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DMXzone Photoshop CS2 e-BookWritten by

Lynda Goin

EditorsBas Bouwmeester

Luba SirakovaHein Bilterijst

Robbert Klunder

Artwork byThijs Roemaat

Technical EditorPatrick Woldberg

Georgi Kralev

Chief EditorFrank Beverdam

CEO George Petrov

© 2007 DMXzone.comPublished by DMXzone.comDynamic Zones International

Hengelosestraat 7057521 PA EnschedeThe Netherlands

All rights reserved. No part of this book maybe reproduced or transmitted in any form or byany means, electronic or mechanical, including

photocopying, recording or by anyinformation storage and retrieval system, without

prior written permission in writing from thepublisher, except in the case of brief quotations

embodied in critical articles or review.The authors and publisher have made every

effort in the preparation of this book to ensurethe accuracy of the information. However, the

information contained in this book is sold withoutwarranty, either express or implied. Neither

the authors, DMXzone, nor its dealers or distributorswill be held liable for any damages

caused or alleged to be caused either directlyor indirectly by this book.

Trademark AcknowledgementsDMXzone has endeavoured to provide trademark

information about all the companies andproducts mentioned in this book by the appropriate

use of capitals. However, DMXzonecannot guarantee the accuracy of this

information.

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IntroductionWhether you have boarded the Photoshop train already or not, without guidance you’ll probably miss a lot. With this e-Book, award winning writer Linda Goin, takes you on the Photoshop train to show you how to create the best the software has to offer.

She uses hands-on tutorials that are not only informative but also incredibly fun to follow due to Linda’s unique writing style and creative examples.

What this book does and who it's for

This e-Book is best suited for beginning or intermediate Photoshop users. Linda Goin shows you how to get the mostPhotoshop users. Linda Goin shows you how to get the mostshows you how to get the mostget the most out of Photoshop using step-by-step tutorials..

Photoshop CS2: Take the Photoshop Express The book is devided into four major Parts. In the first part you jump aboard the Photoshop ��press. This train takesaboard the Photoshop Express. This train takesboard the Photoshop Express. This train takes you into the world of Photoshop CS2 to show you how to alter reality. After that you move on and learn moreof Photoshop CS2 to show you how to alter reality. After that you move on and learn more Photoshop CS2 to show you how to alter reality. After that you move on and learn moreto show you how to alter reality. After that you move on and learn morealter reality. After that you move on and learn more about the common Photoshop CS2 tools. In the next part the scenery around the Photoshop Express changes with around the Photoshop Express changes witharound the Photoshop Express changes with the use of fantastic filters! �inally the Photoshop ��press reaches his destination�� time to put your theory in practice.Finally the Photoshop Express reaches his destination, time to put your theory in practice. the Photoshop Express reaches his destination, time to put your theory in practice. Happy Photoshopping!

On Board: How Photoshop Alters Reality

Linda begins to offer some infamous and not-so-famous photographic alterations that have been seen in the pastbegins to offer some infamous and not-so-famous photographic alterations that have been seen in the pastoffer some infamous and not-so-famous photographic alterations that have been seen in the pastseen in the past the past century. Accordingly, she’ll lead you through the methods that were used to create these images.

After that Linda explains why Photoshop CS2’s adjustment layers are important to use when altering images, andLinda explains why Photoshop CS2’s adjustment layers are important to use when altering images, and she begins to illustrate how these layers work with the use of the levels and curves.

In the previous chapter, Linda explained how you could alter your images with levels and curves through adjustment layers. In this chapter, she shows you how to retouch your colour images through colour channels. This option allows users to change values�� tones�� and colour through channel modifications. An additional benefit is that artefacts, or blemishes, can be reduced through the colour channel option as well.

Next up Linda will show you how to use the Extraction tool, which helps to eliminate a background, and is found as early as Photoshop 6. Healing, Patch, Smudge and Blur tools are also found in earlier Photoshop versions. In this chapter, Linda illustrates when and how to use all these tools and more as a means to either retouch or alter photographs.

In the former chapters about Photoshop CS2, Linda has illustrated how to use several tools in the program to

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brighten up old images. In the last chapter of this section, she begins to work with several recently-taken photos at once to create one new image. This process�� called compositing�� may seem simple at first glance�� but several factors – including tricks with selection tools – can help to save time and can also help to create a more believable image.

Moving On: Photoshop Tools

Linda begins to build a fantasy landscape with images extracted from several photographs. Not only will you learninda begins to build a fantasy landscape with images extracted from several photographs. Not only will you learn about some Photoshop CS2 tricks, but you’ll also learn to use some composition guidelines to build this fantasyalso learn to use some composition guidelines to build this fantasyuse some composition guidelines to build this fantasy land.

The next chapter continues to build on the topic of building a fantasy landscape from several seemingly disparatebuilding a fantasy landscape from several seemingly disparate objects. But this chapter focuses on how to use several filters and blending modes to achieve the final result�� a layout based upon the Rule of Thirds.

After creating the fantasy landscape, Linda moves on to creating a jewel case insert for an imaginary client. This jewel case insert illustrates how to merge images and type. In a step-by-step process she includes information about how to create paths with the pen tool, how to use these paths for text, and shows how to create a burned edge effect around an image by creating, saving and loading a selected area.

Linda moves on to create a graphic design problem that shows how to create artwork for iron-on transfers, including a means to create a spot colour. The problem also illustrates how to save that colour in a spot colour channel. Furthermore Linda uses a rough logo and artwork that must be merged and shows how this can be done in ten easy steps, including how to layout the artwork for the transfer sheet.

In the final chapter of this section�� Linda shows you how to successfully convert your colour images into monochromatic legends. The tools that you’ll use include adjustments, histograms, Colour channels, Channel Mixer, and Calculations. In addition, once you have that perfect black and white image, Linda shows you two different methods to add a sepia tone to that image.

