4Fcolor theory

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 TABLE OF CONTENTS

MODULE 1: OPENING, CREATING AND VIEWING IMAGES ---------------------------------- 6 - 18

Bitmap images and Vector Graphics
Image Formats
Opening an Images
Creating a Canvas
Viewing your Images
 Navigator Palette
 The Zoom Tool and Hand Tool
Undoing Previous Steps with the History Palette
Sizing Images
Cropping Images
Self-check and Activity ----------------------------------------------------------------------------- 114

MODULE 2: WORKING WITH THE EDITING TOOLS -------------------------------------------- 19 - 30

Using the Blur, Sharpen and Smudge Tools
Using the Dodge, Burn and Sponge Tools
Liquifying Image
 Using Distort Tools
Retouching Images
 The Clone Stamp Tool
 The Pattern Stamp Tool
 The Patch Tool
 The Healing Brush Tool
Self-check and Activity----------------------------------------------------------------------------- 117

MODULE 3: INTRODUCING LAYERS ----------------------------------------------------------------- 31 - 34

Working with layers
 Creating Layers
 Deleting Layers
 Duplicating Layers
 Transforming Layers
o Copying Layers between Images
o Arranging Layers
Saving Images in Photoshop Format
Self-check and Activity---------------------------------------------------------------------------- 120

MODULE 4: WORKING WITH THE SELECTION TOOLS --------------------------------------- 35 -44

The Marquee Tools
 Rectangular and Elliptical Marquee Tools
The Lasso Tools
 Lasso, Polygonal and Magnetic Lasso Tools
Saving Selections
The Magic Wand Tool
Softening the Edges of a Selection
Anti-aliasing
Feathering Edges
Adjusting Selection
Repositioning a Selection
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 Selecting from a center point
Deselecting a Selection
Moving a Selection
Transforming a selection
 Resizing a selection
 Rotating a selection
 Distorting a selection
 Skewing a selection
 Flip a selection
 Perspective
Copying selection
Deleting a Selection
Inversing Selection
Self-check and Activity----------------------------------------------------------------------------- 122

MODULE 5: WORKING WITH TEXT ------------------------------------------------------------------- 45 - 49

The Type Tool
Creating a Type Layer
The Point Type and Paragraph type
The Type Tool Options Bar
The Warp Text Dialog Box
Rasterizing Type Layer
Masked Type
Self-check and Activity---------------------------------------------------------------------------- 126

MODULE 6: TYPOGRAPHY ----------------------------------------------------------------------------- 50 - 58

Anatomy of Typography
Basic Typographical Principles
Understanding Size in Typography
Stroking
Symbols, Quotation Marks, Accent
Marks, Diphthongs and Ligatures
Self-check and Activity -------------------------------------------------------------------------- 128

MODULE 7: WORKING WITH THE PAINTING TOOL ------------------------------------------- 59 - 68

The Painting Tools
 The Brush Tool and Pencil Tool
 The History Brush Tool
 The Eraser, Background Eraser and Magic Eraser Tools
Color Theory
 The Gradient Tool
 The Paint Bucket Tool
Self-check and Activity---------------------------------------------------------------------------- 132

MODULE 8: BASIC COLOR MANIPULATION---------------------------------------------------- 69 -72

Curves
Levels
Color Balance
Brightness and Contrast
Desaturate
Hue and Saturation

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 Invert
Self-check and Activity---------------------------------------------------------------------------- 135

MODULE 9: DRAWING WITH PEN and SHAPE TOOLS ------------------------------------- 73 - 79

What is a Path?
The Pen Tools
The Freeform Pen tool
Creating Straight and Curved Paths
Filling a Path with Color
Stroking a Path with color
Converting Work Path into Selection, Selection into and Work Path
The Shape Tools
 The different Shape tools
 Drawing with the Shape tools
 Set Options for the Shape tools
Self-check and Activity---------------------------------------------------------------------------- 138

MODULE 10: MANAGING LAYERS ------------------------------------------------------------------- 80 - 84

The Layers Palette
Hiding/Showing Layers Content
Grouping Layers
Merging Layers
Flattening Layers
Rasterizing Layer
Self-check and Activity---------------------------------------------------------------------------- 142

MODULE 11: OPACITY AND BLEND MODE ------------------------------------------------------- 85 -91

Introducing Opacity and Fill
Adjusting Layer Opacity
Adjusting Fill Value
Introducing Blend Modes
Applying Blend Modes to Layers
Self-check and Activity---------------------------------------------------------------------------- 148

MODULE 12: LAYER STYLES and MASKS ------------------------------------------------------- 92 - 101

Introducing the Layer Styles
Applying Layer Styles to a Layer
 Using Drop and Inner Shadow
 Using Outer Glow and Inner Glow
 Using Bevel and Emboss
 Using Satin
 Using Color, Gradient, Pattern Overlays
 Using Stroke
Copying Layer Style
Layer Masks
Self-check and Activity---------------------------------------------------------------------------- 151

MODULE 13: WORKING WITH FILTERS --------------------------------------------------------- 102 - 113

What are Filters?
Applying a Filter:
Choosing a Filter Effect
Artistic Filters

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 Blur Filters
Brush Stroke Filters
Distort Filters
Noise Filters
Pixelate Filters
Render Filters
Sharpen Filters
Sketch Filters
Stylize Filters
Texture Filters
Video Filters
Other Filters
Self-check and Activity---------------------------------------------------------------------------- 154

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 Opening, Creating and Viewing Images

What are Bitmap Bitmap images and Vector graphics

and Vector Computer graphics falls into two main categories--bitmap and vector.
images?
Bitmap images
Bitmap images--technically called raster images--use a grid of colors known as
pixels to represent images. Each pixel is assigned a specific location and color
value.

Bitmap images are good for reproducing subtle gradations of color, as in

photographs. They can have jagged edges when printed at too large a size or
displayed at too high a magnification.

For example, the bicycle tire below is in a bitmap form. It is made up of a mosaic of pixels in
that location. When working with bitmap images, you edit pixels rather than objects or shapes.

Vector graphics

Vector graphics are made up of lines and curves defined by mathematical

objects called vectors. Vectors describe an image according to its geometric
characteristics.
Vector graphics are good for reproducing crisp outlines, as in logos or
illustrations. They can be printed or displayed at any resolution without losing
detail. Because computer monitors represent images by displaying them on a
grid, both vector and bitmap data is displayed as pixels on-screen.

For example, the bicycle tire below is in a vector form. It is made up of a

mathematical definition of a circle drawn with a certain radius, set at a specific location, and
filled with a specific color. You can move, resize, or change the color of the tire without losing
the quality of the graphic.

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Image Format

Choosing the right file format to save your images in is of vital

importance. There are three image formats in constant use on the net — GIF,
JPG and PNG. Each is suited to a specific type of image, and matching
your image to the correct format should result in a small, fast-loading graphic.
Saving and exporting into these formats will require a decent image editor.
When choosing the format for your image, you should always be conscious
of both the image’s quality and file size.

The most common image file formats, the most important for cameras,
printing, scanning, and internet use, are JPG, TIF, PNG, and GIF.

These graphic formats are listed and briefly described below, separated into the two main families
of graphics: raster and vector. In addition to straight image formats, Metafile formats are portable formats
which can include both raster and vector information. Examples are application-independent formats such
as WMF and EMF. The metafile format is an intermediate format. Most Windows applications open
metafiles and then save them in their own native format. Page description language refers to formats
used to describe the layout of a printed page containing text, objects and images. Examples
are PostScript, PDF and PCL.

There are many different types of formats for storing image files. On this page, only the most
commonly used image file formats are discussed. These are:

Tagged ImageFile (TIFF) File extension *.tif

Compuserve Graphics Interface Format (GIF) File extension *.gif
Joint Photographics Expert Group (JPEG) File extension *.jpg
PC Paintbrush Format (PCX) File extension *.pcx
Standard Windows Bitmap BMP) File extension *.bmp
Portable Network Graphics (PNG) File extension *.png
PhotoShop images (PSD) File extension *.psd
Macintosh format (PICT) File extension *.pic or,*. Pct
Pixar Image Computers (PIXAR) File extension *.pxr
Scitech continuous tone ( SCITEX CT) File extension *.pxr
Truevision video board (TARGA) File extension *.png
Raw format (RAW) File extension *.raw.

GIF — Graphics Interchange Format

Compuserve’s 8-bit GIF format has long been the most popular on the Internet, mainly because of its
small size. It is ideal for small navigational icons and simple diagrams and illustrations where accuracy is
required, or graphics with large blocks of a single colour. The format is loss-less, meaning it does not get
blurry or messy. GIFs use a simple technique called LZW compression to reduce the filesizes of images
by finding repeated patterns of pixels, but this compression never degrades the image quality.

GIF files can be saved with a maximum of 256 colours. This makes it a poor format for
photographic images. Because this can sometimes be tight, GIFs have the option to dither, and will mix
pixels of two different available colours to create a suggestion of another colour.
GIFs can be animated, which is another reason they became so successful. Most animated banner ads
are GIFs. You will need an animation program to make your own animations.
GIFs allow single-bit transparency, which means when you are creating your image, you can specify one
colour to be transparent. This allows the background colours of the web page to show through the image.

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GIFs can also be interlaced, which is a way of saving a graphic so that it loads progressively — first a
blurry, low-detail version is loaded, and then successive layers of detail are added. This usually means a
larger overall filesize, but it means that a version of the image gets placed onto the viewer’s screen much
quicker, and so is beneficial in many situations, as it gives the impression of a speedier download.
GIFs (variously pronounced “gif” or “jif”) are a very good format for most of the graphics you’ll be using on
your site, though PNGs below are better in many regards. Experimentation is the key to success.

GIF Examples
This first image is indicative of the optimum properties of a GIF image — small, low on
colours, and containing large areas of continuous colour.

This is the same graphic, but the number of available colours has been
reduced. The filesize is improved, but it doesn't look quite as smooth. To
remedy this, we can add some dithering (which does add a bit to
the filesize), to produce the image on the right. The loss of colours
becomes less obvious, and the filesize overall is about half as big.

This is the same image again, but with the red background
colour set to transparent. As you can see, the background of the page shows
through, but the edges are jagged, as this image was not designed for this
background colour.

Finally we have a rather rubbish animated GIF that I just knocked up in ten
minutes. Hooray. This single GIF file simply contains many frames of
animation, which your browser shuffles through.

 Main advantages: small file format, easy to store and display, can be made into a transparent
image.
 Main disadvantage: loss of colour variation.
 Main use: displaying images in greyscale, transparent images or images where colour variation is
unimportant but where a small file size is desirable.

JPEG — Joint Photographic Experts Group

The 16-bit JPEG format (usually written without the E), was designed with photographs in mind. It
is capable of displaying millions of colours at once, without the need for dithering, allowing for the
complex blend of hues that occur in photographic images.
JPGs use a complex compression algorithm, which can be applied on a sliding scale. Compression is
achieved by ‘forgetting’ certain details about the image, which the JPG will then try to fill in later when it is
being displayed. You can save a JPG with 0% compression for a perfect image with a large file size; or
with 80% compression for a small but noticeably degraded image. In practical use, a compression setting
of about 60% will result in the optimum balance of quality and file size, without letting the lossy
compression do too much damage.
Though JPGs can be interlaced, they lack many of the other special abilities of GIFs, like animation and
transparency; but as I said, they really are only for photos. Simple graphics with large blocks of colour
should not be saved as JPGs because the edges get all smudgy.
The » JPEG (“jay-peg”) format is likely to be replaced at some point in the future by the updated
JPEG2000 format.

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JPEG Examples

0% Compression 60% Compression 80% Compression 99% Compression

The jpeg format is commonly used to display continuous tone images (such as photographs) on the
internet. The important difference with the compusserve graphics interface (gif) format is that jpeg retains
all colour in the RGB colour format. However, the jpeg format uses a compression technique that discards
data not essential to the display of the image, and therefore is categorised as a "lossy" file format.
Although up to 16,000,000 colour variations are retained, jpeg compression loses information on pixel
frequency values because certain pixel values may be averaged to the values of those pixels in its
immediately surroundings. The level of jpeg compression will determine how much information is lost (this
can be set in most programs that offer jpeg compression). The lower compression level with quality set at
maximum produces a result that is virtually indistinguistable from the original. Because jpeg retains full
colour, the file size of an image in jpeg is larger than in gif (compare Figure 2 with Figure 3). Jpeg files
can be saved with the following options: "standard", "baseline optimised" and "progressive". "Baseline
optimised" keeps the the colour quality of the image at its best. "Progressive" displays the image
gradually as it is downloaded from the web, using a series of scans to provide increasingly detailed
versions. Progressive jpeg downloading requires more RAM is is not supported by all web browsers.

 Main advantages: retains up to 16,000,000 colours, ability to compress more or less to find a
compromise between file size and image quality.
 Main disadvantages: "lossy" file format; file size larger than gif because of colour information.
 Main use: display of continuous tone images such as photographs on the Web or other online
services.

PNG — Portable Network Graphics

PNG is a format » invented specifically for the web in response to a licensing scheme introduced which
meant the creators of any software that supported the GIF format had to pay five thousand dollars for the
privilege (this tax has since expired). While they were at it however, the creators of PNG (“ping”) went
ahead and created a format superior to GIF in almost every way.
One version of the format, PNG-8, is similar to the GIF format. It can be saved with a maximum of 256
colours and supports 1-bit transparency. Filesizes when saved in a capable image editor like FireWorks
will be noticeably smaller than the GIF counterpart, as PNGs save their colour data more efficiently.
PNG-24 is another flavour of PNG, with 24-bit colour support, allowing ranges of colour akin to a high
colour JPG. PNG-24 is in no way a replacement format for JPG, however, because it is a loss-less
compression format. This means that filesizes can be rather big against a comparable JPG.
PNG’s main draw are alpha-channels. Instead of the rudimentary transparency options in
other formats (where a pixel is either transparent or opaque), an alpha channel can specify the opacity
of any pixel from 0–255, where 0 is fully transparent and 255 is fully opaque. This allows you to create a
graphic that can be placed on top of any background colour and will retain a translucent effect, with the
background showing through the pixels that are not opaque.
The problem with this — and there had to be one — is that IE6 doesn’t support alpha-channels. Once a
new version of IE comes out with this vital support, you should see the effect springing up on trendy
designers’ sites across the web.

