram in Photoshop is a graph that shows this balance.
The histogram panel shows the tonal range of pixels in your image; the amount of pixels
making up shadows (left area), midtones (middle area) and highlights (right area). This is also
known as the image key type.
This histogram shape indicates a normal (correctly exposed)
image. (Average key)
This shape indicates an underexposed image, with the pixels
mainly grouped to the left of the graph. (Low key)
This shape indicates an overexposed image, with the pixels
mainly grouped to the right of the graph. (High Key)
Recognising these shapes means you can recognise ‘errors’ with your images before editing,
and so have an initial idea of how to correct that image.
Dominic White Page 20 12/06/2012
History Panel
The history panel allows us to view every single action that we have performed on an image (up
to 1000 states, depending on file size, available memory, etc).
The topmost bar contains the original image and it will remain as such until the image is
closed. Every time the image is altered, a new state is added to the history panel. The most
recent state will be at the bottom of the list, highlighted in blue. From this we can compare
the original and altered image, delete the state thereby undoing that action or create a
snapshot/new document of that state.
To delete a state, select that state and then click on the rubbish bin icon at the bottom of
the panel window.
To create a new snapshot, select a state and then click on the camera icon at the bottom of
the panel window. This gives us a second image that we can compare with.
To create a new document, select a state or snapshot and click the active window icon at the
bottom of the panel window. This will open a new active window document showing that image.
The history brush source shows where information will be taken from if we use the history
brush found in the toolbox.
Set History
Brush source
History State
Delete current state Create new snapshot Create new document
from current state
Dominic White Page 21 12/06/2012
Menu Commands
In the section we will look at alterations that can be made to an
image using functions found through the Menu Bar
Dominic White Page 22 12/06/2012
Rotating an Image
Sometimes when taking a photograph, holding the
camera normally (landscape) means that the top of
the subject may be out of shot. To remedy this we
turn the camera through 90°, to take the picture in
portrait. When uploaded to a computer the image will
be accessed as landscape. To correct this, we can
rotate the image.
Select:
Image > Image Rotation > ?
selecting the amount and direction to
rotate. In this case, we want 90° CW
(Clockwise). CCW (Counter-Clockwise)
would put the building on its roof.
Rotating 180° would place the building
at the top left corner. Flipping the
canvas merely produces a mirror image
along the horizontal or vertical axis.
An image can be rotated at an angle other than 90° or 180°. If you select:
Image > Image Rotation > Arbitrary
this pop up will appear. You can type in whatever
angle you desire.
Dominic White Page 23 12/06/2012
If you have an image where a horizontal or vertical is slightly ‘out of true’ but very difficult
to correct, you can use the ruler tool.
The ruler tool is found in the pop out menu of the eyedropper
tool, found in the toolbox.
Select the ruler tool and draw a line along the chosen
horizontal or vertical axis in your image.
If you now select:
Image > Image Rotation > Arbitrary
you will find that a value has already been entered for
the angle amount.
Select ‘OK’ and the image will rotate. It may take a few tries to get the angle completely
correct, but it does improve on taking a wild stab at the angle needed in the arbitrary pop up.
If the rotation does not look correct, you can always select:
Edit > Undo Rotate Canvas
Now that the canvas has been rotated out of a right-angled
position, we will have to crop the image.
Dominic White Page 24 12/06/2012
Cropping an Image
Cropping an image is relatively simple. All we have to do is select the crop tool from the
toolbox and select an area of the image to crop.
Select the crop tool and
position it at the top left
corner of your proposed
selection. Press and hold the
left mouse button and drag the
mouse cursor diagonally to the
bottom right corner. When
you are done, release the
mouse button and a Bounding
Box will appear. The area
outside of the box will be
shaded, highlighting your
selection.
The box can be altered by selecting and dragging the handles at the corners and mid-section
of the box. Pressing the ‘Esc’ key at any point will remove the bounding box. Once you are
happy with the selection;
Click the tick in the options tool bar
Press ‘Enter’ to crop the image
Double click inside the bounding box
It is important to remember that a cropped image is smaller than the original. If you started
with an image to print at 6”x4”, the cropped image may not be of a high enough resolution to
produce a good quality 6”x4” print.
Dominic White Page 25 12/06/2012
Exposure correction
The levels dialogue box, opened through Image > Adjustments > Levels (Ctrl+L), gives you
control over the pixels in the three main areas; shadows, midtones and highlights.
To adjust an underexposed image, move the highlight slider to the left. For an overexposed
image, move the shadow slider to the right. The midtone slider can be used to ‘fine tune’ an
adjustment, moving left for underexposed and right for overexposed images, but it can
affect the image contrast, making an image seem dull. Always have the Preview box checked,
so that you can observe changes being made in the image.