The Scenery Changes: Fantastic Filterstersers

To illustrate the use of templates and Photoshop’s Filter Gallery, Colour Range options, and the Layers Style Palette Linda creates a self-promotional postcard in this chapter. Throughout the chapter, she explains how you can push these Photoshop tools to the limit to achieve a wide number of effects – in one case, as a neon-like effect that turns a simple photograph into an abstract representation.

After learning about the basics of filters it’s time to move to a more advanced subject. The ��ther�� filter includedThe ��ther�� filter included

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at the bottom of Photoshop’s �ilter list presents a mystery – just what is this �ther filter�� and what does it do�� In thisthis �ther filter�� and what does it do�� In this�ther filter�� and what does it do�� In this filter�� and what does it do�� In this and what does it do�� In this chapter�� Linda demystifies the �ther �ilter through a series of steps that show you how to brighten pi�els in relation�� Linda demystifies the �ther �ilter through a series of steps that show you how to brighten pi�els in relation you how to brighten pixels in relation how to brighten pixels in relation to surrounding values, how to sharpen images without noise, how to mask quickly, and how to relocate and shift a selection – all through the �ther filter.

�ne of the filter features unique to Photoshop CS2 is the alteration of distortion created by a camera lens with the Lens Correction filter. In this chapter�� Linda shows you how to get the most out of this filter. She illustrates how to correct images that appear distorted, but she also shows you how to create some special effects through the options contained within this filter.

In the last chapter of this section you learn how about the problems regarding the creation artistic images from your photographs with Photoshop �ilters. Your images may seem too simplistic or �digital�� for your taste. Linda e�plains that the reason behind this problem often lies in the background, or in the canvas or paper that you choose to use for your artistic adventures. You’ll receive artistic canvas and paper backgrounds for your use with this chapter, as well as steps on how to create more realistic pastel and watercolour renderings from your photographic images with these backgrounds.

Your destination: Put the theory into practice

In the last section, Linda passes on some of her tips and tricks that will enhance your Photoshop experience, including a short tutorial on Smart Objects and Shapes. This is a veritable potpourri of tips and tricks along with links to online resources for FREE tutorials, brushes, and photographs that you can’t afford to miss, and that weren’t covered in her previous chapters!

About The AuthorLinda Goin carries a B.F.A. in visual communications with a minor in business and marketing, and an M.A. in American History with a minor in the Reformation. While the latter degree doesn’t seem to fit with the first two educational e�periences�� Linda uses her 25-year design expertise on site at archeaological digs and in the study of material culture. Accolades for her work include fifteen first-place Colorado Press Association awards�� numerous fine art and graphic design awards, and interviews about content development with The Wall St. Journal, Chicago Tribune, Psychology Today, and L.A. Times. Linda is the author of Design for Web Developers: Colour and Layout for the Artistically Overwhelmed for DMXZone, and she writes on Web Design.

Table of Contents: Page

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- On Board: How Photoshop Alters Reality 7

How to Recognize Deceptive Photographs 8 Adjustment Layers, Levels and Curves 16 Retouching in Channels 28 Extraction, Smudge, Heal, and More 37 Mix It Up – Three Images into One 45

- Moving On: Photoshop Tools ��

How To Build a Fantasy Landscape I 55 How To Build a Fantasy Landscape II 66 Jewel Case Cover Art 78 Creating Spot Colour Channels 91 Beyond Colour - Black And White And Sepia 104 - The Scenery Changes: Fantastic Filters ���

The Filter Gallery as a Starting Point I 116 The Filter Gallery as a Starting Point II 126 Vanishing Point Filter 138 Creating and Eliminating Optical Distortion 149 Artistic Effects with Canvases, Filters, and Layers 159

- Your Destination: Put Theory into Practice �7�

Optimize Your Photoshop Experience 172 Create an Easy Web Gallery 180

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Page �DMXzone Photoshop CS2 e-Book Photoshop CS2: How to Recognize Deceptive Photographs

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Photoshop CS2: The Bad and the UglyPhotographers, graphic designers, and artists now have access to one of the most powerful tools that Adobe’s offered through their Photoshop CS2 software. Digital artists can alter landscapes, touch up faces, and create fantasy images that boggle the mind. Altered images, however, have pervaded the news media through deceptive photojournalism. In this article, Linda offers some infamous and not-so-famous photographic alterations that have been detected over the past century. Accordingly, she’ll lead you through the methods that were used to create these images.

Staged Photographs: A Media Problem

Since the mid-1800s, photographers and graphic artists alike have altered their camera’s output. Wartime images seem particularly prone to distortion, as propaganda demands drama to win hearts and minds. Thankfully, blogs have investigated recent images that seem too good (or too awful) to be true and these writers have shown the world that we need to keep a sharp eye trained on what the media offers to an international viewing audience.

Staging photos and videos is one problem within the realm of altered images that has existed for decades. Take�� for instance�� the notorious �Case of the Cottingley �airies�� as told by the James Randi �ducational Foundation:

�In 1917 two innocent-seeming �nglish schoolgirls�� 16-year-old Elsie Wright and her 10-year-old cousin �rances Griffiths�� launched a deception that somehow managed to fool many people over the following years, including the creator of Sherlock Holmes, Sir Arthur Conan Doyle. While playing in Cottingley Glen, just behind the Wright home, the girls took what they claimed were close-up photographs of winged fairies dancing amid the foliage. The girls then took each

other’s picture with the wee creatures, and photo experts who were consulted said that the images were not double exposures nor had the negatives been altered. The simple fact is that the girls had just posed with very obvious cutouts of fairy drawings to make the �authentic�� pictures.��

Very few people owned cameras in 1917, and just as few people owned radios or could read a newspaper at that time. People trusted images, because they looked to newspapers and magazines to express their stories through photographs and drawings. This atmosphere allowed photos like the one above to gain credence. Another example includes the Civil War photos produced by Alexander Gardner. One historian has revealed that Gardner used one dead soldier to create several heart-wrenching wartime scenes. Since the photographs produced such against among their viewers, no one bothered to notice that the soldier included within these various images was the same mortally wounded man.