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And what of animation? PNG can be made into multi-image files through the MNGextension of the format,
but browser support is patchy for this format. Stick with GIFs for your animations.
Where does all this leave the PNG format? It may take a good number of years to find widespread usage,
but as it stands at the moment using PNG-8 in place of static GIFs will lower the filesizes of your images.
There’s no reason not to adopt them now as the format you create your site icons with.

Tagged Image File (TIFF)

The tiff file format is a very good format for scanners to acquire image data and so most scanners obtain
images as tiff files. The great advantage of saving files in the same tiff format is that no information is lost.
Tiff formats are also useful for transporting image files from one application to another or from one
computer to another as they are designed to be independent of any particular hardware or software. The
drawback of tiff tiles is that the file size is large. They take up a lot of space when stored and take a long
time to open in an application. They are not useful as embedded image files in a webpage as they take
much too long to download. If you have enough space in your computer, they are useful to keep as an
archive so that you can have more than one chance to modify and manipulate the image before saving it
in another format.
 Main advantages: (1) no loss of image data and (2) free exchange between applications and
computer platforms
 Main disadvantages: difficult to store, large file format.
 Main use: keep as archival image file with all information intact.

The PC Paintbrush Format (PCX)

PCX is one of the oldest raster formats available on PC's and was originally established by Z-soft for its
PC based Paintbrush software. Because it has been around for such a long time, there are now many
versions of PCX. Most software today supports version 5 of the PCX format. Version 3 only supports 256
colours, but it does not allow for a custom palette. This means that when you open a version 3 PCX file, a
standard VGA palette is used instead. PCX retains all image information, similar to TIFF. It is not a
compressed file format and hence the file size is large, even larger than tiff.
 Main advantage: image information retained, good quality image.
 Main disadvantage: large file format, PC compatible only and older PCX versions only support
256 colours.
 Main use: with Paintbrush software.

Standard Windows Bitmap (BMP)

Standard Windows bitmap is the image format designed for DOS and Windows compatible computers.
When saving an image in BMP format, it is possible to specify Microsoft OS/2 format. In addition, a 1-bit
to 24 bit depth for the image can be chosen. If the image is saved in a 4 or 8 bit format you can also
choose to run-length encoding (RLE) compression which is lossless (no information is lost from the
image). Non-RLE compression may lose considerable information from the image. The amount of
memory a BMP file will take up depends on whether it is saved as a 4, 8, 16 or 24 bit image, which will
save the file in 16, 256, 65,536 or 16,000,000 colours respectively. As a 16,000,000 24 bit image, the fila
size is rather large (Figure 5).

 Main advantage: BMP works well with Windows or OS/2 applications.

 Main disadvantage: loss of information, cross-platform incompatibility.
 Main use: within Windows and OS/2 applications.

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Portable Network Graphics (PNG)

The PNG format was designed to be an alternative to the gif format, and is also used to display images
on the Web. Unlike gif, the PNG format is able to retain full 16,000,000 colours. PNG can also
retain alpha channels. (Most software for image manipulation use colour channels such as CMYK: cyan
magenta, yellow and black. These channels represent information about the colours of the image and
are analogous to plates in a printing process where separation plates are used for different colours. Alpha
channels are additional colour channels used for storing and editing masks: areas isolated and protected
from the main image).

The PNG format uses a lostless compression method (no information is lost from the image). This means
that an image saved as a 24 bit file remains rather large. The relative large file size ensures PNG format
may sometimes be less suitable for Web or other online service publications than other high-compression
file formats. When saving in PNG format, it is possible to select Adam7 for interlace. This will display the
image in gradually increasing detail as it is downloaded. It is also possible to select different kinds of
filtering algorithms used for preparing the image for compression.

 Main advantages: preserves alpha channels and full colour range. Lostless file preservation.
 Main disadvantages: relatively large file format
 Main uses: web pages, preservation of channels for masks and/or printing.

PhotoShop images (PSD)

Photoshop image file formats are useful because of the preservation of image layers, channels and
paths. An image can be built up out of several layers, e.g. a foreground image against a background
layer. If these layers are preserved, each layer can be edited separately. Channels preserve colour
information in separate colour separations - such as RGB (red, green, blue) or CMYK (cyan, magenta
yellow and black) - which optimalises the image for display and/or printing. Having paths in Photoshop
are like placing a piece of tracing paper over an image and drawing lines and curves. Paths can be used
for preserving areas within the image for painting, as masks or for printing. PSD formats are specific to
Photoshop although other image manipulation software programs are able to open and work with PSD
files.

 Main advantages: good format for manipulating and changing images with control over separate
image channels, layers and paths.
 Main disadvantages: only works within certain applications, not useful for display on the web or
other online services.
 Main use: save images in PSD format as a useful "working tool" for further image manipulation
and adjustment.

Macintosh format (PICT)

The PICT format is widely used in Macintosh graphics and page-layout programs and is particularly useful
as an intermediary file format when transferring an image file between different MAC applications. Its
compression method is effective in reducing the file size of images that contain a lot of solid colour. This
may be particulary useful for alpha channels which often consists of large areas of white and black (for
more information about alpha channels go to Portable Network Graphics (PNG).) A colour (RGB) PICT
file can be saved in 16 bit or 32 bit whereas for greyscale the choice exists between 2, 4 or 8 bit.

 Main advantages: for Macintosch platforms and as an intermediary between Macintosh

applications. Effective compression of solid colour blocks.
 Main disadvantage: limited to Macintosh computers and applications.
 Main use: Macintosh applications.
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Pixar Image Computers (PIXAR)

The pixar format is compatible with PIXAR computers which are designed to be high-end graphics
workstations. Pixar computers are typically used for making 3D images and complex animations.

 Main advantage: compatible with PIXAR workstations.

 Main disadvantage: specific to PIXAR workstations, no compression and not suitable for Web or
other online publications.
 Main use: with PIXAR workstations.

Scitech continuous tone (SCITEX CT)

The Scitech file format is used with with Scitech computers which are used for high-end image
processing. The scitech format is can save images that are in grayscale, RGB colour and CMYK colour,
but when these files are converted to a Scitech format, it is kept as CMYK colour. This means that the
files are often very large, with a raster system that contains colour separations. Scitech files are therefore
very useful for professional colour work with a high print quality, such as ads that run in glossy
magazines.
 Main advantage: high level of colour separation and print quality.
 Main disadvantage: specific to Scitech systems.
 Main use: image file format preserves

Truevision video board (TARGA)

The TARGA file format is supported by DOS applications and is used with computers that have a
TrueVision video digitising board. If the file is saved as an RGB colour image, it is possible to select the
colour depth (16, 24 and 32 bit).
 Main advantage: supported by DOS applications and TrueVision digitising boards.
 Main disadvantage: Limited to DOS applications.
 Main use: specific file format for TrueVision digitising boards

Raw format (RAW)

The RAW format is a flexible format able to be used between applications and between computer
platforms (eg PCs and Macintosh). You can specify the file extension (in Windows), file type (in
Macintosh) and file creator (in Macintosh). In the Macintosh, the file type is usually a four character ID that
specifies the file e.g. TEXT identifies the file as a text file. The file creator is generally also a four
character ID, which is a registered identifyer for Macintosh applications.The header specifies the number
of bytes of information that will appear before the actual image information. It is possible to specify no
header information,or one can specify the width and height of the header values as required. It is
possible to store RAW images in an interleaved or noninterleaved file format. The interleaved file format
stored the colour values (red, green and blue in the RGB format, for example) sequentially.
 Main advantage: cross-platform format that can be used by many applications.
 Main disadvantage: many specifications have to be set.
 Main use: as an alternative to tiff files.

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Opening an Image
To open an image:

1. From the File menu, choose Open.

2. Locate the image you want to open, and click Open.

or

1. Open the Windows Explorer Window and locate the

image folder.
2. Restore the Windows Explorer and make sure it is placed
on top of the Photoshop window. Drag the selected image(s)
to the Photoshop window.

Creating a Canvas
To create a new image:

1. From the File menu, choose New.

2. If desired, type a name for the image, and set the width and height.

3. Set the resolution and color mode.

a. Image resolution The number of pixels displayed per unit of printed length in an
image, usually measured in pixels per inch
b. Color Mode determines the color model used to display and print images. Photoshop
bases its color modes on established models for describing and reproducing color.
Common models include HSB (hue, saturation, brightness); RGB (red, green, blue);
CMYK (cyan, magenta, yellow, black); and CIE L*a*b*. Photoshop also includes
modes for specialized color output such as Indexed Color and Duotone

4. Select an option for the contents of the background

a. White to fill the background or first layer with white, the default background color.
b. Background Color to fill the background or first layer with the current background
color.
c. Transparent to make the first layer transparent, with no color values. The resulting
document will have a single, transparent layer as its contents.
d. Click OK.

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Viewing your Images with the Navigator Palette
In viewing the images the Hand tool, the Zoom tools, the Zoom commands, and the Navigator
palette let you view different areas of an image at different magnifications.

The Navigator Palette

The Navigator palette helps you see where you are in your image. The window in the
navigator palette shows your entire image, even if it doesn’t fit on your screen.

View box

Magnification
box Zoom in
Zoom out
Zoom Slider
The red box is called View box and tells you which part of the image is currently
displayed on the screen. You can drag this box to move around the image.

The View menu,

To enlarge the display of the image

 Choose View > Zoom In

To reduce the view of the image

 Choose View > Zoom Out

To fit an image in the screen

 Choose View > Fit on Screen.

The Zoom tool and Hand tool

The Zoom tool magnifies or reduces your view using various methods

You can also use the Hand tool or the Zoom tool to maneuver around your
image.

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Undoing Previous Steps with the History Palette
One of the greatest things in Photoshop is the ability to Undo and Redo and multiple
Undo. By default, you can only undo the last step in Photoshop. Pressing "CTRL+Z" repeatedly
won't undo a series of tasks last performed. But pressing "CTRL+Z" repeatedly with the "ALT"
key pressed will even undo the tasks previously performed. Just keeping a single key pressed
makes quite a difference.

The History Palette

The History palette lets you jump to any recent state of the
image created during the current working session. Each time you
apply a change to an image, the new state of that image is
added to the palette.

For example, if you select, paint, and rotate part of an image,

each of those states is listed separately in the palette. You can
then select any of the states, and the image will revert to how it
looked when that change was first applied. You can then work
from that state.

You can change the number of steps

saved in the History palette during the
session. Go to Edit > Preferences >
General or just press the
keys Ctrl + K on the keyboard. You
will see the Preferences window (see
below). The number of states by
default is 20, but you can set as many
states as you like.

Using the History Palette

You can use the History palette to revert to a previous state of an image, to delete an image's
states, and (in Photoshop) to create a document from a state or snapshot.

To display the History palette:

Choose Window > History, or click the History palette tab.

To revert to a previous state of an image:

Do any of the following:

1. Click the name of the state.
2. Drag the slider at the left of the state up or down to a different
state.
3. (Photoshop) Choose Step Forward or Step Backward from
the palette menu or the Edit menu to move to the next or
previous state.

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Sizing Images
File size depends on the pixel dimensions of an image
and the number of layers contained in the image. Images with
more pixels may produce more detail when printed, but they
require more disk space to store and may be slower to edit and
print. You should keep track of your file sizes to make sure the
files are not becoming too large for your purposes. If the file is
becoming too large, reduce the number of layers in the image
or change the image size.

You can view file size information for an image at the bottom of the application window.

Changing Image Size for Printing

To change the image size for printing in Adobe Photoshop, follow the steps:
1. Select the command Image Size from the
menu Image of Adobe Photoshop.
2. Activate the check-box Constrain
Proportions to keep the image proportions.
3. Activate the check-box Resample Image, if
you want to keep the same image
resolution.
4. Select the interpolation method: Nearest
Neighbour, Bilinear or Bicubic. We
recommend the Bicubic method of
interpolation.
5. In the group Document Size select units
and enter new values in the fields Width
and Height. If the check-box Resample
Image is not activated, the resolution will change.
6. Then press the button OK.
Changing Image Resolution
You may need high resolution images for printing.
To change the image resolution in Adobe Photoshop, follow the instructions:
1. Select the command Image - Image
Size from the Adobe
Photoshop menu.
2. Select the option Resample Image, if
you want to keep the image dimensions
(Document Size).
3. If you want to keep the total amount of
pixels (Pixel Dimensions), you should
un-check this option. In this case the
width and the height will change in such
a way that the total amount of pixels
will stay the same.
4. Enter a new value for resolution into the
field Resolution (which defines how
manypixels per inch your image will have).
5. Press the button OK.
Cropping Images
Cropping changes the number of pixels in an image by "cropping" away the pixels from
the surrounding area. In the photo editor Adobe Photoshop an image can be cropped with
the Crop tool or the Crop command.
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 Although cropping reduces the
dimensions of an image, it is not the same Crop Tool - allows you to select an area
as resizing. Whereas resizing reduces or of an image and discard everything
enlarges the entire image and everything outside this area.
in it, cropping does not alter the size of the
image content at all.