Having made changes to the image, look to the histogram panel and click on the exclamation
symbol (Cached Data Warning icon). This will update the histogram, showing the new
graph.
These gaps and spikes in the graph shows a loss of tonal
detail in shadows, midtones and highlights; a result of
working on the image.
Input Shadow Slider
Midtone Slider
Highlight Slider
Dominic White Page 26 12/06/2012
Contrast correction
This histogram graph shows an image low in contrast. To
correct this, move both the shadow and highlight sliders in
towards the base of the main ‘body’ of the graph.
This histogram graph shows an image with high contrast.
This cannot be greatly affected with the input sliders.
Instead, move the output shadows and highlights sliders.
Moving these sliders will change the intensity of
shadows and highlights, making them a lower tonal
value.
Output Shadow Slider Highlight Slider
Dominic White Page 27 12/06/2012
Colour balance and casts
A colour cast is when an image appears to have a veneer of one colour covering that image.
Normally your digital camera will be unaffected by casts, selecting the correct white balance
for an image. Casts can occur in extremely difficult lighting situations or when one colour is
overly present in the image.
There are a number of ways of correcting a colour cast:
Selecting auto colour makes the program try to correct the colour cast automatically. This
produces correct results much of the time, but is not always good enough. Always try this
option first as, if successful, it will remove work for you.
Auto Colour
Colour Balance
Variations
Dominic White Page 28 12/06/2012
Selecting variations opens a dialogue box showing the possible colour changes available.
The top two thumbnails show
the original image (left) and
the current changes applied
(right). The six thumbnails
surrounding the central
‘Current Pick’ image show what
changes will occur when more
of one colour is added. Look at
these images to select the
correct change. You may find
that you have to adjust the
Fine/Coarse slider if you
cannot find the correction you need. The three thumbnails to the right allow you to change
the image brightness. Click on the appropriate thumbnails to achieve the desired result and
once you are happy, click OK to apply those changes.
The colour balance
window is for more
experienced Photoshop
users. Firstly you will
have to recognise what
cast is affecting your
image, then change the
individual colour sliders to
correct it.
When using variations or colour balance to correct colour casts, always make sure that
midtones is checked.
Dominic White Page 29 12/06/2012
Hue and Saturation
Sometimes when we take a photograph, the resultant image looks bland and colourless. This
can be for a variety of reasons, the most common being poor lighting conditions. For example,
if you take a photograph outside on a cold, wet, overcast day, the colours in the photograph
may not be as vibrant as expected.
With the hue and saturation dialogue box, the
colour (Hue), intensity (Saturation) and Lightness
can be altered to change the overall look of the
photograph.
Open the Hue/Saturation dialogue box by selecting:
Image > Adjustments > Hue/Saturation
(Ctrl + U)
As you move the hue slider left or right, the number in the
text box represents the degrees around the colour wheel
(see left) that pixel has moved. Sliding right moves the
colours clockwise (+), sliding left moves the colours counter
clockwise (-).
As you move the saturation slider left or right, the colour
intensity increases or decreases. Left makes colours duller,
moving to the edge of the colour wheel. Right makes the
colours more intense, moving toward the centre of the
wheel.
As you move the lightness slider right, more white is added to the selected colour,
brightening that colour. As you move left, more black is added to the colour, darkening that
colour.
Image taken from Adobe Help Centre
Dominic White Page 30 12/06/2012
Editing specific colours
In the Master pull-down window, you can select a number of preset colours to change.
Selecting Master makes the change in hue, saturation or lightness affect
the entire image. If you want to change one colour, you can select it from
pull-down menu.
Selecting an individual colour makes
additional options available.
Having selected Reds, only pixels of
that colour in the image will be
affected. The adjustment slider
resides in the red section in both colour
bars. If the hue slider is changed, that
change will be shown in the adjustments
colour bar, beneath the dark grey
section of the adjustment slider.
The eyedropper tools can be used to select colour from an image, increase the number of
colours within a selection or decrease the number of colours.
When using the hue/saturation dialogue box, always have the preview box checked, so you can
observe changes in the picture. If the change is too much, you can reset the sliders by
pressing the Alt key on the keyboard. This changes the Cancel option to Reset. With Alt
held, click reset.
Reference
Colour Bar
Adjustment
Slider
Adjustments
Colour Bar
Dominic White Page 31 12/06/2012
The Unsharp Mask
The Unsharp Mask is used to sharpen images. This is a filter, found in:
Filter > Sharpen > Unsharp Mask
This opens the Unsharp mask dialogue box. A preview window of the image can be seen, but it
is best to observe changes to the actual image; make sure that the preview box is checked
and the dialogue box does not obscure your view of the active document window.