This disturbing form of staging, where a dead person is moved from one place to another for dramatic

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Photoshop CS2: Adjustment Layers, Levels, and Curves

In this tutorial, Linda explains why Photoshop CS2’s adjustment layers are important to use when altering images, and she begins to illustrate how these layers work with the use of the levels and curves. These two tools can help you to adjust tonal ranges and colour balances within your images manually so that you maintain more control over the outcome rather than using the �automatic�� levels and curves adjustments.

Adjustment Layers: A Foolproof Way to Edit Images

You may already be familiar with Photoshop’s adjustment layers, as the CS2 version carries many of the same features as its ancestors, CS1 and Photoshop 7. If so, then you know that the use of adjustment layers is a foolproof means to edit images. If you’re unfamiliar with adjustment layers, you’ll learn quickly why they’re important: They help you to save the pixels within the original image while you muck around with alterations.

The most important reason to use adjustment layers rather than mess with the original image is to avoid loss of image data during alterations. The next most important reason to use adjustment layers is that you can hide, delete, and modify those layers as you move along to your final results. Adjustment layers also allow you to alter portions of your images through masks and, finally�� you can copy and paste those layers onto other images to save time with multiple edits.

The adjustment layers icon is located in your layers panel (or choose Layer > New Adjustment Layer >). When you click on that icon, a drop-down menu will appear that offers alteration choices. Your choices include solid colour�� gradient�� and pattern fill layers along with the adjustment layers. The latter choices which are located beneath the three fill layer options.While adjustment layers will increase your file size�� the objective is to find the choices you need and then merge the adjustment layers together or with the original image.

As I move along with this tutorial, you might want to open an image in Photoshop to play along as well. The nice thing about adjustment layers is that you can’t make a mistake. Oh sure, you can screw something up, but you also have the option to delete that layer and start over again. For this reason, you can play all day long with the various adjustment layers so that you can learn how they alter images. Once you spend a few hours with these tools, you’ll gain a huge repertoire of means to salvage somewhat mediocre camera shots.

The image that I’ve chosen to work with for this article was one that I shot in London on a visit in July 2005. The

"The most important reason to use adjustment layers rather than mess with

the original image is to avoid loss of image data during alterations"

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channel shows the couple in the rear very well, but the couple in front are washed out. The Green level is almost right, but – again – the couple in the back are still too dark. The Blue channel is definitely the culprit in the shadows, but the couple in front are almost perfect.

Given this information, then, I want to lighten the Blue channel, darken the Red channel, and see how the Green channel fares after I make those adjustments – at least that’s how the process seems at the moment. For this process, I’ll click on each channel, and go to �Images > Adjustment > Variations�� for each channel. Realize here that you can click on �lighter�� or �darker�� numerous times to achieve a certain degree of lightness or darkness within each channel. And, if you move the ��ine�� and �Course�� slider back and forth�� you’ll see a narrower or wider range of value options.

Every time I alter a channel, I check how the result altered the RGB image in both the thumbnail in the Channels Palette and in the original by clicking on the eyeball by the RGB Channel. The image changes colours as I alter the image�� but the final result shows a good range of values in all faces:

You can see the difference among the thumbnail channels here – the Red and Blue are lighter, and the Green is unchanged. I discovered, despite the fact that the Red channel seemed too light, that it needed to be darkened for the full range of values within all faces to become visible. But now I have two other problems – the red overtones are a bit too strong, and the contrast has diminished. I can fi� both problems with simple brute force…

Colour and Contrast Adjustment at All Levels

For colour adjustment, I went to “Layer > New Adjustment Layer > Colour Balance��lance��

and this dialogue box appeared:

Since Red and/or Magenta are prevalent, and since those colours are prominent in the mid-tones and shadows areas, I move the slides toward Cyan and Green in both levels. I only needed to move them a bit to see a more pleasing result:

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Photoshop CS2: Extraction, Smudge, Heal, and MoreAlthough Photoshop CS2 offers a few perks more than Photoshop 7, some of the same tools to retouch photos are unchanged. The Extraction tool, which helps to eliminate a background, is found as early as Photoshop 6. Healing, Patch, Smudge and Blur tools are also found in earlier Photoshop versions. In this tutorial, Linda illustrates when and how to use all these tools and more as a means to either retouch or to alter photographs.

Photoshop Tools That Can Change History

When photographers wanted to change or retouch photographs in the past, the process was painfully slow and tedious. With Photoshop, the process is almost instantaneous, provided the user knows which tools to use and when to use them. Extraction can eliminate backgrounds, and the Healing and Patch tools can eliminate hours of work. Other tools, like gradients, noise reduction, and the Smudge and Blur tools can help to speed up the process as well.

But, sometimes a photo does require more work, because fast fi�es don’t provide the results that you might want. While I use an old photograph to illustrate some of these processes, the same tools and methods can be used on any photograph or image.

Old Locket Photo

The photograph below left was a little tough to deal with, as it was a miniature contained within an old locket that measured 19 � 38 mm (roughly .75�� � 1.5��). But, I managed to arrive at the image on the right with the help of Photoshop, a little extra time, and some patience. I’ll walk you through the steps below, with some preparation on the front end on how to make this job simpler for yourself.