To crop an image with the Crop tool, follow these instructions:

1. Choose the Crop tool from the Tool Panel or press C.

2. Bring the cursor to a point on the image, where a corner of the cropped image will be,
and left-click the mouse.
3. Moving the cursor diagonally, keep the left mouse button pressed.
4. Release the left mouse button. A box will appear over the image with marked corners,
indicating the area that will be preserved. This box can be moved, resized, and rotated.
 To move the crop box move the cursor completely inside the selected area, press the
left mouse button, and while keeping the left mouse button pressed, drag the box.
 To change the size of the selected area move the cursor to one of the corner
markers, press the left mouse button and drag the marker. If the cursor is dragged
while pressing Shift, the size of the box will be changed proportionally.
5. To rotate the crop box move the cursor to one of the corner markers and drag the cursor.

6. Press Enter (Return on Macintosh) or press the button in the Options Panel to
crop the image.

7. To close the crop box without cropping the image press Esc or press the button in
the Options Panel.

Illustration 1.1

Illustration 1.2

To crop an image with the Crop command from the Photoshop menu, follow these steps:
1. Choose the Rectangular marquee tool from the Tool Panel.
2. Select a rectangular area on the image Selection Tools in Adobe Photoshop).
3. Choose Crop from the Image menu.

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 Illustration 1.3

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 Working with Editing Tools

Editing

What is Editing is reviewing and changing a document by making additions, deletions, or

editing? other changes to conform to some agreed-upon standard. Editing is commonly
done to all documents for publication or public presentation.

Editing is the process of selecting and preparing written, visual, audible,

and film media used to convey information through the processes of correction,
condensation, organization, and other modifications performed with an intention
of producing a correct, consistent, accurate, and complete work.

The editing tools do not apply paint to an image, but rather affect the colors already in an image.
Adobe Photoshop editing tools are: Blur, Sharpen, Smudge, Dodge, Burn and Sponge

Using the Blur, Sharpen and Smudge Tools

The Blur, Sharpen and Smudge occupy one cell in the

Toolbar, represented by the icon of the last tool used. To choose
another instrument, press the triangle next to the icon and
choose the desired icon from the menu that appears. This menu
can also be accessed from the screen, if the icon is pressed and
held for a few moments.
The Blur tool reduces the sharpness (focus) of an image. It
does this by reducing the color contrast of neighboring pixels.

The Sharpen tool increases the sharpness (focus) of an

image, by increasing the contrast of neighboring pixels. This
results in increased clearness and contrast of borders, and
heightened detail in the image.
The Smudge tool spreads color in an image, displacing
pixels of corresponding colors. It is similar to the effect
created by smearing your fingers through wet paint. Smudge
works by "grasping" a color at the beginning of a stroke and
then mixing it with other colors as it is dragged across the
image.

To use the Blur tool:

1. Select the Blur tool .

2. Do the following in the options bar:
3. Choose a brush tip and set options for the blending mode and strength in the options
bar.
4. Select Use All Layers in the options bar to blur using data from all visible layers. If this
is selected, the tool uses data from only the active layer.
5. Drag over the part of the image you want to blur. (See Illustration 2.0)

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 To use the Smudge tool:

1. Select the Smudge tool .

3. Choose a brush tip and options for the blending mode in the options bar Select Use All
Layers in the options bar to smudge using color data from all visible layers. If this is
deselected, the Smudge tool uses colors from only the active layer.
4. Select Finger Painting in the options bar to smudge using the foreground color at the
beginning of each stroke. If this is deselected, the Smudge tool uses the color under
the pointer at the beginning of each stroke.
5. Drag in the image to smudge the pixels. (See Illustration 2.0)

To use the Sharpen tool:

1. Select the Sharpen tool .

2. Do the following in the options bar:
3. Choose a brush tip and set options for the blending mode and strength in the options
bar.
4. Select Use All Layers in the options bar to sharpen using data from all visible layers.
If this is deselected, the tool uses data from only the active layer.
5. Drag over the part of the image you want to sharpen. (See Illustration 2.0)

Illustration 2.0

Original image Blurred image

Original image Sharpened image

Original image Smudge image

The following parameters can be changed for these tools in the Options Panel: Brush, Mode,
Strength, Use All Users, Finger Painting.

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 Brush. The Brush parameter displays the current shape and size of a brush. To change
the shape and size of the brush:
 left-click on the triangular button to open the drop-down palette;
 change the tool's size and hardness in the Options panel or choose its shape
from a selection of presets.
The palette can also be accessed by right-clicking anywhere in the image window.
In addition the shape and size of the brush can be set in the Brushes palette, which can
by opened by pressing or with the command Window - Brushes.

Mode. The Mode parameter affects how a tool is applied.

Strength. When using the Blur or Sharpen tools the Strength parameter affects the
extent to which the tool changes the focus (sharpness) of an image. When using the
Smudge tool this parameter defines the distance which the tool smears color in the
image.

Use All Users. If All New Users is checked when using the Blur or Sharpen tools, it is
possible to increase or decrease the sharpness of colors on all visible layers of an image.

Finger Painting. This parameter is only available for the Smudge tool. If Finger Painting
is checked, it will appear as if before smearing, the "finger" has been dipped into the main
color. The result is that not only are colors smeared but an additional hue is added.

Using the Dodge, Burn and Sponge Tools

Dodge, Burn and Sponge are tools that affect tone.

They are used for lightening or darkening parts of an image.
These tools occupy one cell in the Toolbar, and are
represented by the icon of the last tool used. To choose
another tool, right-click on the triangle next to the tool and
choose the desired tool from the menu that appears. This menu can also be accessed from the
screen, if you click on the icon and hold the button down for a few moments.

The Dodge tool lightens a part of an image, if the cursor is

dragged across it.

The Burn tool allows you to gradually darken pixels in the

image.

The Sponge tool affects the saturation and contrast of an

image.

To use the Dodge tool or the Burn tool:

1. Select the Dodge tool or the Burn tool.

2. Choose a brush tip and set brush options in the options bar.
3. In the options bar, select one of the following:

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  Midtones to change the middle range of grays
 Shadows to change the dark areas
 Highlights to change the light areas
Specify the exposure for the Dodge tool or the Burn tool.
(Photoshop) Click the airbrush button to use the brush as an airbrush. Alternately,
select the Airbrush option in the Brushes palette.
Drag over the part of the image you want to lighten or darken. (See illustration 3.0)

To use the Sponge tool:

1. Select the Sponge tool .

2. Choose a brush tip and set brush options in the options bar
3. In the options bar, select the way you want to change the color.
 Saturate to intensify the color's saturation
 Desaturate to dilute the color's saturation
4. Specify the flow for the Sponge tool.
5. Drag over the part of the image you want to modify. (See illustration 3.0)

Illustration 3.0

Original image Dodged image

Original image Burned image

Original image Sponged image

In the options panel, the following parameters can be adjusted for Dodge and Burn:
Brush, Range,Exposure and Airbrush.

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 Brush. The Brush parameter affects the shape and size of the tool. To change the tools'
shape and size:
 Press the triangular button with the left moust button, to open the drop-down
palette;
 Set the size and hardnesss of the tool in the palette or choose its shape from the
selection of presets.
Range. This parameter affects the mode in which the tool is applied. In Midtones mode
dark and light areas are affected equally. In Shadows mode, pixels in darker areas
(shadows) are affected more. In Highlights mode pixels in lighter areas are affected
more.
Exposure. This parameter affects the degree of darkening for Burn and the degree of
lightening for Dodge. A value of 100% leads to the maximum degree of darkening or
lightening.

Airbrush. When the button is pressed the tool works in dispersion mode.

The Sponge tool can be set in the Options panel with the following parameters:
Brush, Mode, Flowand Airbrush.

Brush. The Brush parameter sets the shape and size of the tool. To change the tool's
shape and size:
o left-click on the triangular button to open the drop-down palette;
o set the tool's size and hardness in the palette or choose a shape for the tool from
the selection of presets.
Mode. This parameter switches between the modes in which the tool works. When
Sponge is in Desaturation mode the saturation of the primary color decreases, while in
Saturation mode it increases.
Flow. Flow affects every point of color applied with the tool. With each application of the
tool, the color applied becomes more opaque.

Airbrush. When the button is pressed the tool begins to work in dispersion mode.

Liquefying Image
The Liquify filter lets you push, pull, rotate, reflect, pucker, and bloat any area of an
image. The distortions you create can be subtle or drastic, which makes the Liquify command a
powerful tool for retouching images as well as creating artistic effects.

Distorting an image using Liquify Filter

The Liquify dialog box provides tools and options for distorting an image.
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Toolbox

Preview
Options
Image

Several tools in the Liquify dialog box distort the brush area when you hold down the
mouse button or drag. The distortion is concentrated at the center of the brush area, and the
effect intensifies as you hold down the mouse button or repeatedly drag over an area.

Shift-click with the Warp tool, the Push

Forward Warp Tool
Left tool, or the Mirror tool to create the
Pushes pixels forward as you drag. effect of dragging in a straight line from
the previous point you clicked.
Reconstruct tool
Fully or partially reverses the changes you’ve made.
Twirl Clockwise tool
Rotates pixels clockwise as you hold down the mouse button or drag. To twirl pixels
counter-clockwise, hold down the Alt key (Windows) or Option (Mac OS) as you hold
down the mouse button or drag.
Pucker Tool
Moves pixels toward the center of the brush area as you hold down the mouse button or
drag.
Bloat Tool
Moves pixels away from the center of the brush area as you hold down the mouse button
or drag.
Push Left tool
Moves pixels to the left when you drag the tool straight up (pixels move to the right if you
drag down). You can also drag clockwise around an object to increase its size, or drag
counter-clockwise to decrease its size. To push pixels right when you drag straight up (or
to move pixels left when you drag down), hold down the Alt key.
Mirror tool
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 Copies pixels to the brush area. Drag to reflect the area perpendicular to the direction of
the stroke (to the left of the stroke). Alt-drag (Windows) or Option-drag (Mac OS) to
reflect the area in the direction opposite to that of the stroke (for example, the area above
a downward stroke). Usually, Alt-dragging or Option-dragging gives better results when
you have frozen the area you want to reflect. Use overlapping strokes to create an effect
similar to a reflection in water.
Turbulence tool
Smoothly scrambles pixels. It is useful for creating fire, clouds, waves, and similar effects.

Freeze Mask tool

Freezes parts of an image, by brushing over your image where you want to retain parts of
your document. As you brush, the parts being masked will turn red.
Thaw Mask Tool ( )
Removes any parts of your mask that go over the parts you wanted to retain .

Retouching Images

The retouching tools in Adobe Photoshop are: Clone Stamp, Pattern Stamp, Healing
Brush, Patch and Color Replacement. These tools repair damaged images, apply repeated
patterns, or replace colors in an image. The following illustration shows the arrangement of these
tools in the toolbar.

If two or more tools occupy the

same cell (the icon for the tool last
used is always shown), in order to
choose another tool, right-click the
mouse on the arrow next to the icon
and choose another tool from the
menu that appears. This menu will
also appear if you click on the icon and
press it for some time.

The Clone Stamp Tool

The Clone Stamp tool takes a sample of an image, which you can
then apply over another image or part of the same image. You can also
clone part of one layer over another layer. Each stroke of the tool
paints on more of the sample.

When you use the Clone Stamp tool, you set a sampling point on the area you want to
apply over another area. By selecting Aligned in the options bar, you can reuse the most current
sampling point, no matter how many times you stop and resume painting. When Aligned is
deselected, you'll reuse the same sampled pixels each time you paint.
Because you can use any brush tip with the Clone Stamp tool, you have a lot of control
over the size of the area you clone. You can also use opacity and flow settings in the options bar
to finesse the way you apply the cloned area. You can also sample from one image and apply the
clone in another image, as long as both images are in the same color mode.
The process involves setting a sampling point in the image which will be used as a reference to
create a new cloned area.

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 To create a new cloned area:

1. Select the Clone Stamp tool , then check the settings in the options bar. Choose a
brush tip and set brush options for the blending mode, opacity, and flow in the options
bar.

 Aligned: If this option is selected, the new cloned

image will be drawn continuously even if you
release the mouse button while drawing. If it is
deselected, the clone will begin drawing from the
sampling point each time you release the mouse
and resume painting.
 Use All Layers: If this option is selected,
information will be used from all visible layers.
Otherwise only the active layer will be used.

2. Hold down the Alt key — the cursor will change to a

target. Click the point you wish to use as a sampling
point. This will be used as the reference point for
cloning.

3. Click and drag where you want the cloned image to appear. As you draw, a cross will
appear on the original image while a corresponding circle appears where you are
drawing.

4. Click and drag where you want the cloned image to

appear. As you draw, a cross will appear on the
original image while a corresponding circle appears
where you are drawing.

The Pattern Stamp Tool

The Pattern Stamp tool lets you paint with pattern. You can select a
pattern from the pattern libraries or create your own pattern.

The pattern stamp tool works just like a paintbrush tool but
instead of color, it will paint the area with patterns.

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 To use the Pattern Stamp tool:

1. Select the Pattern Stamp tool .

2. Choose a brush tip and set brush options (blending mode, opacity, and flow) in the
options bar

3. Select Aligned in the options bar to sample pixels continuously, without losing the current
sampling point, even if you release the mouse button. Deselect Aligned to continue to
use the sampled pixels from the initial sampling point each time you stop and resume
painting.

4. Select a pattern from the Pattern pop-up palette

in the options bar. If you'd like to apply the
pattern with an impressionistic effect, select
Impressionist.

5. Drag in the image to paint with the pattern.

The Patch Tool

The Patch tool lets you repair a selected area with pixels from another
area or a pattern. Like the Healing Brush tool, the Patch tool matches
the texture, lighting, and shading of the sampled pixels to the source
pixels. You can also use the Patch tool to clone isolated areas of an
image.