The preview window can be zoomed in and
out, allowing you to observe the whole (in
the active document window) and part (in
the preview window) of the image at the
same time. You can move around a zoomed
preview window by placing the mouse cursor
in the window; it will become a hand icon.
Press and hold the left mouse button and
‘scroll’ around the image. While the mouse
button is pressed, the effects of the
unsharp mask are not shown in the preview
window.
The unsharp mask filter works by increasing the contrast along edges of an image. These
edges are ‘found’ by comparing pixels with adjoining pixels; pixels with contrast between them
will form an edge (edge pixels). The filter increases the contrast between edge pixels; light
pixels get lighter, dark pixels get darker.
Dominic White Page 32 12/06/2012
Amount Slider
The edge pixels are changed by the percentage set with the amount slider. The amount
available is between 1 and 500%. At very high amounts, you may find that a ‘halo’ appears
around objects, showing that the image has been oversharpened.
Radius Slider
The radius selects the amount of pixels surrounding the edge pixels to be altered. As the
radius increases, these edges will become more apparent as more pixels fall within the
affected area.
Threshold Slider
The threshold slider determines how much contrast needs to be present in the edge pixels
for the filter to affect them. The tonal value* of each pixel will be looked at. If the
threshold is set to 10, then only pixels with a difference in tone of 10 or more will be
affected. If a pixel with a value of 120 is next to a pixel of 129 they will not be affected, as
they are within the threshold level; they are not of enough contrast to warrant ‘sharpening’.
Original image Unsharp mask used; Amount: 200
Radius: 2
Threshold: 5
An image with an obvious ‘halo’
Dominic White Page 33 12/06/2012
Suggested settings for different images
Amount
The amount set is dependant upon the image to be altered, as this can be different for each
image. It is important to remember that as the amount gets higher, the contrast between
edge pixels will become more apparent. It is suggested to start with an amount of 100%,
increasing or decreasing the amount as required/desired.
Radius
As digital cameras and scanners vary in the pixel dimensions they can capture, so too does the
level of radius images can ‘withstand’.
Pixel dimension Suggested radius
0.5 – 3 mp 1
3 – 5 mp 2
6 + mp 3 - 4
The amount and radius sliders are interdependent. As one is raised so the other should lower,
to keep an image realistic.
Threshold
As the threshold setting defines the amount of pixels included in the sharpening process, it is
important to recognise when, and how much, to select. If an image contains a large amount of
continuous tone, such as a portrait, it is best to set a relatively high threshold of about 10.
If the image is a landscape, with soft flowing edges, the threshold should be higher. For
images of buildings or specific objects, a lower threshold can be set.
The amount of sharpening needed depends on the intended output of the final image. A high-
resolution image can appear excessively sharp on screen, but when printed this effect may be
muted. It is always best (although possibly expensive) to find a base level for the printer you
intend to use. You may also find that the increase in contrast has oversaturated your image.
Dominic White Page 34 12/06/2012
To combat this select: Edit > Fade Unsharp Mask; choosing Luminosity from the Mode
menu.
Remember that the final decision in matters like this is in the eye of the beholder! If you
find a particular alteration pleasing, then go with it. As long as you always use the preview
before confirming the selected alteration, nothing should go wrong.
When you are happy with the overall result click ‘OK’ to confirm and complete the sharpening
process.
* The tonal value of a pixel is its colour in numbers. The histogram shows tonal value against
number of pixels; pure black is 0 and pure white is 255.
With the threshold set to 10, if a pixel of 170
is next to a pixel of 173 it will not be
affected. If the 170 pixel is next to a pixel of
70, they will both be affected.
Dominic White Page 35 12/06/2012
Adjusting the Perspective
Keystone Distortion occurs when a photograph is taken at an angle, instead of straight-on.
This frequently occurs when photographing tall buildings from ground level. In order to
capture the whole building, the camera is held at an angle; in the resultant image, the building
will appear to taper in at the top.
This tapering can be adjusted using the Transform tools in
Photoshop.
When adjusting image perspective, it
is best to leave images in the default
opening setting, so that it is wholly
visible and easy to work with.
If you can see that your image suffers from keystone distortion, but find it hard to judge
straight verticals, you can ‘place’ a grid over the image to help. Select:
View > Show > Grid (Ctrl + ‘)
The grid can be turned off in the same way. The grid is most
helpful when dealing with obvious straight vertical lines in
images that are slightly ‘out of true’.