The first problem: Sometimes you can’t scan the image yourself, as clients sometimes don’t want to part with the original image. If I had the image, I would scan it at 300 dpi so that I could work within a large size and so that any blemishes could be reduced when the image was also reduced (to no less than 150 DPI for print). And although the photo is black and white, I would scan it in RGB so that I could work within the colour channel layers if needed (see previous article). Since this client wanted to scan the image herself, I managed to talk her through some of the processes. However, instead of 300 DPI, I ended up with a 72 DPI image – a mighty problem indeed, as you’ll see shortly.

Extracting the background

While I could spend an hour or two replacing the scratches with the healing brush, I decided to extract the boy from the background and eliminate more than half that work.

The first step is to make a copy of the image so that I can save the original for a backup. I then went to ��ilter > ��traction�� and a window popped up that contained the image along with various tools:

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Photoshop CS2: Simple compositingWithin the past few articles about Photoshop CS2, Linda has illustrated how to use several tools in this program to brighten up old images. In this article, she begins to work with several recently-taken photos at once to create one new image. This process, called compositing�� may seem simple at first glance�� but several factors – including tricks with selection tools – can help to save time and can also help to create a more believable image. Linda covers these compositing tools and more in this article…

Bring Out Those Boring Photographs

In the first article about Photoshop�� I talked about how to spot fake photographs�� or �fau�tography.�� If you’re interested in photojournalism, the practice of altering photographs or creating composites is unethical, illegal in some situations, and just plain wrong. However, if you want to create photographic or artistic images for postcards or greeting cards�� as �illustrations�� for fictional works�� or as digital artwork for sale or just for personal enjoyment, then you can create composites for fun and/or profit.

Compositing practice is perfect for those less-than-wonderful images that you have stashed on your hard drive. Yes, I know the reason why you haven’t tossed those photos – at least one or two features within those images are valuable to you. Even the dark, blurry, and otherwise defective images can work if you know how to fi� those features.

The first project is a simple one�� where I chose three rather boring vacation photos to create one composite:

The photo at top left was taken in Wales, the photo of the horses was taken in Colorado, and the bottom photo was taken in Nassau. I want to use the horses, the mountains, and the Bahamian sky to create a new image. But, as you can see, the lighting and colours are all a little off from each other. So�� this �simple�� composition will take some work.

Most importantly, this composite presents a chance to practice a few tricks with Photoshop’s selection tools. I illustrated how to use the Extraction Tool in the previous article. With this composite, I’ll use a variety of other tools to eliminate, move, and alter objects in all three photos and in various layers to create a single image.

First Step: Making Selections

Photoshop CS2’s selection tools vary little from previous versions, but a little refresher in how to use these tools to your best advantage can help you save time. When you make a selection within an image, a space outlined by crawling dashes will appear (sometimes called �marching ants��):

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Page ��DMXzone Photoshop CS2 e-Book Photoshop CS2: How To Build A Fantasy Landscape Part I

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Photoshop CS2: How to Build a Fantasy LandscapeIn previous Photoshop CS2 chapters, Linda illustrated how to use a variety of selection tools to select portions of images to remove them, to move them, or to alter them with filters. In this first of a two-part series�� Linda begins to build a fantasy landscape with images extracted from several photographs. She then alters the resultant layers with filters and blending modes. Not only will you learn about some Photoshop CS2 tricks, but you’ll use some composition guidelines to build this fantasy land. The photographs with the images already extracted are included at the end of this article so that you can play along.

How to Select Images for Fantasy Landscapes

If I were commissioned to design a book cover or a poster�� I would need to select images to fit a theme. Book covers, posters, and the like all are designed as composites – �collages�� of type and images – intended to entice a viewer to read a book or to learn about an event. Other images, such as artistic collages, might focus on the theme like �se�uality�� or �war�� to pull various components together. And, still other composites are designed simply for impact or shock value, as the juxtaposition is geared to jar viewers’ senses (re: Surrealism, Dada).

"The photos that I chose for this article contain ideal conditions for extraction"

The composite shown above doesn’t carry a theme, as I created it for this tutorial – one that will illustrate how to use several Photoshop CS2 tools, ordinary tools that will complete extraordinary tasks. Still, I want to choose photos for this image that contain interesting textures, perspectives, and contrasts to create a compelling visual composition. The photos that I chose for this article contain ideal conditions for extraction, because their outlines are clear, the lighting is interesting, and the details – for the most part – are fairly crisp.

The beach scene above contains interesting lighting, as I was standing under a sunlit sky while a storm brewed in the distance. The contrast of colours between the

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Photoshop CS2: Finalizing the Fantasy LandscapeIn the previous chapter, Linda began to demonstrate how to build a fantasy landscape from several seemingly disparate objects. In this article, she wraps up that landscape with demonstrations in how to use several filters and blending modes to achieve the final result, a layout based upon the Rule of Thirds. Some of the other tools that you’ll use in this tutorial include the �Highlight/Shadow�� adjustment and healing tools�� Colour Channels, and the Lens Correction Filter.

Back to the Rule of Thirds

In the previous article, I left you with a composition based on the Rule of Thirds that looked like this:

Now I want to refine this layout�� as I push some elements into the design and pull others out to make this composition work. To do this, I’ll use various tools contained within Photoshop CS2�� including filters and blending modes. Since I have my layout divided into thirds both horizontally and vertically, I can work within one third at a time to alter various elements. Then, as I do this, I can step back to visualize how the image works as a whole. As I do this, I’ll walk you through several steps that I took to alter the above image.

The Dog and the Lens Correction Filter

I don’t like the perspective on the dog, nor do I like his values, or lightness and darkness. I want him to fade a bit into that corner so that he isn’t so prominent. I can accomplish both steps with the Lens Correction Filter. The Lens Correction filter is usually used to correct barrel or pincushion distortion. Both problems are caused by camera lens defects, where straight lines appear curved outward or inward, respectively. But, the Lens Correction filter can also help you to remove dark edges on an object with the Vignette option, or distort an image rather than remove the distortion.