When repairing with pixels from the image, select a small area
to produce the best result.
To repair an area using sampled pixels:
1. Select the Patch tool .
2. Do one of the following:

 Drag in the image to select the area you want to repair, and select Source in the
options bar.
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  Drag in the image to select the area from which you want to sample, and select
Destination in the options bar.
Note: You can also make a selection prior to selecting the Patch tool.

3. To adjust the selection, do one of the following:

 Shift-drag in the image to add to the existing selection.
 Alt-drag in the image to subtract from the existing selection.
 Alt-Shift-drag in the image to select an area intersected by the existing selection.
4. Position the pointer inside the selection, and do one of the following:
 If Source is selected in the options bar, drag the selection border to the area from
which you want to sample. When you release the mouse button, the originally
selected area is patched with the sampled pixels.

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  If Destination is selected in the options bar, drag the selection border to the area you
want to patch. When you release the mouse button, the newly selected area is
patched with the sampled pixels.

The Healing Brush Tool

The Healing Brush tool lets you correct imperfections, causing them
to disappear into the surrounding image. Like the cloning tools, you
use the Healing Brush tool to paint with sampled pixels from an image
or pattern. However, the Healing Brush tool also matches the texture,
lighting, transparency, and shading of the sampled pixels to the source
pixels. As a result, the repaired pixels blend seamlessly into the rest of
the image.

If there is a strong contrast at the edges of the area you want to heal, make a
selection before you use the Healing Brush tool. The selection should be
bigger than the area you want to heal but should precisely follow the boundary
of contrasting pixels. When you paint with the Healing Brush tool, the selection
will prevent colors from bleeding in from the outside.

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 To use the Healing Brush tool:

1. Select the Healing Brush tool .

2. Click the brush sample in the options bar and set brush options in the pop-up palette:

3. Choose a blending mode from the Mode pop-up menu in the options bar:
 Choose Replace to preserve noise, film grain, and texture at the edges of the
brush stroke.
4. Choose a source to use for repairing pixels in the options bar: Sampled to use pixels
from the current image, or Pattern to use pixels from a pattern.
5. Select Aligned in the options bar to sample pixels continuously, without losing the
current sampling point, even if you release the mouse button. Deselect Aligned to
continue to use the sampled pixels from the initial sampling point each time you stop
and resume painting.
6. Select Use All Layers in the options bar to sample data from all visible layers.
Deselect Use All Layers to sample only from the active layer.
7. For the Healing Brush tool in sampling mode, set the sampling point by positioning
the pointer in any open image and Alt-clicking.
Note: If you are sampling from one image and applying to another, both images
must be in the same color mode unless one of the images is in Grayscale mode.
8. Drag in the image.
The sampled pixels are melded with the existing pixels each time you release the
mouse button. Look in the status bar to view the status of the melding process.

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 Introducing Layers

Layers

What are Layers are one of the most important things in Adobe Photoshop. A
Photoshop image file (.psd) can be made up of numerous independent layers
layers? which are overlaid on top of each other.
Any part of a layer which contains no image information is transparent, so layers
below are visible in these areas. Each whole layer can also have different opacity
settings, so some layers can be partially or completely transparent.
You can see it in the picture below:

Photoshop layers are like sheets of stacked acetate. You can see through transparent areas of a layer to
the layers below. You move a layer to position the content on the layer, like sliding a sheet of acetate in a
stack. You can also change the opacity of a layer to make content partially transparent. You use layers to
perform tasks such as compositing multiple images, adding text to an image, or adding vector graphic
shapes. You can apply a layer style to add a special effect such as a drop shadow or a glow.

3
2
1

3 Layers with different contents This is how it will look when

you arrange the layers on top
of each other.
Working with layers
You can use the Layers palette to hide, view, reposition, delete, rename, and merge
layers. The Layers palette displays all layers with the layer name and a thumbnail of the layer’s
image. The thumbnail is automatically updated as you edit the layer.

Creating Layers
By default a Photoshop image has one layer, called Background.
To create a new layer:

 Click on Layer > New Layer or Click on the More button on the layers
palette and select New Layer.
or

 Click on the New Layer button at the bottom of the

Layer palette window.
Notes: A new layer is automatically created when
adding new text or pasting a new image.

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 More button
Deleting Layers

To delete layer:
 Click on Layer > Delete > Delete layer.
or
 Right-click on the layer and select Delete layer. Click
the button Yes if you are sure deleting the layer.
or
 Click on the Add button and select Delete layer. Click
the button Yes if you are sure deleting the layer.
or
 Drag the layer to the Delete layer button.

Delete Layer
Duplicating Layers

To duplicate layer:
 Click on Layer > Duplicate layer.
Or
 Right-click on the layer and select Duplicate layer. Type the name of the duplicated
layer and click the OK button.
or
 Click on the Add button and select Duplicate layer. Type the name of the duplicated
layer and click the OK button.
or
 Select the layer you want to duplicate and press CTRL + J on the keyboard.

Transforming Layers

Copying Layers between Images

To copy layer or layer set between images:

1. Open the source and destination images.
2. In the Layers palette of the source image, select a layer.
3. Do one of the following:
 Drag the layer from the Layers palette into the destination image.
 Choose Select > All to select all of the pixels on the layer, and choose Edit >
Copy. Then choose Edit > Paste in the destination image.
 You can also drag the content of the active layer directly on the target
destination.

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 Arranging Layers
The order in which the layers of an image are organized is called the stacking
order. The stacking order of layers determines how the image is viewed—you can
change the order to make certain parts of the image appear in front of or behind other
layers.

To arrange/rearrange layer:
1. In the Layers palette, drag the layer up to position it at the top of the palette. When
you see a thick black line above the layer, release the mouse button.

2. If you want to position the layer below the other layer drag it down. When you see a
thick black line below the layer, release the mouse button.

Saving Images in Photoshop Format

You can save a file with its current filename, location, and format or with a different
filename, location, format, and options. You can also save a copy of a file while leaving the
current file open on your desktop.

When you save file with layers in Photoshop it is automatically save as .psd file. There
are some cases that we need to save file in other format for a particular purpose. It is used for
printing, for posting on web and others.

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 To save a file in Photoshop format:
1. Choose File > Save As.
2. On the Save as dialog box type a filename,
and choose a location for the file.
3. Click Save.

To save a file in a different file format:

Do one of the following:

1. Choose File > Save As.
2. On the Save as dialog box type a filename, and
choose a location for the file.
3. Choose the file format you wish your file to be saved
by clicking the Format drop down button
Note: In Photoshop, if you choose a format that
does not support all features of the document,
a warning appears at the bottom of the dialog
box. If you see this warning, it is recommended
that you save a copy of the file in Photoshop
format or in another format that supports all of
the image data.
4. Click Save.

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 Working With the Selection Tools

The Selection Tools

What are the
The selection tools are used to facilitate the process of making selections of
selection tools? shapes, colors, and objects inside of Photoshop, and positioning them in the
working image area. With tools like the magnetic lasso and magic wand,
Photoshop packs a powerful array of selection gadgets!

In Photoshop, selections are used to work in a specified area, while not altering
any of the area around it. In many regards, a selection is a lot like a stencil.
You basically are enabling yourself to only paint in one area while the rest of your
canvas is left unaffected. There are a variety of tools to help you draw out
specific sizes and shapes of selections in Photoshop.

The Marquee Tools

The marquee tool icons contain hidden tools, which you can select by holding down the
mouse button on the toolbox icon and dragging to the desired tool in the pop-up menu.

The Rectangular Marquee Tool selects a rectangular area

on the image.

The Elliptical Marquee tool allows you to select rounded

areas like circles or ovals on the image.

Press and hold the Shift key to create a proportioned square selection
from the image

To Make a Selection using the Marquee Tools:

1. Select a Marquee tool from the toolbox.

An animated rectangle appears

around the selected area
2. Drag the mouse diagonally from the upper left corner to the lower right corner of
the area to create a selection.

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 To Reposition a Selection:

1. Position the pointer anywhere inside the

selection.
2. Drag to reposition the border

Marquee tool placed Selection border

within selection repositioned

Note: Repositioning techniques for selection borders work with any of the marquee,
lasso, and magic wand tools.

**If you are still not happy with the selection after repositioning it, you can
deselect it and redraw it by pressing CTRL + D.

The Lasso Tools

The lasso tools allow you to select precise areas of
an image by drawing or tracing the selection outline.

There are three lasso tools available:

The Lasso Tool allows you to create freehand selection tool.

Make sure to trace the selection carefully to create a smooth

selection.

To make a freehand selection you should:

1. Select the Lasso tool from the Toolbox by left-clicking on the icon , or (if Lasso was
not the last tool applied) select it from the floating window.
2. Bring the mouse cursor to the object that must be selected and outline it keeping the
left button pressed.

The PolygonalTool will create a selection with a series of

straight edges.
Similar to the lasso tool, except that instead of holding your
mouse button down to draw, click on various points to create a
selection.

* It is best to use for selecting geometrical shape on the

image.

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 To make a selection you should:
1. Select the Polygonal Lasso tool from the Toolbox by clicking on the icon , or (if
Polygonal Lasso was not the last tool applied) select it from the floating window.
2. Bring the cursor to any point near the object to be outlined and press the left mouse
button - it'll be the first point of the contour.
3. Move the cursor to the next point of the contour not far from the first one and left-click
it again. The program will automatically draw a straight line between the two points.
4. Keep putting points in this way until the whole object is outlined and close the contour.

The Magnetic Tool is used for selecting areas which have

well-defined edges.

When you use Magnetic Lasso you do not need to follow the contour
of the object precisely. If the object stands out against the background
the border of the selected area will be traced automatically as you
move the cursor along the object.
.
To select an area using Magnetic lasso you should:
1. Select the Magnetic Lasso tool from the Toolbox by clicking on the icon , or (if
Magnetic Lasso was not the last tool applied) select it from the floating window.
2. Bring the mouse cursor to the border of the object that should be selected.
3. Press the left button and start dragging the cursor along the object. Pay attention to
fastening points that appear as you outline the object and when you made a click. If a
fastening point is irrelevant you can remove it by pressing the Delete key and return to
the previous fastening point to continue outlining the object.
4. Close the contour, join the first fastening point with the last one by bringing the cursor
to the first point or by making a double-click.

Saving Selections

Selections can be saved and loaded for reuse.

To save a selection:
Choose Select > Save Selection.

To load a saved selection:

Choose Select > Load Selection, and then enter the options in the Load Selection dialog window.
Click OK to load selection.
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The Magic Wand Tool

The Magic Wand Tool selects an area of an image based on

its color.

You can set Tolerance in the Options palette of the Magic Wand tool. The higher is the
value, the more colors will fall into the selected area. The Tolerance value ranges from 0 to 255.
At Tolerance equal to 0 the selected area will be represented only by one color, at Tolerance
equal to 255 - all colors of the image will be selected, that is the whole image.

To select a consistently colored area, you should:

1. Select the Magic Wand tool in the Toolbox by clicking the icon.
 Select a Tolerance value (0 to 255).
This determines how closely to match colors - higher tolerance means a
larger selection.
 Check Anti-aliased to define a smooth edge to the selection.
 Check Contiguous to select only areas which are joined together.
 Check Use All Layers to select areas from all layers.
2. Click the image in an area which you want to select.

The yellow part of the image was selected using the

nd
Magic Wand tool then it was erased on the 2 illustration.

Note: You can add and subtract to the selection

by using your Shift and Alt keys, or clicking the
selection buttons in the options bar.
Softening the Edges of a Selection
Anti-aliasing
Smoothes the jagged edges of a selection by softening the color transition between edge pixels
and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful
when cutting, copying, and pasting selections to create composite images.

**You must specify this option before using these tools. Once a selection is made, you
cannot add anti-aliasing.
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 To use anti-aliasing:
1. Select the tool
2. Select Anti-aliased in the options bar.

Selected image Selected image

with anti-aliased disabled with anti-aliased enabled

Feathering Edges
It blurs edges by building a transition boundary between the selection and its surrounding pixels.
This blurring can cause some loss of detail at the edge of the selection. You can smooth the hard
edges of a selection by anti-aliasing and by feathering.

**You can define feathering for the selections tools as you use the tool, or you can add
feathering to an existing selection. Feathering effects become apparent when you move,
cut, copy, or fill the selection.

To define a feathered edge for a selection tool:

1. Select the tool.
2. Enter a Feather value in the options bar.
This value defines the width of the feathered edge and can range from 1 to 250 pixels.

To define a feathered edge for an existing selection:

1. Choose Select > Feather.
2. Enter a value for the Feather Radius, and click OK.

Adjusting Selection
You can adjust existing selection by using the buttons in the selection tool options bar.

Create a new Add to Subtract from Restrict

selection selection selection selection

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 To add to a selection or select an additional area:
1. Make a selection.
2. Using any selection tool, do one of the following:
 Select the Add to Selection option ( ) in the options bar, and drag.
or

 Hold down Shift (a plus sign appears next to the pointer), and drag to add another
selection.
To subtract from a selection:
1. Make a selection.
2. Using any selection tool, do one of the following:
1. Select the Subtract from Selection option ( ) in the options bar, and drag to
intersect with other selections.
or

2. Hold down Alt (a minus sign appears next to the pointer), and drag to subtract
another selection.

To select only an area intersected by other selections:

1. Make a selection.
2. Using any selection tool, do one of the following:
 Select the Restrict Selection option ( ) in the options bar, and drag.
 Hold down Alt+Shift (a cross appears next to the pointer), and drag over the portion
of the original selection that you want to select.

Repositioning a Selection
To Reposition a Selection:

1. Position the pointer anywhere inside the selection.

2. Drag to reposition the border

Marquee tool placed Selection border

within selection repositioned

Note: Repositioning techniques for selection borders work with any of the marquee,
lasso, and magic wand tools.