You may find that the grid lines are too close
together. If this is the case, select:
Edit > Preferences > Guides, Grid & Slices…
Changing the ‘Grid every:’ and ‘Subdivisions:’ can
make the grid more easy to see.
Dominic White Page 36 12/06/2012
In order to affect your image, it must be selected. This can be done by selecting:
Select > All (Ctrl + A)
Now the ‘marching ants’ are surrounding the whole
image. Select:
Edit > Transform > Perspective
This will place a bounding box with handles around
the image.
Positioning the mouse cursor over a handle at the
corner will make it light grey, midpoint cursors are
light grey with a double ended arrow showing the
direction of movement. Press and hold the left
mouse button and move the mouse. The image will
copy that movement.
At beginner level, always make sure that the reference point locator is set to the centre of
the image and always use the handles to change image perspective.
When you are happy with the results, either;
click the commit button;
press ‘Enter’
double-click within the bounding box
To cancel the transformation, either click the cancel button or press
‘Esc’ on the keyboard. To deselect the image, select:
Select > Deselect (Ctrl + D)
The marching ants will disappear. After altering perspective, you may
have to crop the image.
Dominic White Page 37 12/06/2012
Free Transforming
Free Transform allows us to edit an image or selection in the same way as selecting:
Edit > Transform > ?Selection?
If more than one transformation is being applied to an
image, it is best to apply them all at the same time. Each
separate transformation applied to an image will lessen its
overall ‘look’, with loss in sharpness and resolution.
Applying a cumulative transformation (two or more at once)
will lessen this negative impact.
With the free transform bounding box, we can apply all of the available transformations;
scale; rotate; skew; distort; perspective; warp; without having to continuously select:
Edit > Transform > ?Selection?.
Free transform can be initiated by:
Selecting Edit > Free Transform
Pressing ‘Ctrl + T’ on the keyboard
Clicking the right mouse button and selecting Free Transform from the pop up menu
To use the transform options an area has to be actively selected or not ‘Locked’, indicated by
a padlock symbol in the layers panel.
Dominic White Page 38 12/06/2012
Transformation Free Transformation Key
Scale (with handles)
Position the mouse cursor over a handle.
Press and hold the left mouse button while
dragging the mouse. To maintain aspect ratio,
hold shift while dragging a corner handle.
Scale (numerically)
Enter a percentage figure into the width and
height boxes in the options toolbar. To
maintain the aspect ratio, click the Link symbol.
Rotate (dragging)
Position the mouse cursor outside the
bounding box. It will become a curved
double-ended arrow. Press and hold the left
mouse button to rotate around the reference point location.
Rotate (numerically) Enter a degree figure in the rotation text
box in the options toolbar.
Distort (relative to the centre of the image) Press and hold ‘Ctrl’ + ‘Alt’ while dragging a
handle.
Distort (freely) Press and hold ‘Ctrl’ while dragging a handle.
Skew Press and hold ‘Ctrl + Shift’. The cursor will
change at side handles Drag a side handle.
Skew (numerically) Enter a degree figure into the ‘H’ or ‘V’ text
boxes in the options toolbar.
Perspective Press and hold ‘Shift + Ctrl + Alt’. Drag a
corner handle.
Warp Click the ‘Switch Between Free Transform
And Warp Modes’ button.
Change reference point
Either; select a new point by clicking the
appropriate box in the reference point
locator or press and hold the symbol and
move it manually.
To commit the selected transformations; double click within the bounding box; press ‘Enter’;
click the tick symbol in the options toolbar. To cancel the selected transformations;
press ‘Esc’; click the cancel button in the options toolbar.
Dominic White Page 39 12/06/2012
Using the Toolbox
In this section we shall look at various tools found within the
toolbox, and how to use them to alter images
Dominic White Page 40 12/06/2012
Dodge and Burn Tools
The dodge and burn tools are used to lighten and darken areas of an image respectively. They
are held, along with the sponge tool, in the same area in the toolbox; swapping between them
means right-clicking the tool icon to open the pop-up menu.
These tools are used as brushes, so options on their settings can be
controlled by the options toolbar.
The tool icon shows the
current tool being used. The
brush size is the pixel
diameter of the brush.
Range indicates which pixels
will be affected, in this case,
midtones. Exposure relates to
the intensity of the dodge or burn tools. A low exposure means light and dark are changed in
relatively minor amounts each time you click the mouse button. A high exposure means
changes will be much more apparent with each mouse click. Selecting the Airbrush tool means
keeping the mouse button depressed continues to dodge or burn the image. Without the
airbrush option selected, the mouse button must be continuously pressed to achieve results.