�irst�� I select the �Dog�� layer�� then I go to ��ilter > Distort > Lens Correction.�� A dialogue bo� that contains a grid opens, and the dog is located in the lower left corner. Since I want to see him a little better for this job, I use the magnifying glass on the left menu in this dialogue box to draw a square around the dog and to pull him in closer for inspection:

I was looking down at the dog when I took this photo, but I want to alter that perspective a bit and distort him so that he looks more cowardly than he already does. I moved the �Remove Distortion�� slider to -10�� changed

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Photoshop CS2: Jewel Case Cover ArtIn this article, Linda illustrates how to merge images and type to create a jewel case insert for an imaginary client. In a step-by-step process she includes information about how to create paths with the pen tool, how to use these paths for text, and shows how to create a burned edge effect around an image by creating, saving and loading a selected area. Along the way she includes tips on how to make your workflow proceed faster as you begin to create this project or other projects that include type and images.

Assessing the Project

Someone just handed you a project for a client who owns a company called�� �James River Genealogy.�� He wants to promote his genealogical work along the James River area in Virginia, USA through a DVD, and he needs to have a cover designed for the jewel case.

"Since this is an imaginary project, I’ll commit to the first three steps so that you can move on immediately to develop the

artwork for press. "

Normally, your job would include the following:

1. To learn more about the area and aboutTo learn more about the area and about genealogy either through the client or through research so that you can choose appropriate images and colours for this project;

2. Learn more about the target audience for thisLearn more about the target audience for this project from the client and through additional research, so that you can narrow the focus on the images and colours;

3. Present at least three different schemes to thatPresent at least three different schemes to that client for approval, and;

4. To develop the artwork so that it’s presentable forTo develop the artwork so that it’s presentable for a full-colour print job.

Since this is an imaginary project�� I’ll commit to the first three steps so that you can move on immediately to develop the artwork for press. And, while the client has approved one idea for the end project (shown above), you’ll need to create the prepress image shown below for final approval before it goes to press. Therefore�� you’ll need a template to create this project, a way to create the Virginia state map outline with burned edges and background image, and a means to create the type that flows along the �river.�� Those issues are covered in the steps below.

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Photoshop CS2: Creating Spot Colour ChannelsIn this article, Linda creates a graphic design problem to show how to create artwork for iron-on transfers, including a means to create a spot colour and how to save that colour in a spot colour channel. She also uses a rough logo and artwork that must be merged, and shows how to convert those two images into one in ten easy steps, including how to layout that artwork for the transfer sheet. Tools used in this process include scaling and layout options covered in previous articles, the Unsharp �ilter�� the Warp tool�� Create �utlines filter�� and the use of Pantone Colour swatches, among many others.

T-Shirt Transfer

Your graphic design boss has a friend who owns a small record label called�� ��arthBeat!�� His friend called one day with the bright idea to create a series of T-Shirt transfers to give away with their new CD series. Your boss agrees to do the job for free, and you volunteer to help in a misguided effort to climb the career ladder. But, after you hear about the complete job, you make a note to yourself not to volunteer ever again.

�arthBeat! has a logo�� but they don’t have the original artwork. So the logo was snatched from a piece of letterhead and scanned in at 72 dpi and in CMYK colour mode. The accompanying art is pixelated beyond belief as well, as it was saved at the same resolution and colour mode. You receive the images below in two separate files:

Your final image will look like this (you say in your head):

The boss and the record company didn’t leave any information about size, colour, or how they want you to merge the artwork, other than the fact that you need to lay out six images per page. Otherwise, you’ll have to take on this task with trepidation. Never fear. Photoshop contains all the tools that you need to solve this problem.

Step One: Learn About the T-Shirt Transfer Process

Before you begin to create the artwork, you need to learn about the materials that the record company wants to use to create the transfers so that you know what size to create the final artwork. Before your boss leaves for the day, you discover that the record company will use �Iron �n InkJet �� Laser Heat TransferIron �n InkJet �� Laser Heat Transfer Papers�� sold by BestBlanks.com�� specifically the TJ-8�� or 8.5���11�� TransferJet Heat Transfer Paper.

Page �0�DMXzone Photoshop CS2 e-Book Photoshop CS2: Beyound Colour - Black And White And Sepia

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Photoshop CS2: Beyond Colour – Black and White and SepiaWhat if you need a Black and White image to enter into a contest�� �r�� what if you shot a historic photo and the newspaper only prints black and white�� In this article, Linda shows how to successfully convert your colour images into monochromatic legends. The tools that you’ll use include adjustments, histograms, Colour channels, Channel Mixer, and Calculations. In addition, once you have that perfect black and white image, Linda shows two different methods to add a sepia tone to that image.

Some History

It wasn’t until 1861 when Scottish physicist James Clerk-Maxwell demonstrated a colour photography system involving three black and white (B��W) photographs�� each taken through a red�� green�� or blue filter. His first photo of a tartan ribbon was turned into lantern slides and projected in registration with the same colour filters. This was the beginning of the photographic colour separation method.

In 1906�� panchromatic black and white film and therefore high quality colour separation colour photography were made available; and, in 1907, the first commercial colour film�� the Autochrome plates�� were manufactured by the Lumiere brothers in France.

But, colour photography really didn’t catch on with the general public until 1936, when the development of Kodachrome�� the first colour multi-layered colour film and the development of ��akta�� pioneering 35mm single-lens refle� (SLR) camera were made available.

In fact, colour photography evolved rapidly during my lifetime. I remember when C-41 colour negative process was introduced in 1973, replacing C-22 in the darkroom. My fellow art students and I were mesmerized with the new process, a feeling that you might equate today with the introduction of any new technological product that makes life just a little bit easier.