**If you are still not happy with the selection after repositioning it, you can deselect it and redraw it.

Repositioning a selection border while creating it

If a selection border isn’t placed exactly where you want it, you can adjust its position and size
while creating it.

1. Still holding down the mouse button, hold down the spacebar, and drag
the selection.
The border moves as you drag.

2. Release the spacebar (but not the mouse button), and drag again.

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 Notice that when you drag without the spacebar, the size and shape of the selection change,
but its point of origin does not.

3. When the selection border is positioned and sized correctly, release the
mouse button.

Selecting From a Center Point

Sometimes it’s easier to make elliptical or rectangular selections by drawing a selection from the
center point of the object to the outside edge.

1. Position the marquee tool at the approximate center of the image.

2. Click and begin dragging. Then without releasing the mouse button, hold down
Alt and continue dragging the selection to the image’s outer edge.

Notice that the selection is centered over its starting point.

Deselecting a Selection

To Deselect a Selection:

 Choose Select -> Deselect from the menu.

Or

 Press Ctrl + D

Moving a Selection
To Move a Selection:

1. Select the Move tool from the toolbox.

2. Drag the selection anywhere on the canvas.

Move a Selection while copying:

To create a copy of a selection, press Alt while dragging the image with the Move tool.

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Transforming a Selection
To transform a selection:

1. Choose Edit > Free Transform.

A bounding box appears around the selection.

2. Position the pointer outside a corner handle until you see a curved double-headed arrow.

3. To resize/scale the image, position the pointer directly on one of

the corner handles, and drag to reduce the size of the image.

To scale the image proportionately, hold down Shift as you drag.

4. To rotate an image, drag in the direction you want the image to

rotate.

Notice that the image rotates around the selection’s center point.

5. To reposition the ear, place your pointer within the bounding box,
but not on the center point, and drag.

If you place the pointer on the center point and drag, you will
move the center point.

Distorting, Skewing, Flipping, and Adding Perspective to a Selection

1. To distort an image, place your pointer directly on any of the corner

handles, press and hold the CTRL key while dragging the handle.
Or
Click on Edit menu > Transform > Distort to simply change the handle to
distort handles only.

2. To skew an image, place your pointer directly on any of the side handles,
press and hold the CTRL key while dragging the handle.
Or
Click on Edit menu > Transform > Skew to simply change the
handle to
skew handles only.

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 3. To flip an image, place your pointer on any of the side handles, drag it over the other
handle.
Or

Click on Edit menu > Transform then select Flip horizontal or Flip vertical.

Vertically flipped Horizontally flipped

using the handle using Flip horizontal

4. To add perspective to a selection, click on the Edit menu > Transform >
Perspective to change the handle perspective handle then point on any of
the corner handles and drag it.

Copying a Selection

To copy a selection using the keyboard shortcut:

1. Select part of an image and press CTRL C to copy.
2. Go to your canvass and press CTRL V to paste it.

To copy a selection using the mouse:

1. Select part of an image. Using the move tool, press and hold the ALT key
while dragging the selected image to another location or new canvass.

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Deleting a Selection

To Delete a Selection:

 Choose Edit -> Clear

or
 Press Backspace or Delete

**Deleting a selection on a background or on a layer with the Lock

Transparency option selected in the Layers palette replaces the
original location with the background color.
**Deleting a selection on a layer without Lock Transparency selected
replaces the original area with the layer transparency.

To select the unselected parts of an image:

 Choose Select -> Inverse.
or
 Press CTRL + Shift + I

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 Working with Text

Type
What is type? Type in Photoshop consists of mathematically defined shapes that describe the
letters, numbers, and symbols of a typeface. Many typefaces are available in
more than one format, the most common formats being Type 1 (also called
PostScript fonts), TrueType, Open Type, New CID, and CID nonprotected
(Japanese only).
When you add type to an image, the characters are composed of pixels and have
the same resolution as the image file--zooming in on characters shows jagged
edges. However, Photoshop and ImageReady preserve the vector-based type
outlines and use them when you scale or resize type, save a PDF or EPS file, or
print the image to a PostScript printer. As a result, it's possible to produce type
with crisp, resolution-independent edges.

The Type Tool

The Type tool allows you to add text to the image.

Clicking an image with a type tool puts the type tool in the edit mode. When the tool is in
edit mode, you can edit and enter characters as well as perform some other commands from the
various menu; however, certain operations require that you must first commit changes to the type
layer.
To determine if the type tool is in edit mode, look in the option bar if you see the Commit
button and the cancel button , the type tool is in edit mode.

Creating a Type Layer

To create a type layer:
1. Select the Type tool

Make sure the type layer button is depressed

2. Do any of the following:
 Click to create a Point Type and type your
text

 Click and drag a rectangle shape to create a

Paragraph Type and type your text.

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The Type Tool Options Bar
Type tool Options

Once you click the Type Tool, the options bar changes. You can set your type options
via the options bar before you begin typing, or you can use the options bar to selectively edit text
while you are in type edit mode.

The two buttons in the first group toggle between creating a new type layer, or creating a type
mask.

New type layer

Type Mask

The two buttons in the second group toggle between horizontal text and vertical text.

Horizontal text Vertical text

The next two menus in the options bar allow you to choose the font and style.

Font Font Style

The next two menus allow you to change the text size and anti-aliasing.

Font Anti-

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 Next up are the alignment options, color picker, text warp and the palettes button.

Alignment Type Color Warped Text

The alignment options from left to right are: left aligned, centered, and right aligned.

To change the type color, click on the color swatch and choose a new color from the color picker

The next button is for creating warped text. Click on this button to open the Warped Text Dialog
Box.

The Warp Text Dialog Box

The Warp Text Dialog box allows you to bend and distort type in a variety of ways. The
style menu allows you to choose from 15 different warp styles.

**Warp effects can be applied to the entire type layer whether it is

line text or paragraph text. On paragraph text the warp is applied
to the bounding box. Once you choose a warp style, you can
adjust the effects using the other options in the dialog box.

The horizontal and vertical radio buttons control the orientation of the warp.

Bend controls the amount and direction of the warp. For instance, an arc effect will become
more pronounced the closer you move the slider to the end of the scale. The left half of the scale
creates a downward arc. The right side of the scale creates an upward arc.

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 The Horizontal and Vertical distortion sliders allow you to apply perspective to the warp effect.

Rasterizing Type Layer

In Photoshop, when you want to paint on text or apply filters to it, the type has to be converted to
pixels. This is called rasterizing or rendering the text.

To rasterize text:
 Choose Layer > Rasterize > Type

or
 Right click on the type layer name in the layers palette and choose Rasterize Layer
from the pop-up menu.

When you rasterize type in Photoshop, you lose the type editing and formatting options and it
is no longer scalable.

Masked Type
When you use the type mask tool instead of the type layer tool, the options are the
same, but when you click in your document the document fills with a mask overlay—just as if you
were in Quick Mask mode. As you type, the text is punched out of the mask. When you accept
the text, you end up with a type selection rather than a filled type layer. Once you have created a
type selection, it functions just like any other selection.

These tools create a selection in the shape of the text.

Type selections appear on the active layer, and can be
moved, copied, filled, or stroke just like any other
selection.

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 To create a type selection border:

1. Select the layer on which you want the selection to appear.

2. Select the Horizontal Type Mask tool or Vertical Type Mask tool.
3. Select additional type options, and enter type at a point or in a bounding box.
4. A red mask appears over the active layer as your enter the type. Once the type is
committed, the type selection border appears in the image on the active layer.

A Selection will be created with Masked Type

5. You can now copy or move the selection.

Result when moved to a canvas

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 Typography

Typography
What is
The general character or appearance of printed matter. Typography (from
typography? the Greek words τύπος (typos) = form and γραφή (graphe) = writing) is the
art and technique of arranging type in order to make language visible.

The arrangement of type involves the selection of typefaces, point size, line
length, leading (line spacing), adjusting the spaces between groups of letters
(tracking) and adjusting the space between pairs of letters (kerning).

What is Type Design?

• Type design is a closely related craft, which some consider distinct and others a part of
typography; most typographers do not design typefaces, and some type designers do not
consider themselves typographers.

• In modern times, typography has been put into motion—in film, television and online
broadcasts—to add emotion to mass communication.

• Typography is performed by typesetters, compositors, typographers, graphic designers, art

directors, comic book artists, graffiti artists, clerical workers, and anyone else who arranges type
for a product. Until the Digital Age, typography was a specialized occupation. Digitization opened
up typography to new generations of visual designers and lay users, and it has been said that
"typography is now something everybody does."

What is Typesetting?

• Typesetting is the composition of text by means of types. Typesetting requires the prior process
of designing a font and storing it in some manner.
• Type design is the art and process of designing typefaces.

Anatomy of Typography

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 1. Baseline 6. Bowl 11. Terminal
2. Cap height 7. Descender 12. Ascender
3. Crossbar 8. Counter 13. Leg
4. Serif 9. Stem 14. Ligature
5. meanline 10. Title 15. x-height

Basic Typographical Principles

1. Proportional fonts
• There are two kinds of fonts: “Fixed-Width” and “Proportional”.

• In a fixed-width font (such as Courier New), the

characters are all the same width: an “i” is the
same width as an “m”. This makes the font harder
to read.

• In a proportional font (such as Times or Arial), the characters are

different widths. Typesetters have always used proportional fonts,
and they look much more professional. Always use proportional
fonts unless you have a specific reason not to!

Serifs

• Fonts come in two styles: “serif” and “sans-serif”.

Times New Roman is a serif font; Arial is sans-serif.
Serifs are the little lines at the ends of strokes.

• This text is probably in a sans-serif font

• This text is probably in a serif font

• Serif fonts are easier to read on paper; for instance,
they distinguish capital I and small L, which are
2. Emphasis
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 • You should never use ALL CAPS (hard to read, and interpreted as “shouting”). If you want
something similar for a title or gloss (but not for paragraph text!), use SMALL CAPS (you can get
this effect automatically in Word: it’s under Format | Font).
• Use italics or bold for emphasis.

THE STORY OF THE FROG

The Story of the Frog

3. Paragraphs
• To reiterate the point made under styles: always use indenting (a paragraph format attribute)
instead of tabs to indent paragraphs, and paragraph spacing instead of blank lines to separate
paragraphs. This will make reformatting your document much easier. Consider that one of the
most common changes people make to a paper is to change it from single-spaced to double-
spaced and vice versa.

4. Punctuation
• Another bit of “typewriter residue” is the use of straight quotes (") instead of curly quotes (“,”), and
a “double dash” (--) instead of an “em dash” (—). The characters you need for the elegant version
aren't available from the keyboard, but they are present in ANSI fonts.

5. Horizontal Spacing
• Kerning and tracking are two terms you’ll often hear in conversations
about horizontal letter spacing.
• Kerning is the process of adjusting the space between individual letters.
Often when you’re working with type, you’ll notice pairs of letters that
appear too close together or too far apart.

• For the text in a web page, it’s impossible to make letter-by-letter kerning
adjustments. What you can do is adjust the letter-spacing CSS property, which is known in the
print world as adjusting the font’s tracking. Like kerning, tracking adjusts the horizontal spacing
between letterforms, but applies to the space between each letter.

• If you want your text to have

a more open, airy feel, try
adding a pixel or two to the
tracking value. Figure 4.9
shows an example of the
effect of spacing. The text in
a web page is normally fairly
tight, as you can see in
Figure 4.9, so assigning a
negative value here would
probably reduce your text’s
legibility.

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6. Vertical Spacing

• In print design language, the vertical space between lines of text is known as leading. When
there were no added spacers, the lines were said to be set "solid." Text with added vertical space
is much easier to read.

7. Text Alignment

• Have you ever noticed that the text you see in books and magazines is often aligned along both
the left- and right-hand sides of the page or column? This type of text alignment is known
as justification.
• When text is justified, the letter and word spacing is automatically adjusted so that each full line of
text has a word or letter that lines up against the left and right edges of the text area

8. Type Face Distinctions

• Everybody knows what a font is. It’s a set of letters that

appear in a similar style, they come pre-installed on your
computer, and you change it when you want your text to
look different. The average Windows PC has just over 40
fonts installed by default, while the average Mac user has
access to around 100 fonts. Many of these fonts are
grouped together into font families, with each font in the
family representing a different variation of the font after
which the family is named. Most font families include the
regular font face along withitalic, bold, and bold
italic variants. Some fonts have no variations at all, some
may only have bold or italic, and some commercially
available font families have hundreds of variants.

Serif Fonts
• Historians believe that the serif has its origin in
Roman stone carving. There is much debate over the
original purpose of these ornamental strokes, but in
more recent history, they’ve been proven to increase
legibility in large blocks of text by providing a horizontal
line of reference.

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 Sans Serif Fonts
• At the time when typographers began experimenting with
slab serifs, the idea of eliminating the serif altogether seemed like
a huge mistake. Serifs were a tradition and removing them was
typographic castration.

Handwritten Fonts

• Before the invention of movable type systems, all

text had to be carved, brushed, or written by
hand. The downside to handwritten text —
especially my own — is that achieving a
uniformity of letterforms, alignment, and spacing
can be frustrating.

• And as a result of these challenges, handwritten

text can be very difficult to read. Yet the
wonderful thing about handwriting is that it acts
as a symbol of humanity, and gives a tangible
personality to the text it represents. Just look at
the text in Figure 4.18. Each line was written to
represent the personality of the font in which it is
written.

Fixed-width Fonts
• You may have noticed by now that in most fonts, each letter takes up a different amount of space.
For instance, the capital "W" takes up a large area, while the letter "l" has a very narrow footprint.
To illustrate this point in plain text, take a guess which of the following sentences has more
characters.