Clicking the down arrow in the brush size box
opens a pop-up menu. Here the diameter of the
brush can be changed, as well as the hardness.
Hardness of the brush refers to the amount of
anti-aliasing of that brush. Anti-aliasing
means the brush will partially fill the edge
pixels with the background colour.
This means that instead of the brush producing
Dominic White Page 41 12/06/2012
a solid block of difference, at a low hardness the edges of the brush will form gaps filled by
the background.
This example shows the extreme difference
between 0 and 100% hardness.
Even at 100% the brush is still anti-aliased, but
it is barely noticeable.
The square bracket keys on the keyboard reduce ([) and increase (]) the brush diameter;
holding the ‘shift’ key while pressing the bracket keys will change the brush hardness.
Preset brushes are brushes set to different diameters and hardness, set out in order of size,
to ease brush selection. While you can change preset brush attributes, they will revert to
the original setting when that brush is selected again.
Clicking the menu button will make the pop-up menu appear. From this you can choose a
great number of different brushes available. However, as a beginner, it is best to
practise with the basic brushes, until you feel more confident.
When using the dodge or burn tool, it is best to start with a low exposure and build up
changes to the effect you are looking for.
Dominic White Page 42 12/06/2012
The sponge tool
The sponge tool is used to alter the saturation of colour within an image. Two modes can be
chosen, saturate or desaturate. Saturate means that the colour intensity will be increased,
Desaturate means the colour intensity will be lessened. Flow, much like exposure in the
dodge/burn options bar, indicates the intensity of the change this brings about. A small flow
percentage will produce small changes; a large flow percentage will increase the brush
effectiveness. Again the airbrush option is available, making the brush work in the same way
as it does the dodge/burn brush.
All brush tools can be hard to master, so it is good to remember that you can undo your
previous actions. With that in mind it is best to use the brush tools in short ‘bursts’. For
example, brightening a large and difficult area in one go, then making a mistake at the end,
can mean having to redo that whole section of work. This can be very disheartening!
Dominic White Page 43 12/06/2012
Cloning
The clone stamp tool is used to ‘copy’ one area of an image into a different area. This can be
in the same image or a different one. The tool does this by sampling an area of the image and
painting it into the selected area. Cloning is often used to obscure areas of an image that
detract from the whole.
The clone tool works as a brush, so the size (in pixel diameter) and the hardness can be
selected from the options toolbar. When cloning, a soft edged brush is often preferable, so
as to blend in the cloned area with the background. Mode, opacity and flow are best left at
the default settings (Normal, 100%, 100%) when a beginner to the program, but can be
explored when confidence has grown.
The Aligned checkbox shows whether the sample point will move with the cloned area or
remain in the sampling area.
Aligned checked: The sample point stays at the same distance and position to the brush
(mouse cursor)
Aligned unchecked: The sample point reverts to the original area if the mouse button is
released then pressed
In this example, we see that the brush used to
obscure the middle of the ball was soft edged.
This adds to the effect, as areas of the
background will blend in with the edges of the
clone area.
When cloning, it is important to select a sample area that will ‘work’ with the chosen clone
area; they should have a passing resemblance in subject, hue and brightness, so that the clone
area is not obvious.
Dominic White Page 44 12/06/2012
Area Selection: Marquee Tools
The Marquee tools are used to select specific areas
within an image that need to be worked on.
Rectangular: Creates a rectangle around an area
Elliptical: Creates an ellipse (circle) around an area
Single Row: Creates a 1 pixel thick selection across the entire image
Single Column: Creates a 1 pixel thick selection down the entire image
Pressing and holding ‘Shift’ while selecting with the rectangle and ellipse tools will form a
perfect square or circle. Keep shift depressed until you release the left mouse button.
Selecting an area:
Place the mouse cursor at a corner of the intended area; press and hold the left mouse
button; drag the cursor over the intended area.
Place the mouse cursor in the centre of the intended area; press and hold the ‘Alt’ key;
simultaneously press and hold the left mouse button; drag the cursor out to the edges of
the intended area. (Can only be used for initial selection)
The selection will be shown with a marching ants line.
Once an area has been selected, work on the image can only be performed within that area.
Dominic White Page 45 12/06/2012
Options toolbar for the marquee tools
The left most icon shows which marquee tool has been selected. In this case, the rectangular
tool is selected.
Selection Options
New selection: The marquee tool can only create one selection area. Selecting a new
area will cancel out one already created.
Add to selection: More than one selection area can be created in one image. They
can be independent selection areas anywhere within the image. If two or more
selection areas touch or overlap, they will join to form one selection area.