But, as beginning photography students, we often were steered away from colour in our studies. B��W images, instead, became the vehicle to study depth of field and tonal values�� and it was – in the long run – less expensive to develop in the darkroom. In addition, most magazines used B��W photographs until just ten years before this new colour development. Yes, hand-colouring negatives and prints was part of our education at that time.

Colour, despite its beauty, can cover up a poorly composed photograph and can distract from or enhance a mood. Think Kill Bill I, where one scene was produced in B��W in some American versions because the scene was considered too graphic and bloody. In addition, many newspapers and magazines still use B��W photography�� and some photographic contests offer or demand B��W categories.

This is why many digital SLR cameras today provide options to shoot photographs in black and white or sepia tone (we used coffee or tea to add sepia tones to our prints in college!). But�� there are many other ways to produce a B��W or a sepia tone print from a colour photograph. So, if you want to shoot your photographs in colour, you have the options available in Photoshop to make that colour print serve several purposes.

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Photoshop CS2: The Filter Gallery as a Starting PointIn this article, Linda creates a self-promotional postcard with the use of templates and Photoshop’s Filter Gallery, Colour Range options, and the Layers Style Palette. Throughout, she explains how you can push these Photoshop tools to the limit to achieve a wide number of effects – in one case, as a neon-like effect that turns a simple photograph into an abstract representation. Further, she explains what you might want to include on a self-promotional mailer to advertise your business.

Filters: From So-So Images to Artistic Print Projects

I’m an advocate for saving images even when those images are far from perfect in resolution or in subject matter. My reasoning behind this obsession is supported by Photoshop’s filters. Photoshop filters can help you alter images for specific projects�� such as changing a low-resolution photograph into a successful silkscreen image (see below). Additionally�� filters can enhance subject matter, a change that can help the viewer perceive your image in a more positive light. If you sell your images, this change could mean more revenue.

Say that the above image was chosen by a client to use as a silkscreen image for a T-Shirt. The process won’t be digital, so you’ll need to eliminate some of the detail within this picture and create �flat�� areas that can be made into screens that represent spot colour. Photoshop contains a number of filters that can make that work simple – with a flick of a wrist and a click of the mouse you can change the image above so that the details are changed into areas filled with flat colour. Several e�amples are shown below:

The filters used at the previous page were Dry Brush to the left and Dark Stroke to the right.

The filters used above were Sponge to the left and Cutout to the right.

As you can see from the examples above, the simple application of one Photoshop filter can make your work easy. Now, you just need to explain to the client why you needed to alter that image and possibly help her to pick just one out of four possibilities.

Even when you know that you can accomplish a simple task with one filter�� that filter cannot mask poor

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Photoshop CS2: That “Other�� FilterThe ��ther�� filter included at the bottom of Photoshop’s �ilter list presents a mystery – just what is ��ther���� and what does it do�� In this tutorial�� Linda demystifies the Other Filter through a series of steps that show how to brighten pixels in relation to surrounding values, how to sharpen images without noise, how to mask quickly, and how to relocate and shift a selection – all through the ��ther�� filter.

“Other�� Filter Possibilities

The ��ther�� filter is an odd name for a filter�� as it doesn’t describe the full capabilities hidden within this tool. You can create special effects, save time on tasks that might be accomplished through other Photoshop tools, and alter your images quickly with some surprising special effects. In other words, if you have an image that you think is dull or unsalvageable, put it through some of the Other Filter options to see what happens. You might develop an image that is suitable for any number of projects.

�or the first part of this tutorial on the ��ther�� filter�� I’ll use the rather boring image below, which is also included as a download with this article (�flowers.psd��):

NOTE: All the equations within this article were used on 300 ppi images. When you open the downloaded files�� change the resolution from 72 ppi to 300 ppi to follow along (Image > Image Size > Change Resolution from 72 to 300 > click OK).

Open the image above (or any other image that you choose) and go to ��ilter > �ther�� to view your options. As you can seem in the image below, you have choices between adding Custom, High-Pass, Maximum, Minimum, and Offset alterations to this image:

I’ll take you through each option to show you the possibilities provided by these choices, and I’ll also show you how to combine some options. The first step to facing the intricacies provided by the ��ther�� filter is to walk you through the Custom filter first.

The Custom Filter

When you go to ��ilter > �ther > Custom���� a Custom dialog box opens to display a grid of text boxes into which you can enter numerical values:

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Photoshop CS2: Vanishing Point FilterPhotoshop CS2’s Vanishing Point Filter allows you to preserve correct perspective in image edits that contain perspective planes, such as the side of a building or any other rectangular object. In this tutorial, Linda takes you through Vanishing Point �gymnastics�� to show you how to utilize this tool to your advantage. The Marquee, Stamp, and Text tools will be used, as well as the Liquefy Filter and other options to create a new image from an original photograph.

Vanishing Point Gymnastics

I put off using the Vanishing Point Filter for a few months when I first began to use Photoshop CS2�� as it seemed too complicated to learn at the time. Each time I tried to use it according to the handbook, I felt as though I was practicing back flips. But�� since I’ve learned how to use that filter�� a world of possibilities opened up to me and I want to share these tips with you in this tutorial.

The best way to learn how to use this filter is to begin with a simple landscape that carries some flat planes�� like the Bahamian fish shacks that I chose for this lesson (included in the download). The image to the left below is the original image. The image to the right shows that the middle shack has lost a door and now sports some type�� and the reflection in the water mimics those changes – and they’re all in perspective, thanks to the Vanishing Point Filter. That’s the goal for this lesson:

NOTE: You will want to resize the downloaded image to 300 ppi before you begin the tutorial (Image > Image Size > change Resolution from 72 to 300).