• Associated with each character of each font are rules that determine not only the width of the
character, but also the amount of space that will appear around each character. Take a look at
those two sentences again, this time, displayed in the font Courier:

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 Novelty Fonts

• Novelty fonts, which are also known

as display or decorative fonts, represent the vast majority
of the fonts that are available for free online. Some of the
fonts in this category, such as those in Figure 4.21, are
modified versions of popular serif or sans-serif fonts, and
some are completely off-the-wall ideas that would be
better described as conceptual art than a font face. By
their very nature, these fonts are less legible than their
traditional counterparts, but when used sparingly, they
can add a wealth of personality and flair to a design.

Dingbat Fonts
 When you’re looking for illustrations and
artwork to incorporate into the design of a web site,
one resource that shouldn’t be ignored
is dingbat or symbol fonts. In the early days of print,
dingbats were ornamental characters that were used
to separate printed text and fill whitespace. Original
dingbat fonts consisted mainly of flourishes and
commonly used symbols. However, the concept of
dingbat fonts changed radically with the digital font
revolution. Now, any series of graphics can be
assigned as characters in a dingbat font.

8. Contrast
 When people layer text on top of the image, even if the image is lightened, the contrast is
reduced and the type is more difficult to read. Shoot for maximum contrast.

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Understanding Size in Typography

Size
It is the traditional unit of measurement for type. There are 72 points in1 inch. Designers adjust
point sizes to create a visual hierarchy within their layouts, in order to gain the reader’s attention and lead
them through the content.

In metal type, the font size of the typeface described the size (height) of the metal
body on which the typeface’s characters were cast. In digital type, the body is
now an imaginary design space, but is used as the basis from which the type is
scaled.

Standard Type Sizes:

8 points: Many people cannot comfortably read this small text.

10 points: This is a bit better

12 points: This size is standard for traditional publishing but still too small for some
people.

14 points: This is the maximum size for some people with limited vision.

16 points: This is the recommended size for “Large Print”

publications.

18 points: Recommended minimum size for Display

Typefaces.

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Stroking
Designers are called upon to drop all kinds of
wacky characters into their designs. The biggest challenge
is knowing what keystrokes to type, or even more
challenging, the actual names of these characters (so they
can look them up in the Help files).
Therefore, the purpose of this section is to define
the names of the characters.

In Apple’s Pages and TextEdit applications, go to the Edit menu and

Choose Special Characters. In MS Word, go to the Insert tab and click on
Symbol button.
Up pops a cool Character Palette that includes most of the symbols
you’re ever likely to need. Just place your cursor where you want the
symbol, select your desired symbol from the palette, and click Insert.

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 Working With the Painting Tools

Painting
What is
painting? Painting is the practice of applying paint, pigment, color or other medium to
a surface (support base). The medium is commonly applied to the base with
a brush but other objects can be used. In art, the term painting describes both the
act and the result of the action. However, painting is also used outside of art as a
common trade among craftsmen and builders. Paintings may have for their
support such surfaces
aswalls, paper, canvas, wood, glass, lacquer, clay, leaf, copper or concrete, and
may incorporate multiple other materials including sand, clay, paper, gold leaf as
well as objects.

Painting is a mode of creative expression, and the forms are numerous. Drawing, composition or
abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the
practitioner. Paintings can be naturalistic and representational (as in a still life orlandscape
painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in
nature.

The Painting Tools

Painting involves changing the colors of pixels using a painting tool. You can apply colors
gradually, with soft edges and transitions, and manipulate individual pixels using powerful filter effects.
Photoshop provides the Brush tool and the Pencil tool to let you paint with the current foreground
color. By default, the Brush tool creates soft strokes of color and the Pencil tool creates hard-edged,
freehand lines. However, you can change these default characteristics by resetting the tool's brush
options. You can also use the Brush tool as an airbrush to apply sprays of color to an image.

The Brush tool and Pencil tool

Brush tool draws lines with a softer edge. It is possible to draw distinct
or fuzzy lines with the Brush, but they will always be a little soft,
because its edges are indistinguishable from the background.

Pencil tool draws free form lines with a hard edge.

To draw free lines with the Pencil or Brush, follow these steps:

1. Choose a tool from the Toolbar.

2. Set the color with which colors will be drawn.
3. Choose the parameters for the chosen tool in the Options Panel.
4. Bring the cursor over the image in the photo editor.
5. Press the left mouse button and, while keeping the button pressed, move the
cursor across the image.

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 Brush stroke
with hard edge

Brush stroke
with soft edge

Stroke using the pencil tool

Most of the parameters used to define the Pencil and Brush tools in the Options panel are the
same, but there are some small differences

Brush. The Brush parameter shows the current shape and size of the brush. To change
the shape and size of the brush:
 left-click on the triangle to open the drop-down palette;
 in this palette set the size and hardness of the brush or choose the shape of the
brush from the list of presets.

This menu can also be brought up by right-clicking anywhere in the image window. In
addition the shape and size of the brushes can be changed through the Brushes palette,
which can be opened by pressing or by using the command Window - Brushes.

Mode. The Mode parameter sets the mode used by the brush. These modes affect how
the colors applied by the brush interact with the colors of the background.
Opacity. The Opacity parameter affects the level of opacity in which a line is drawn. To
change this parameter enters a value from 1 to 100 in the parameter's field, or
press the triangle button and move the slider. At lower values of Opacity, the
color of the lines drawn by the tool blend more intensely with the backgrounds'
colors.
Auto Eraser. The Auto Eraser parameter is only available for the Pencil tool. When Auto
Eraser is checked, the Pencil tool draws over areas of the backgrounds' colors
with the primary color and in areas occupied by the primary color in the
backgrounds' colors, but if strokes begin where the primary color is not present,
then the tool will use the primary color, which is shown at the bottom of the
toolbar.
Flow. The Flow parameter affects every point of color applied by the tool. Each new
application of color is more opaque than the one before. This parameter is only
available for the Brush tool.

The Pencil and Brush tools not only can be used to draw free form lines, but also for
drawing straight lines. To draw a straight line with either tool (vertically or horizontally)
press Shift and, while holding it down, start to move the cursor in either a vertical or horizontal
direction.

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 The History Brush tool

History Brush tool paints with a history state or snapshot.

To use the History Brush tool:

1. In the Toolbox, select the History Brush Tool.

2. Choose brush size and style.
3. In the History palette, select a source history state or snapshot.
4. Paint with the selected history state.
5. On the Options bar you can also define:
 Airbrush mode
 blending mode
 Opacity
 Flow

The Eraser, Background Eraser and Magic Eraser Tools

The eraser tools work the opposite of the paintbrush tool. Instead of laying color
down, they erase it.

Eraser tool changes pixels in the image as you drag through them.

To use the eraser tool select it in the toolbox, set your options and choose a
brush from the pop-up palette in the options bar, and drag in the image to remove pixels
wherever you paint.

If you are applying the eraser to the background layer or to

any layer with Preserve Transparency selected, the erased
area will go to the background color. Otherwise it will erase
to transparency with the exception of when you are erasing
to a history state.

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 Background Eraser tool erases the color on which you first click,
while leaving other colors untouched.

This allows you to more easily work around edges

that you don’t want to erase. However, results can be
somewhat unpredictable, so be prepared to experiment.

The background eraser is used to erase to transparency on

the active layer. If you apply this eraser to your background
layer, it will be automatically changed to a regular layer. You
cannot have transparency on a background layer.

Magic Eraser tool erases solid-colored areas to transparency with a

single click.

Unlike the other two erasers, the magic eraser acts as by clicking, not dragging.
It’s similar to the magic wand tool, except that it removes the pixels found, instead of
selecting them.

The magic eraser erases to transparency on the active layer.

If you apply it to the background layer, the layer will
automatically be changed into a regular layer since the
background layer does not permit transparency.

Color Theory
In the visual arts, color theory is a body of practical guidance to color mixing and the visual
impacts of specific color combination. There are also definitions (or categories) of colors based
on the color wheel: Primary, Secondary and Tertiary Colors.
Although color theory principles first appeared in the writings of Leone Battista
Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory"
began in the 18th century, initially within a partisan controversy around Isaac Newton's theory of

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 color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an
independent artistic tradition with only superficial reference to colorimetry and vision science.

Historical Background

Color theory was originally formulated in terms of three "primary"

or "primitive" colors—red, yellow and blue (RYB)—because these
colors were believed capable of mixing all other colors. This color
mixing behavior had long been known to printers, dyers and painters,
but these trades preferred pure pigments to primary color mixtures,
because the mixtures were too dull (unsaturated).

The RYB primary colors became the foundation of 18th century

theories of color vision, as the fundamental sensory qualities that are blended in the
perception of all physical colors and equally in the physical mixture of pigments or dyes.
These theories were enhanced by 18th-century investigations of a variety of purely
psychological color effects, in particular the contrast between "complementary" or opposing
hues that are produced by color afterimages and in the contrasting shadows in colored light.
These ideas and many personal color observations were summarized in two founding
documents in color theory: the Theory of Colours (1810) by the German poet and
government minister Johann Wolfgang von Goethe, and The Law of Simultaneous Color
Contrast(1839) by the French industrial chemist Michel Eugène Chevreul.

Basic Color Schemes

With colors you can set a mood, attract attention, or make a statement. You can use
color to energize, or to cool down. By selecting the right color scheme, you can create an
ambiance of elegance, warmth or tranquility, or you can convey an image of playful
youthfulness. Color can be your most powerful design element if you learn to use it
effectively.
Colors affect us in numerous ways, both mentally and physically. A strong red color has
been shown to raise the blood pressure, while a blue color has a calming effect.
Being able to use colors consciously and harmoniously can help you create spectacular results.

The Color Wheel

The color wheel or color circle is the basic tool for combining colors. The first
circular color diagram was designed by Sir Isaac Newton in 1666.
The color wheel is designed so that virtually any colors you pick
from it will look good together. Over the years, many variations of
the basic design have been made, but the most common version is
a wheel of 12 colors based on the RYB (or artistic) color model.
Traditionally, there are a number of color combinations
that are considered especially pleasing. These are called color
harmonies or color chords and they consist of two or more colors
with a fixed relation in the color wheel. ColorImpact is designed to
dynamically create a color wheel to match your base color.

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 Primary Colors
In the RYB (or subtractive) color model, the primary
colors are red, yellow and blue.

Secondary Colors
The three secondary colors (green, orange and purple) are
created by mixing two primary colors.

Tertiary Colors
Another six tertiary colors are created by mixing primary and
secondary colors.

Warm and Cool Colors

The color circle can be divided into warm and cool colors.

• Warm colors are vivid and energetic, and tend to advance in

space.

• Cool colors give an impression of calm, and create a soothing

impression.

• White, black and gray are considered to be neutral.

Color Harmonies

• It is the basic techniques for creating color schemes

Basic Color Chords Based on the Color Wheel.

Complementary Color Scheme

• Colors that are opposite each other on the color wheel are
considered to be complementary colors (example: red and
green).
• The high contrast of complementary colors creates a vibrant
look especially when used at full saturation. This color scheme
must be managed well so it is not jarring.
• Complementary color schemes are tricky to use in large doses, but
work well when you want something to stand out.
• Complementary colors are really bad for text.

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 Analogous color scheme

• Analogous color schemes use colors that are next to each

other on the color wheel. They usually match well and create
serene and comfortable designs.
• Analogous color schemes are often found in nature and are
harmonious and pleasing to the eye.
• Make sure you have enough contrast when choosing an
analogous color scheme.
• Choose one color to dominate, a second to support. The third
color is used (along with black, white or gray) as an accent.

Triadic color scheme

• A triadic color scheme uses colors that are evenly spaced

around the color wheel.
• Triadic color schemes tend to be quite vibrant, even if you use
pale or unsaturated versions of your hues.
• To use a triadic harmony successfully, the colors should be
carefully balanced - let one color dominate and use the two
others for accent.

Split-Complementary Color Scheme

• The split-complementary color scheme is a variation of the

complementary color scheme. In addition to the base color, it
uses the two colors adjacent to its complement.
• This color scheme has the same strong visual contrast as the
complementary color scheme, but has less tension.
• The split-complimentary color scheme is often a good choice for
beginners, because it is difficult to mess up.

Rectangle (tetradic) color scheme

• The rectangle or tetradic color scheme uses four colors

arranged into two complementary pairs.
• This rich color scheme offers plenty of possibilities for
variation.
• Tetradic color schemes works best if you let one color be
dominant.
• You should also pay attention to the balance between warm and
cool colors in your design.

Square color scheme

• The square color scheme is similar to the rectangle, but with

all four colors spaced evenly around the color circle.
• Square color schemes works best if you let one color be
dominant.
• You should also pay attention to the balance between warm
and cool colors in your design.

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 The Gradient tool

The Gradient tool allows you to fill a selection of the image with a
gradual transition of colors.

To use the Gradient tool:

1. In the Toolbox, select the Gradient Tool.

2. On the Options bar, choose gradient sample and style.

Gradient style

Gradient sample

3. Click on the image to define starting point, drag and release on ending point.

4. On the Options bar you can define also blending mode and opacity.

5. To change the blending of layer containing the gradient, select the following
settings:

 Check reverse if you want to switch the order of the colors in the gradient.
 Check dither to avoid having bands in the gradient.

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  Check transparency to make sure that the transparency options you chose
are used (if not checked the colors are drawn as all the transparencies were
100%).
The Paint Bucket tool

The Paint Bucket tool fills the continuously colored area with the
foreground or pattern.

To fill with foreground color:

1. In the Toolbox, select the Paint Bucket Tool.

2. Click on your image to fill the area.
3. On the tool options bar, set the following options:
 On the Fill dropdown button select Foreground.
 Use Tolerance field to adjust the tool's sensitivity.
 Option Contiguous limits the tool's range to adjacent areas.
 On the Options bar you can also choose the blending mode and opacity.