Subtract from selection: Having created one selection area, additional selections
overlapping the first will result in the overlap area being deselected. Selections
attempted not touching the first selection will not be created.
Intersect with selection: Having created one selection area, subsequent selections
that overlap the initial area will result in the overlap forming the selection area.
These options can be selected from the options toolbar before or during selection area
creation.
Keyboard shortcuts can be used once the initial selection has been made:
Press and hold ‘Shift’ for ‘add to selection’
Press and hold ‘Alt’ for ‘subtract from selection’.
Press and hold ‘Shift + Alt’ for ‘intersect with selection’.
Dominic White Page 46 12/06/2012
The Feather option allows you to select how ‘sharp’ the selection
area will be. 0 pixels (px) means the edges of the selection area will be pixel sharp. As the
feathering amount goes up (to a limit of 250 px), the edges of the selection will become more
blurred. Detail in the image can be lost as feathering is increased.
The Anti-alias option, only available with the elliptical marquee tool, smoothes edges of
selection areas. No detail in the image is lost through anti-aliasing. Anti-aliasing can only be
applied before the selection is made.
Style
Normal: Selection must be made by dragging the mouse cursor over the image.
Fixed Aspect Ratio: The selection created will conform to the width to height ration entered
into the appropriate boxes. For example, to have a rectangle twice as long as it is high, enter
2 into the width box and 1 into the height box.
Fixed size: The selection area is entered into the width and height boxes. Clicking the mouse
cursor over the image will produce an area conforming to the amount, entered in pixels, in the
boxes. Knowing the ppi of the image is helpful here; to create a square inch selection area in
a 72 ppi image, 72 px would be entered in both the height and width boxes.
A selection area can be increase or reduced by selecting:
Select > Modify > Expand/Contract
The amount required being entered in pixels.
Dominic White Page 47 12/06/2012
The marquee can be moved before selection is completed. With the left mouse button still
depressed, press and hold the ‘space bar’. Moving the mouse cursor will now reposition the
marquee. Releasing the space bar will mean the selection area can again be changed.
To move the marquee once selection is complete, position the mouse cursor within the box.
Press and hold the left mouse button and drag the marquee to the new position.
To deselect an area when you have finished with the selection, either click the right mouse
button and select ‘Deselect’ from the pop-up menu, select: Select > Deselect (Ctrl + D) from
the menu bar or, if using the ‘new selection’ option, left click anywhere in the image (outside
the marquee).
If you find you have deselected an area by mistake, you can reselect the area by selecting:
Select > Reselect (Shift + Ctrl + D)
It is often easiest to select an area by selecting an area to be left unaltered and inverting
that selection; choosing the area we do not want changed and then selecting everything but
that area.
To invert a selection, select:
Select > Inverse (Shift + Ctrl + I)
Dominic White Page 48 12/06/2012
Area Selection: Magic Wand Tool
The selection options buttons perform the same functions with the Magic Wand tool as with
the marquee tools. The magic wand is used by clicking the left mouse button over an area to
be selected.
Tolerance: This indicates what similarity needs to be present for pixels to be selected. The
amount can be from 0 to 255, entered in pixels. This tolerance means how much of a
similarity must be present in pixels, compared to the pixel that was first selected. A low
number means the pixels must be very ‘like’. As numbers get higher, pixel similarity
diminishes.
Anti-aliasing: Again this refers to the smoothness of the edge pixels between those
selected and those not.
Contiguous: If this box is checked, the tool will only select areas of colour adjacent to that
selected. If unchecked, the whole image will be scanned and pixels falling into the selection
criteria (tolerance) will be selected.
A selection made can be increased by selecting: Select > Grow
Areas of similar colour can be selected by selecting: Select > Similar
Dominic White Page 49 12/06/2012
Options common to selection tools
Having made a selection:
Pressing ‘Delete’ or ‘Backspace’ on the keyboard will replace the selection area with the
Background colour, deleting the selection
Cutting the area with Edit > Cut (Ctrl + X) will remove that area to the clipboard,
replacing the area with the background colour
Copying the area with Edit > Copy (Ctrl + C) will copy that area to the clipboard without
removing the selection
Clipboard contents can be pasted with Edit > Paste (Ctrl + V) into the same image or into
a different image
Using the Move tool when an area is selected means it can be moved within the image, or
drag & dropped into a different image. When moving selections within the image, the
background colour replaces the selection area.