The tools that you’ll use for this lesson include the Vanishing Point Filter, the Liquefy Filter, and the Text tool�� among other filters and layer options.

Starting Points for the Vanishing Point Filter

I learned to create a copy of the background image and to create new layers for each Vanishing Point Filter effect. This practice helped me to preserve the original image, no matter how many times I goofed up.

So�� when you open the image above�� the first thing to do is to create another layer with the same image by dragging the lower layer into the �Create a New Layer�� icon located at the bottom of the layers palette near the trash can. Then, with that top layer selected, just click on that �Create a New Layer�� icon and a new blank layer will appear above that second layer:

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Photoshop CS2: Creating and Eliminating Optical DistortionOnly in Photoshop CS2 can you alter the distortion created by a camera lens with the Lens Correction filter. In this article�� Linda shows how to get the most out of this filter. She illustrates how to correct images that appear distorted, but she also shows how to create some special effects through the options contained within this filter. Additionally�� she compares this filter’s options to other Photoshop tools that may create the same effect.

Lens Correction: Exciting New Option

Most of you are already familiar with the Warp transformation tool, the Perspective tool, and the distortion filters like Pinch and Spherize that are contained in Photoshop CS2 as well as in previous Photoshop versions. The Lens Correction filter�� introduced for the first time in Photoshop CS2�� mimics many of the attributes contained in all the previously mentioned tools and filters; but�� the Lens Correction tool can take your creativity a touch further, because you can control many options at the same time. When you combine this tool with other options, you often can correct what you thought were unsalvageable images.

However, there’s only so much that the Lens Correction filter can accomplish. If you have a photograph like the one shown below�� there’s not much you can do to fi� it with the Lens Correction filter (or with any other tool for that matter):

The image above, taken in Chicago, contains every problem that the Lens Correction filter can fi� – but when a photograph contains all of those problems in one image�� the �fi�ing�� is stymied. Instead�� I’ll use this shot to explain various photo distortions and – at the same time – to introduce you to the Lens Correction filter.

Photo Distortions

The image above was shot with an off-brand camera that maxed out at 2 megapixels. In addition, I was in a boat on the Chicago River when I took this photo, so the movement from that boat added to the distortions. If I take that image apart, I can show you every distortion that the Lens Filter corrects. You can follow along if you’d like – just open the �distortion_party�� PSD file and increase the size or resolution in that image if you want.

Barrel Distortion, Horizontal and Vertical Perspective

I’ll cover three problems with just one section in this photograph. Barrel distortion occurs when the lens makes straight lines bow out toward the edges of

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Photoshop CS2: Artistic Effects with Canvases, Filters, and LayersYou may want to create artistic images from your photographs with Photoshop Filters, but you soon discover that your images seem too simplistic or �digital�� for your taste. In this tutorial�� Linda e�plains that the reason behind this problem often lies in the background, or in the canvas or paper that you choose to use for your artistic adventures. You’ll receive artistic canvas and paper backgrounds for your use with this article, as well as steps on how to create more realistic pastel and watercolour renderings from your photographic images with these backgrounds.

Study the Masters

If you attended an art school (not a graphic design school)�� you probably spent most of your first year replicating masters’ works in a museum setting. These lessons were necessary to help you learn how the �pros�� created their drawings and paintings. �rom this point, you could then develop your own style.

While Photoshop filters provide the digital artist with a variety of tools to create a ‘painting’ from a photograph�� these filters are either simplistic or they overdo the obvious. �ven the addition of �just one more filtered layer�� often falls short from your goal. So how do you know what looks �right�� as you begin to add filtered layers to achieve an artistic effect��

"These lessons were necessary to help you learn how the “pros�� created their

drawings and paintings."

You can, like the art student, begin to study the masters. The image at left above is one of Mary Cassatt’s pastels. She is known for this medium, especially in her portrayals of women and children. When this piece, which was created on paper, is compared to a singular Photoshop filter result�� you can see how pitiful the filtered result is in comparison (�ilter: Rough Pastel�� stroke length: 30; stroke detail: 10). A close-up reveals the real differences between the two images:

If you look closely at Cassatt’s pastel painting, you see broad areas of colour and strokes that move in different directions. The Photoshop filter�� however�� doesn’t allow you to move your strokes around. You can alter the light direction, the canvas, the stroke, and even the detail, but you’re far from replicating a true �pastel�� look that would mimic Mary Cassatt’s style.

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Page �72DMXzone Photoshop CS2 e-Book Photoshop CS2: Optimize Your Photoshop Experience

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Photoshop CS2: Optimize Your Photoshop ExperiencePhotoshop CS2 is filled with little mysteries�� and sometimes the best tools for completing a Photoshop job are hidden right under your nose. In this article, Linda passes on some of her tips and tricks that will make your experiences with Photoshop a bit more fantastic, including a short tutorial on Smart Objects and Shapes. This is a veritable potpourri of tips and tricks along with links to online resources for FREE tutorials, brushes, and photographs that you can’t afford to miss, and that weren’t covered in her previous articles!

Outsmarting the Photoshop Manual

You could spend years learning all the nuances contained within Photoshop CS2. My suggestion is to learn everything you can from the Adobe Photoshop CS2 manual, and then pick up a Photoshop magazine every once in a while to learn from the folks who play with this software all day long. After you sample one or two of the many magazines out there, you might pick a favourite and subscribe to learn more.

I wish that I could somehow sort the tips and tricks below a bit better so that they’ll be easier to access, but so many of these tools fall into more than one category – I did�� however�� try to file them under vague headings to make it a bit easier for you to skim through. Just sit back, read, enjoy, and note the tools that will provide you with the most satisfaction when you work in Photoshop.