The area where Paint bucket

pointer will be clicked

The area that will be filled with color

having Contiguous option enabled.

The area that will be filled with color

having Contiguous option disabled.

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 To fill the area with pattern:

1. In the Toolbox, select the Paint Bucket Tool.

2. Click on your image to fill the area.
3. On the tool options bar, set the following options:
 On the Fill dropdown button select Pattern.
 Select the pattern from the Pattern box.
 Use Tolerance field to adjust the tool's sensitivity.
 Option Contiguous limits the tool's range to adjacent areas.
 On the Options bar you can also choose the blending mode and opacity.

The area where Paint bucket pointer

will be clicked.

The area applied with pattern fill

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 Basic Color Manipulation

Color Manipulation
What is
color
manipulation?

Curves

The Curves dialog box lets you adjust the entire tonal range of an image. But instead of
using only three adjustments (white point, black point, gamma), with Curves you can adjust up to
14 different points throughout an image's tonal range (from shadows to highlights). You can also
use Curves to make precise adjustments to individual color channels in an image. Settings made
in the Curves dialog box can be saved for use on another image.

A. Highlights
B. Midtones
C. Shadows
D. Adjust curve by adding points
E. Draw a curve with the pencil
F. Set black point
G.Set gray point
H. Set white point

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Levels

The Levels dialog box lets you correct the tonal range and color balance of an image by
adjusting intensity levels of the image's shadows, midtones, and highlights. The Levels histogram
serves as a visual guide for adjusting the image's key tones. Settings made in the Levels dialog
box can be saved for use on another image.

A. Apply Auto Color Correction

B. Open Auto Color Correction Options
dialog box
C. Shadows
D. Midtones
E. Highlights

Color Balance

The Color Balance command changes the overall mixture of colors in an image for
generalized color correction.

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Brightness and Contrast

To use the Brightness/Contrast command:

1. Do one of the following:
 Choose Image > Adjustments > Brightness/Contrast.
 Choose Layer > New Adjustment Layer > Brightness/Contrast. Click OK in the New
Layer dialog box.
2. Drag the sliders to adjust the brightness and contrast.
 Dragging to the left decreases the level and to the right increases it. The number at
the right of each slider value displays the brightness or contrast value. Values can
range from -100 to +100.

Desaturate

The Desaturate command converts a color image to a grayscale image in the same color
mode. For example, it assigns equal red, green, and blue values to each pixel in an RGB image
to make it appear grayscale. The lightness value of each pixel does not change.

This command has the same effect as setting Saturation to -100 in the Hue/Saturation
dialog box.

Note: If you are working with a multilayer image, Desaturate converts the selected layer only.

To use the Desaturate command:

Choose Image > Adjustments > Desaturate Or press CTRL + Shift + U.

Hue and Saturation

The Hue/Saturation command lets you adjust the hue, saturation, and brightness of a
specific color component in an image or simultaneously adjust all the colors in an image. In
Photoshop, this command is especially good for tweaking specific colors in a CMYK image so
they are within the gamut of an output device
Settings in the Hue/Saturation dialog box can be saved and loaded for reuse on other
images.

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A. Hue slider values
B. Adjusts fall-off without affecting
C. Adjusts range without affecting fall-
D. Moves entire slider
E. Adjusts range of color component

Invert

The Invert command inverts the colors in an image. You might use this command as part
of the process to make an edge mask for applying sharpening and other adjustments to selected
areas of an image.

Note: Because color print film contains an orange mask in its base, the Invert command cannot
make accurate positive images from scanned color negatives. Be sure to use the proper settings
for color negatives when scanning film on slide scanners.
When you invert an image, the brightness value of each pixel in the channels is converted to the
inverse value on the 256-step color-values scale. For example, a pixel in a positive image with a
value of 255 is changed to 0, and a pixel with a value of 5 to 250.

To use the Invert command:

1. Do one of the following:
Choose Image > Adjustments > Invert.
(Photoshop) Choose Layer > New Adjustment Layer > Invert. Click OK in the New Layer
dialog box.
Or Press CTRL + I

[[[[

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 Drawing with Pen and Shape Tools

Drawing
What is drawing?
Drawing is a form of visual art that makes use of any number of drawing
What is a path? instruments to mark a two-dimensional medium. Common instruments include
graphite pencils, pen and ink, inked brushes, wax color
pencils, crayons, charcoal, chalk, pastels, various kinds of
erasers, markers, styluses, and various metals (such as silverpoint). An artist
who practices or works in drawing may be called a draftsman or draughtsman.

What is a path?
A path is any line or shape you draw using the pen or freeform pen tool.

The type of path you draw affects how it can be selected and adjusted. Paths that have
not been filled or stroked do not print when you print your artwork.

**Paths can be open or closed

. Open paths have two distinct endpoints.

Closed paths are continuous.

**Paths can also be straight or curved.

Straight paths are created by clicking the mouse button. The first time you click, you set a
starting point for a path. Each time thereafter that you click, a straight line is drawn between the
previous point and the current point.

Curved paths are created by clicking and dragging

** The first time you click and drag, you set a starting point for the curved path and also determine
the direction of the curve.

** As you continue to drag, a curved path is drawn between the previous point and the current
point.

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The Pen Tool
The pen tools are used for drawing paths. It has a number of options for adding and deleting
points, creating curved paths, and other, more complex operations.

The Pen tool is used for laying down anchor points that will be
joined by straight lines.

Drawing with the pen tool:

1. Select the pen tool ( ).

2. In the options bar, click either the Create New Shape Layer button ( ) or the Create New
Work Path button ( ).
 Auto Add/Delete to automatically add or delete anchor points while you draw.
3. Position the pen pointer where you want to begin to draw, and click to define the first
anchor point. The anchor point remains selected (solid) until you define the next point.
4. Choose a shape area option to determine what happens at the intersection of overlapping
path segments and components.
5. Click or drag to set anchor points for
additional segments.
6. Complete the path component:
 To end an open path component, click
the pen tool in the toolbox, or Ctrl-click
away from the path.
 To close a path component, position
the pen pointer over the first anchor
point. A small loop appears next to the
pen tip when it is positioned correctly.
Click to close the path.
7. Click the OK button ( ) in the options bar, or press Enter or Return, to dismiss the
drawing tools.

The Freeform Pen Tool

The Freeform Pen tool allows you to draw freehand, as with a

brush or pen, and create a path as you go.

Drawing with the freeform pen tool:

1. Select the freeform pen tool ( ).

2. In the options bar, click either the Create New Shape Layer button ( )
or the Create New Work Path button ( ).
3. Drag the pointer in the image.
4. As you drag, a path trails behind the pointer. When you release the
mouse, a work path is created.
5. Choose a shape area option to determine what happens at the

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 intersection of path segments and components.
6. To complete the path, release the mouse.

7. Click the OK button ( ) in the options bar, or press Enter or Return, to dismiss the
drawing tools.

Creating Straight and Curved Paths

To draw straight segments:

1. Position the pen pointer where you want the straight segment to
begin, and click to define the first anchor point.
The anchor point remains selected (solid) until you define the
next point.

2. Click again where you want the first segment of the straight line to
end.

To draw a curve path:

1. Position the pointer where you want the curve to begin, and
hold down the mouse button.
The first anchor point appears, and the pointer changes to
an arrowhead.

2. Drag in the direction you want the curve segment to be drawn. As

you drag, the pointer leads one of two direction points.

3. Release the mouse button once you have positioned the first direction point.

4. Position the pointer where you want the curve segment to end, and drag in the opposite
direction to complete the segment.

Filling a Path with Color

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 To fill a path:

1. Select the path in the Paths palette.

2. Fill the path:
 Alt-click the Fill Path button at the bottom of the Paths palette.
 Choose Fill Path from the Paths palette menu.

Stroking a Path with Color

To stroke a path:

1. Select the path in the Paths palette.

2. Click the Stroke Path button ( ) at the bottom of the Paths palette.

Each click of the Stroke Path button builds up the opacity of the stroke and in some
cases makes it look thicker.

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Converting Work Path into Selection, Selection into and Work Path

Because of their smooth outlines, you can convert paths into precise selection borders.
You also can convert selection borders into paths, using the Direct Selection tool for fine-
tuning.

To convert path into a selection border:

You can define any closed path as a selection border. A closed path can be added to,
subtracted from, or combined with the current selection.

1. Select the path in the Paths palette.

2. To convert the path, do one of the following:
 Click the Load Path as a Selection button at the bottom of the Paths palette.
 Press and hold CTRL button and click the path thumbnail in the Paths palette or
right-click on the path thumbnail and select Make Selection.
You can apply it with fill after converting it into a selection border.

Any selection made with a selection tool can be defined as a path. The Make Work Path
command eliminates any feathering applied to the selection. It can also alter the shape of the
selection, depending on the complexity of the path and the tolerance value you choose in the
Make Work Path dialog box.

To convert a selection to a path using the Make Work Path settings:

1. Make a selection using any selection button

2. Click the Make Work Path button at the bottom of the Paths palette or
right-click on the selection and select Make Work Path.

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The Shape Tools
You create a shape layer using a shape tool or a pen tool.

A shape layer is a fill layer with a layer clipping path; the fill layer defines the color of the
shape, while the layer clipping path defines the geometric outline of the shape. You can change
the color and other attributes of a shape by editing its fill layer and applying layer styles to it.

There are six (6) different shape tools available:

Rectangle tool Line tool

Rounded Rectangle tool Polygon tool

Ellipse tool Custom Shape tool

Drawing with the Shape tools

To create a new shape layer:

1. Specify a foreground color.

2. Select the shape tool.
3. In the options bar, click the Create New Shape Layer button ( ), and set the following
options:
 Choose a layer style from the Layer Style pop-up palette to apply a predefined
layer style to the shape.

 Choose a layer blending mode from the Mode menu.

 Specify a layer opacity using the Opacity text box or slider.

If you're using the custom shape tool, select a predefined

shape from the Shape pop-up palette.

4. Drag in the image to draw the shape.

5. Click the OK button ( ) in the options bar, or press Enter
or Return, to dismiss the drawing tools.

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 Set Options for the Shape tools

Set options for drawing shapes and paths using the shape tools.

When you select a shape tool in the toolbox, the options bar at the
top of the work area gives you three shape options: Shape Layer, Paths, and
Fill Pixels.

Shape Layer and Paths are both vector options and give you more freedom to
manipulate the shape before you commit it to pixels on the page. You can resize a vector shape,
modify its contours, and transform it (for example scale, rotate, or skew it). It is important to
understand the difference between these shape options, because the shapes they create have
very different characteristics.

Shape Layer Creates a layer mask. The

layer has two components: the shape,
which defines the boundary of the mask,
and a fill, which appears only within the
shape. The Layers palette displays
thumbnails for both the shape and fill. The
shape is like a window over the fill. If you
delete the shape from the layer, the fill fills
the entire layer.

Paths Creates a path, which has no

pixels associated with it and which is
independent of the current layer. Think of
the path as a stencil. While you can use its
shape to add a stroke or fill to the image, the
path remains separate from those pixels. If
you move the path, the stroke or fill stays
where it was drawn. You can stroke or fill
the same path again and again in different
locations and on different layers. Paths are
stored in the Paths palette; each path you draw gets added to the Work Path. You can
save and name paths to make them easier to select and use.

Fill Pixels Creates a shape filled with

pixels. Once you release the mouse, you
can modify the shape only after drawing a
selection boundary around it using a
selection tool. It is a good idea to draw new
shapes on separate layers. This allows you
to more easily select, modify, and move
them without disturbing other elements in
the image.

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 Managing the Layers

Layers management can be done in terms of renaming a layer or group, assign

Why work on a specific color, rasterizing layers, delete a layer or group, export layers, track file
layers at all? size and merge and stamp layers. You can blend, mask layers content and apply
styles.

Why work on layers at all?

 They do not destroy your original photo.

 You are working on top of or on copies of that photo.
 You will have more control.
 You can use blending modes to change the way layers interact.
 You can change the opacity of any effects.
 You will have or can add layer masks so that you can work selectively on
your photo with any adjustments you make.
 You can combine the layers’ contents by grouping, merging, or flattening.

The Layers Palette

The Layers palette lists all layers, layer sets, and layer effects in an image. You can
accomplish many tasks--such as creating, hiding, displaying, copying, and deleting layers--using
the buttons in the Layers palette. You can access additional commands and options in the Layers
palette menu and the Layers menu.

Layers Palette Menu

Layer Set

Layer

Layer thumbnail

Layer Effect

Background layer

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Hiding and Showing Layers

 Click the eye icon next to the layer to hide it.

 Click again to redisplay it.

Grouping Layers

Layers can be selected in terms of layers panel, document window, or/and in a group.
You can select one or more layers to work on them. For activities like painting, making color, and
tonal adjustments, you can work only on one layer at a time. A single selected layer is called
active layer. The name appears in the title bar of the document window. For other activities such
as moving, aligning, transforming, or applying styles, you can select multiple layers at a time. It
can be done using the move tool.

An efficient way to work with layers is to link two or more of them together. By linking
layers, you can move and transform them simultaneously, thereby maintaining their alignment
with each other.

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  With the layer active in the Layers palette, click the small
box to the right of the eye icon.

 A link icon ( ) appears in the box, indicating that the

layer is linked to the another layer. (The active or selected
layer does not display a link icon when you create linked
layers.)

Merging Layers

"Merge Visible Layers" merges all layers of the image for which an "eye" symbol is shown in the
Layers dialog into a single layer, leaving non-visible layers untouched

**Often you will want to combine two layers into one, so that adjustment you make will
apply to both of them.

To Merge Visible Layers:

 Click on the Layers menu >Merge Visible Layers

 or Press CTRL + Shift + E

 or click on the More button on the layers palette and select Merge Visible

Caution: once layers are merged, there is no going back!! The layers
contents are inseparably connected.