Mouse Cursors
Standard marquee cursor
‘Add’ selection cursor
‘Subtract’ selection cursor
‘Intersect’ selection cursor
‘Cut’ cursor
‘Move’ cursor
Magic Wand cursor; +, - and x are added to the cursor as they are selected
Dominic White Page 50 12/06/2012
Area Selection: Lasso Tools
The lasso tools are used to make freehand selections. This is perhaps one of the most taxing
selection tools, as it relies on your ‘mouse skill’ to make the required selection. Once an area
has been selected, it can be edited in exactly the same way as with other selection tools. The
three variations, Lasso, Polygonal Lasso and Magnetic Lasso each behave in slightly
different ways.
Lasso Tool
As you can see from the options toolbar, there
are not many changes we can make to the basic
settings. As with other selection tools, the selection options allow us to; ‘add new’, ‘subtract’
and ‘intersect’ selection areas; set the ‘feather’ amount; check ‘anti-alias’.
It can be very hard to draw a perfect line around the intended area; not only is a bulky mouse
being used, we also have to keep the left mouse button depressed.
One way to rescue a faulty selection is to Transform Selection. Select:
Select > Transform Selection
This forms a bounding box about the marching ants line.
You can now edit the selection border without affecting
the selected area.
This option can be used with all other selection tools.
Dominic White Page 51 12/06/2012
Polygonal Lasso Tool
This tool makes a selection without the left
mouse button being constantly depressed. The button is clicked
at the start of the selection border and clicked again when that
‘segment’ is complete. The border will continue until the next
click of the mouse button, finishing another segment. This
continues until the start and end segments meet. The tool
creates a straight edged line. Incorrect segments can be
deleted by pressing the delete key before the line is complete.
Magnetic Lasso Tool
This tool works by laying down a border which follows the mouse cursor, selecting contrast
around the cursors’ path.
Width controls the size of the area that finds the ‘edges’, to which the border is attached.
Edge Contrast (from 1% to 100%) determines how contrasting pixels must be. A high value
means edge pixels must be very unlike surrounding pixels, a low value means edge pixels can be
less contrasting.
Frequency (from 1 to 100) denotes the speed at which ‘anchor points’ will
be set. As the number increases, anchor points are created more quickly.
As with the polygonal lasso, incorrect anchor points can be deleted
before the border is complete. If the border will not fasten where you
wish, anchor points can be created by pressing the left mouse button.
Dominic White Page 52 12/06/2012
Moving your Selection
As has already been discussed, there are a number of ways of moving a selection:
Copy and Paste – The selection area is copied to the clipboard and can
be pasted into the same/a different image as a new layer. This layer
can be moved freely with the move tool.
Cut and Paste – As with copy and paste, the image is sent to the
clipboard and can be pasted into the same/a new image as a new layer.
The selection area is cut from the initial position and replaced with
the background colour.
Cut-Move – This can be done with either the move tool or, as there is
a current selection, almost any tool while ‘Ctrl’ is depressed on the
keyboard (e.g. the Brush tool). This cuts the selection from the image
and allows you to move it freely within the image. If the selection
remains in the start image, the original area is replaced with the background colour. If it
is moved into a second image (drag and drop) the initial selection returns to its start point.
Copy-Move – Again this can be done with either the move tool or almost
any tool (as long as there is a selection present). Using the move tool,
depress the ‘Alt’ key and move the selection. The original will remain in
position while a copy will move with the mouse cursor. With other tools,
press ‘Ctrl + Alt’ to use copy-move. Cut- and Copy-move do not create new layers.
The ‘Show Transform Controls’ checkbox in the move tool options toolbar allows you to access
the Free Transform options by clicking the bounding box shown.
Dominic White Page 53 12/06/2012
Quick mask mode
Quick mask mode can be used to select areas in an image or to adjust areas
already selected. It is entered by clicking the toggle switch, one up from the
bottom of the toolbox. Quick mask mode is exited by again clicking the toggle switch
The mask is represented by a colour; default is red at 50% opacity, which covers the specific
area designated in the ‘Quick Mask Options’ dialogue box. These settings can be altered.
When colour indicates ‘Masked Areas’; entering
quick mask mode with an active selection border
will mean everything outside that border will be
coloured red (default).
Active marquee selection Resultant quick mask mode
If ‘Selected Areas’ is checked, the selection area will be coloured and the masked area
(outside the active selection) will appear normal.
Quick mask mode works in greyscale, which means that painting with a brush tool in black will
add the chosen colour and painting in white will delete the colour. Any colours chosen other
than pure black or white will be displayed as varying shades of grey in the fore- and
background colour boxes. Painting with grey makes a more transparent colour appear. This
can be used to feather or anti-alias the selection.