TOOL SHORTCUTS

Use a Brush to Remove Objects – I’m a huge fan of the clone tool, but I discovered that I could remove items from an image just as quickly with a brush. I sample an area with the Eyedropper tool, and then I use the Brush tool to paint over that area. Not all areas are flat colour, however; but, I can resample with the Brush tool

when I hit the �Alt�� key. This action turns the Brush tool into the Eyedropper tool so that I can resample and then continue with the Brush. When you let go of the �Alt�� key�� the �yedropper resumes as a Brush.

Want a Brush in a Hurry? – Right-click on your image with a PC�� or use �Control + click�� with a Mac. Voila! The Brush Picker will appear. Need new brushes�� I have links to free brushes at the end of this article.

Type Colour – You may be in the habit of changing text colour by highlighting the text and then picking a new colour when you double-click the Foreground Square and choosing the Colour Picker. But when you highlight the te�t it’s difficult to note the colour change. To avoid this hassle, simply click the colour square in the Options bar. While this action also opens the Colour picker, when you change colours with this option you’ll see the type colour change without the banding over the type that you normally have to deal with:

Rotate it Precisely – You probably never noticed the Measure tool contained in the �yedropper tool’s fly out menu in the Toolbox. You can use this tool to rotate a layer quickly and to a specific angle. With the Measure tool chosen, click and drag a line to the angle you want�� then go to ��dit > Transform > Rotate���� and the layer will rotate to the angle that you’ve drawn.

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Photoshop CS2: Create an Easy Web GalleryPhotoshop CS2 provides the option to create a web photo gallery along with many layout options through their Photo Gallery wizard. In this tutorial, Linda walks you through the steps to create a gallery, and she points out the benefits and disadvantages to this WYSIWYG tool along the way. You’ll need a folder filled with several images (up to ten or more) to play with this tool and to learn how to utilize Photoshop CS2’s Bridge.

Yes, it’s WYSIWYG, but it works – mostly…

Photoshop CS2 provides a means for people who don’t know the ins and outs of HTML to set up a personalized photo gallery online. But, if you do know HTML and CSS, you have the advantage. You can tweak the final project so that your site is a bit more clean�� clever�� personal, usable and accessible. Remember – this is WYSIWYG after all…

The first thing you’ll need is some photos – up to ten is fine for this project contained in a folder. I’m sure that you’re SO organized that you have your own photos to use for this project�� right�� To be honest – I’m the worst at organization, but over the weekend I used PhotoShop Bridge to help me sort out all my files (not just photographs). You’ll see how easy this will be for you as well as you go along.

The Bridge is also necessary for you to build this gallery, because it helps you to define the photos and to create the gallery’s structure. So, choose your photos, open Photoshop CS2, and away you go…

Open Bridge, Select Photos

With Photoshop CS2 open�� go to ��ile > Browse���� and the Bridge will open in a new window. Just travel to where you’ve stored your photos for this tutorial through

the ��avourites�� or ��olders�� tab at top left or through the drop down menu in that same location. Bridge will show your photos in the display window:

Click on one photo, and you’ll see that image show up in the preview window located in the left panel. You’ll also see Metadata information located below that preview window (You can slide the frames to enlarge the work area around the Metadata window):

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Other e-Books from DMXzone:

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ISBN: 90-77397-12-1978

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About DMXzone

The History of DMXzone

DMXzone was founded in Feb 2001 by George Petrov. It was then called UDzone after the Macromedia product UltraDev that preceded Dreamweaver MX. By April 2001 we’d already been asked by Macromedia to speak at the Macromedia UCON 2001 conference in New York. Since then, we’ve grown to over 300,000 registered members of all levels and locations, who come together to share knowledge and learn from each other. We are an independent community and are in no way connected with Macromedia, the makers of Dreamweaver MX.

In May 2003, we launched our very successful Premium Tutorials track, publishing professionally written tutorials by a team of authors for an affordable price every day, as we ourselves were tired of shelling out lots of money for computer books full of redundancy and newbie’s explanation. This premium track runs alongside the free content submitted by members.

What do we do

Membership of the community is free. You can view most content on the site without registering, but when you become a member you can add your own articles, tutorials, news items, extensions, opinion polls and participate in the forums. To purchase extensions or download free extensions, you need to become a member.

The DMXzone Team and Manager Team consists of professionals and volunteers who work hard to bring you the extensions that you are asking for, give you the support that you need when you have questions and to bring you the latest information pertaining to web development. We like to encourage our visitors to actively participate, that is why we organize competitions, run opinion polls, let you rate articles, extensions and tutorials and let you add your own articles.

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Introduction ISBN: �7�-�0-77��7-��-�Whether you have boarded the Photoshop train already or not, without guidance you’re probably miss a lot. With this e-Book, award winning writer Linda Goin, takes you on the Photoshop train to show you how to create the best the software has to offer.

She uses hands-on tutorials that are not only informative but also incredibly fun to follow due to Linda’s unique writing style and creative examples.

What this book does and who it's for

This e-Book is best suited for beginning or intermediate Photoshop users. Linda Goin shows you how to get the mostPhotoshop users. Linda Goin shows you how to get the mostshows you how to get the mostget the most out of Photoshop using step-by-step tutorials..

About The AuthorLinda Goin carries a B.F.A. in visual communications with a minor in business and marketing, and an M.A. in American History with a minor in the Reformation. While the latter degree doesn’t seem to fit with the first two educational e�periences�� Linda uses her 25-year design expertise on site at archeaological digs and in the study of material culture. Accolades for her work include fifteen first-place Colorado Press Association awards�� numerous fine art and graphic design awards, and interviews about content development with The Wall St. Journal, Chicago Tribune, Psychology Today, and L.A. Times. Linda is the author of Design for Web Developers: Colour and Layout for the Artistically Overwhelmed for DMXZone, and she writes on Web Design.