Dominic White Page 54 12/06/2012
Selecting an area with quick mask mode
Double click the quick mask mode button and check ‘Selected Areas’. This means that painting
onto the area you want selected will, when you revert to standard mode, form a selection
border around that area. With this option it is best to also make sure the mask colour is
highly distinguishable from areas in the image. For example, editing a red post box beside
another red post box, standing in front of a red post office van, could be quite hard with the
mask shown as red!
Once you have painted over the chosen area, revert back to standard
mode. A marching ants line will show around the borders of the area you
painted.
If you find, in standard mode, that you have missed some areas or gone ‘over the lines’, go
back to quick mask mode and edit your selection. Painting in black will add to the area;
painting in white will remove areas.
Editing a selection with quick mask mode
In this instance, it is easiest to work with the colour covering ‘Masked Areas’, as this means
areas you do not want altered will be ‘coloured in’. Again, painting in black will add colour and
white will remove it. Remember this means the opposite to checking ‘Selected Areas’. Now
adding colour will remove that area from the selection and removing colour will add to the
selection, on reverting to standard mode. This technique can be very useful
when dealing with areas hard to select. As you can use brushes to add to or
remove areas of the selection, you can have a much larger tool-head to work
with, easing the selection process.
Dominic White Page 55 12/06/2012
Paste into
Paste Into is used in much the same way as normal pasting within a computer program; an area
is selected and copied or cut, storing this piece of data on the clipboard. The second image,
or destination, is then made active and the data from the clipboard pasted onto same. With
normal cut/copy and pasting, this would result in the pasted data appearing in the centre of
the destination image and obscuring whatever area it is covering.
Paste into overcomes this problem by literally pasting the data into a selection area created in
the destination image.
Pasting this cloudscape on to the destination
image would result in covering the entire image, as
they are the same pixel amount. You could
overcome this problem by erasing part of the
clouds, but this would be a tricky, taxing and overly long process.
Selecting the sky will mean that copying and pasting the cloudscape
into the destination image will confine the image to that area.
The cloudscape can be moved and resized freely as it
appears as a new layer within the image.
The layers panel shows the destination file as a background
layer. The new layer, layer 1, shows a thumbnail of the
image and also a layer mask thumbnail. This mask works in
the same way as the quick mask; selecting the thumbnail and
drawing on it in black will obscure areas of layer 1; drawing
on it in white will reveal areas of layer 1.
Dominic White Page 56 12/06/2012
Adding Text to an Image
To add text to an image, select the text tool from the toolbox and position the mouse cursor
at the point where you want text to appear.
This is the cursor for the text tool. Clicking anywhere in the image will create an
insertion point, as seen in text based programs, such as MSWord.
The text baseline is the line
the text follows and is not seen
after text is committed.
Text can be written on a horizontal or vertical axis,
depending on the tool chosen. Text masks create
selection areas that can be affected just like other
selections.
Text is created as a new layer and can be edited, before or after typing, when that layer is
selected in the layers panel; the text mask tool will create a selection on the active layer.
The text mask is best used on an image layer, as opposed to a text layer.
As with text applications, the font type, style, size, colour and ‘look’ can be affected with the
text options toolbar. Text can be highlighted in the same way as text applications (making
sure the text layer is selected) or by double-clicking the text icon in the layers panel.
To commit a text entry, click the tick symbol in the options toolbar; press enter on the
number pad; press ‘Ctrl + Enter’ on the keypad.
Insertion point
Dominic White Page 57 12/06/2012
Text Orientation: Text can be set to a horizontal/vertical plane before or after it is
written
Text Font: Allows you to change the text font, giving examples of the text font beside its
name
Font Style: Allows you to alter the style to Bold, Italic, or Bold Italic
Font Size: Allows you to change font size. The size of the image will affect the viewing of
the text. With text applications, the text size is set to be viewed on an A4 sheet of paper.
Text size in the pull down menu in Photoshop is set to that same sizing.
This is a 6 mp image, making it 99.34 cm wide and
74.79 cm high. As you can see, a text size of 24 pt
(point: 1 point is equal to 1/72 of an inch in a 72 ppi
image) is too small to read. If the image is resized to
25x19 cm (10x8”), then 24 pt becomes viewable.
Anti-alias: Sets the smoothness of text edges
Text Colour: Allows you to change text colour
Text Warp: Text warp allows you to alter text in much the same way as WordArt in
MSWord.
Effects can be added
at any time, as long as
you select the correct layer in the layers panel. Effects chosen can be
altered in the Warp Text dialogue box.
Dominic White Page 58 12/06/2012
Additional Notes
top related