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Flattening Layers

Flatten Image causes all of the layers of the image to be merged into a single layer with the same
appearance as the full image viewed from the top.

To Flatten Layers

 Click on the Layers menu > Flatten Image

 or click on the More button on the layers palette and select Flatten Image

All visible layers will be

flattened

If some layers are hidden it

will prompt you, “Discard
hidden layers?”

If you click YES, the hidden

layers will be discarded and
the visible layers will be
flattened.

Rasterizing Layer
You cannot use the painting tools or filters on layers that contain vector data (such as
type layers, shape layers, and vector masks) and generated data (such as fill layers). However,
you can rasterize these layers to convert their contents into a flat, raster image.

To rasterize a single layer:

 Select the layer you want to rasterize.

 Choose Layer > Rasterize, and choose an option from the submenu.
 Or right-click on the layer’s name and select Rasterize layer

To rasterize multiple layers:

Do one of the following:

 Link the layers you want to rasterize, and choose Layer > Rasterize > Linked Layers.

 To rasterize all layers that contain vector and generated data, choose Layer > Rasterize
> All Layers.
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 

After rasterizing the

two layers.

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 Opacity and Blend Mode

Opacity and Blending options lets you specify overall and fill opacity for
selected layers, blending mode for a layer or a group of layers, filling new layers
What is opacity? with a neutral color, creating a knockout, excluding channels from blending
mode, group blend effects and specify a tonal range for blending range.
What is
blending?

Introducing Opacity and Fill

Opacity and Fill determines to what degree it obscures or reveals the layers below it. A
layer with 1% opacity or fill will be almost transparent, whereas layer with 100% opacity will
appear completely opaque. Changing opacity and fill values can be done from the layers panel.
You must select a certain layer or group to make changes.

The difference only between opacity and fill is that opacity affects all of the layers
contents including layer effects. Fill only affects the layer content, but not layer effects.

Layer with shadow effect.

Opacity and Fill is set 100%.

Layer with 60% Opacity and

100% Fill
(both picture and shadow effect
have been obscured)

Layer with 100% Opacity and

60% Fill
(only the picture have been
obscured)

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Adjusting Layer Opacity
To specify opacity for a layer or layer set:

1. Select a layer or layer set in the Layers palette.

Note: You cannot change the opacity of a background layer or a locked layer. You can, however,
convert a background layer to a regular layer that does support transparency.

2. Do one of the following:

 In the Layers palette, enter a value in the Opacity
text box or drag the Opacity pop-up slider.
 Choose Layer > Layer Style > Blending
Options. Enter a value in the Opacity text box
or drag the Opacity pop-up slider.
 Select the Move tool and type a number on your keyboard for the percentage of
opacity for the selected layer.

Note: To view blending options for a text layer, choose Layer > Layer Style > Blending Options, or
choose Blending Options from the Add a Layer Style button at the bottom of the Layers palette
menu.

Adjusting Fill Value

To specify opacity for a layer or layer set:

1. Select a layer or layer set in the Layers palette.

Note: You cannot change the Fill of a background layer or a locked layer. You can, however,
convert a background layer to a regular layer that does support transparency.

2. Do one of the following:

 In the Layers palette, enter a value in the Fill text
box or drag the Fill pop-up slider.
 Choose Layer > Layer Style > Blending
Options. Enter a value in the Fill Opacity text
box or drag the Opacity pop-up slider.

Introducing Blend Modes

Layers blending mode determines the way its pixels will blend with
underlying pixels of different layers in the overall image. A number of special
effects can be created using the blending modes. By default the blending mode of
layers is set as Normal, which means that the group has zero blending properties
of its own.

You can effectively change the order in which the images (layers) are put
together by using different blending modes. When you apply a certain blending
mode to a group, it effectively changes the order in which the image layers are put
together. The composite group is treated as a single image and is blended with
the rest of the image using the selected blended mode.

In Photoshop the layer blend modes can be changed in the layers palette. In
these programs, changing the layer blend mode affects the entire layer, even if you have a
selection.

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 The blending mode specified in the options bar controls how pixels in the image are affected by a
painting or editing tool. It's helpful to think in terms of the following colors when visualizing a
blending mode's effect:

 The base color is the original color in the image.

 The blend color is the color being applied with the painting or editing tool.

 The result color is the color resulting from the blend.

Applying Blend Modes to Layers

To select a blending mode for a tool:
By changing the blending mode of an active layer, it is possible to achieve a variety of affects
on the underlying layer.

1. In the Layers palette, select the Lily Image layer.

2. Choose Blending Options from the Layers palette.

BLENDING MODES

Normal
Edits or paints each pixel to make it the result color. This is the
default mode. (Normal mode is called Threshold when you're
working with a bitmapped or indexed-color image.)

Dissolve
Edits or paints each pixel to make it the result color. However, the
result color is a random replacement of the pixels with the base
color or the blend color, depending on the opacity at any pixel
location.

Darken
Looks at the color information in each channel and selects the base
or blend color--whichever is darker--as the result color. Pixels
lighter than the blend color are replaced, and pixels darker than the
blend color do not change.

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 Multiply
Looks at the color information in each channel and multiplies the
base color by the blend color. The result color is always a darker
color. Multiplying any color with black produces black. Multiplying
any color with white leaves the color unchanged. When you're
painting with a color other than black or white, successive strokes
with a painting tool produce progressively darker colors. The effect
is similar to drawing on the image with multiple magic markers.

Color Burn
Looks at the color information in each channel and darkens the
base color to reflect the blend color by increasing the contrast.
Blending with white produces no change.

Linear Burn
Looks at the color information in each channel and darkens the
base color to reflect the blend color by decreasing the brightness.
Blending with white produces no change.

Lighten
Looks at the color information in each channel and selects the
base or blend color--whichever is lighter--as the result color. Pixels
darker than the blend color are replaced, and pixels lighter than
the blend color do not change.

Screen
Looks at each channel's color information and multiplies the
inverse of the blend and base colors. The result color is always a
lighter color. Screening with black leaves the color unchanged.
Screening with white produces white. The effect is similar to
projecting multiple photographic slides on top of each other.

Color Dodge
Looks at the color information in each channel and brightens the
base color to reflect the blend color by decreasing the contrast.
Blending with black produces no change.

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 Linear Dodge
Looks at the color information in each channel and brightens the
base color to reflect the blend color by increasing the brightness.
Blending with black produces no change.

Overlay
Multiplies or screens the colors, depending on the base color.
Patterns or colors overlay the existing pixels while preserving the
highlights and shadows of the base color. The base color is not
replaced but is mixed with the blend color to reflect the lightness or
darkness of the original color.

Soft Light
Darkens or lightens the colors, depending on the blend color. The
effect is similar to shining a diffused spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image
is lightened as if it were dodged. If the blend color is darker than
50% gray, the image is darkened as if it were burned in. Painting
with pure black or white produces a distinctly darker or lighter area
but does not result in pure black or white.

Hard Light
Multiplies or screens the colors, depending on the blend color. The
effect is similar to shining a harsh spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image
is lightened, as if it were screened. This is useful for adding
highlights to an image. If the blend color is darker than 50% gray,
the image is darkened, as if it were multiplied. This is useful for
adding shadows to an image. Painting with pure black or white
results in pure black or white.

Vivid Light
Burns or dodges the colors by increasing or decreasing the
contrast, depending on the blend color. If the blend color (light
source) is lighter than 50% gray, the image is lightened by
decreasing the contrast. If the blend color is darker than 50% gray,
the image is darkened by increasing the contrast.

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 Linear Light
Burns or dodges the colors by decreasing or increasing the
brightness, depending on the blend color. If the blend color (light
source) is lighter than 50% gray, the image is lightened by increasing
the brightness. If the blend color is darker than 50% gray, the image is
darkened by decreasing the brightness.

Pin Light
Replaces the colors, depending on the blend color. If the blend color
(light source) is lighter than 50% gray, pixels darker than the blend
color are replaced, and pixels lighter than the blend color do not
change. If the blend color is darker than 50% gray, pixels lighter than
the blend color are replaced, and pixels darker than the blend color do
not change. This is useful for adding special effects to an image.

Difference
Looks at the color information in each channel and subtracts either the
blend color from the base color or the base color from the blend color,
depending on which has the greater brightness value. Blending with
white inverts the base color values; blending with black produces no
change.

Exclusion
Creates an effect similar to but lower in contrast than the Difference
mode. Blending with white inverts the base color values. Blending with
black produces no change.

Hue
Creates a result color with the luminance and saturation of the base
color and the hue of the blend color.

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 Saturation
Creates a result color with the luminance and hue of the base color
and the saturation of the blend color. Painting with this mode in an
area with no (0) saturation (gray) causes no change.

Color
Creates a result color with the luminance of the base color and the
hue and saturation of the blend color. This preserves the gray levels
in the image and is useful for coloring monochrome images and for
tinting color images.

Luminosity
Creates a result color with the hue and saturation of the base color
and the luminance of the blend color. This mode creates an inverse
effect from that of the Color mode.

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 Layer Styles and Masks

Layer styles let you quickly apply effects to a layer's content. You can scan
through a variety of predefined layer styles and apply a style with just a click of
What are layer the mouse, or you can create a custom style by applying multiple effects to a
styles? layer.

What is masking? Photoshop provides a number of effects that change the appearance of a layer’s
contents. Layer effects are always linked to the layer contents. When you edit the
layer content, same effects are applied to the modified version. For instance, if
you add a drop shadow to a text layer, and add a new text, the shadow is
automatically added to the new text as well.

You can apply preset styles provided in Photoshop or create custom styles using the
Layer Style box. The layer effects icon appears to the right of the layer’s name in the Layers
panel. You can expand the style in the layers panel to view or edit the styles. You can open the
Blending options to customize the layer style by double click on the layer or right-click and select
Blending Options.

Introducing the Layer Styles

Each layer can have several effects applied to it, which Photoshop refers to as Layer
"Styles." You can access the Layer Style dialog by choosing "Blending Options" from the Layer
palette flyout menu. Alternatively, you can double-click on the layer itself (just not on the actual
name of the layer).
To apply a particular effect, check the box for it along the left side of the dialog. For each
effect, there are specific settings you can use to control how that effect is applied. A layer can
have any combination of these effects.

Tip: Double-click on layer’s name in the Layers palette to edit the name of the
layer. Double-click elsewhere in the layer to open the Layer Style dialog.

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Here are some of the functions you can apply in a layer style:

Layer Style Functions

Drop Shadow Probably the most over-used effect ever created, the drop shadow is still
very useful to make elements seem to pop off the page. This effect creates a
soft shadow along the outside of the boundaries of your layer.

Inner Shadow Creates a shadow within transparent areas on your layer. The effect causes
your image to appear to be cut out of the page.

Outer Glow Adds a glow around the perimeter of objects on the selected layer.

Inner Glow Applies the reverse effect of the outer glow.

Bevel and Emboss Contains several settings that make an image appear as if it were three-
dimensional by adding highlighted edges. Used often for making Web
buttons.

Satin Adds shadows and highlights to make the image appear as if it has the
pillowed waves or ripples of satin.

Color Overlay Simply adds a color over the entire layer. Colors can be set with an opacity,
and this can be used to create color casts or special effects.

Gradient Overlay Same as the Color Overlay, but uses gradient fills.

Pattern Overlay Same as the Color and Gradient overlays, but with pattern fills.

Stroke Can be used to simulate a stroked outline around your layer.

Applying Layer Styles to a Layer

To apply a custom style to a layer:

1. Do one of the following:

 Click the Layer Styles button in the Layers
palette and choose an effect from the list.
 Choose an effect from the Layer > Layer Style
submenu.
2. Set effect options in the Layer Style dialog box.
3. To add additional effects to the style, do one of the
following:

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  Repeat steps 1 and 2.

 Select additional effects in the

Layer Style dialog box. Click the
check box to the left of the effect
name to add the effect without
selecting it.

 You may change the settings of

the selected style by changing the
structures located at the center
area of the dialog box.

4. Click the OK button.

Using Drop and Inner Shadow

Layer 3 and Text Layer applied

with Drop Shadow

Layer 3 and Text Layer applied

with Inner Shadow

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 Using Outer Glow and Inner Glow

Layers are applied with Outer Glow

Layers are applied with Inner Glow

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 Using Bevel and Emboss

Layers are applied with Bevel and Emboss

Using Satin

Text layer applied with yellow color Satin,

blend mode is normal, distance and size
settings were changed.

Butterfly layer applied with black color Satin,

blend mode is multiply, distance and size
settings were changed.

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 Using Color, Gradient, Pattern Overlays

Image layer applied with

Color overlay

Image layer applied with

Gradient overlay

Image layer applied with

Pattern overlay

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 Using Stroke

Text layer applied with

Pattern stroke

Image layer applied with

Color stroke (black)

Text layer applied with

Gradient stroke

Copying Layer Styles

Copying and pasting styles is an easy way to apply the same effects to multiple layers.

To copy layer styles between layers:

1. In the Layers palette, select the layer containing the style you want to copy.
2. Choose Layer > Layer Style > Copy Layer Style (or right-click on the layer with style and
select Copy Layer Style)
3. Do one of the following:
 To paste into a single layer, select the destination layer in the palette, and choose
Layer > Layer Style > Paste Layer Style or right-click on the layer with style and
select Paste Layer Style)

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  To paste into multiple layers, link the destination layers. Then choose Layer > Layer
Style > Paste Layer Style to Linked.

The pasted layer style will replace the existing layer style on the destination layer
or layers.

To copy layer styles between layers by dragging:

Do one of the following:

 In the Layers palette, drag a single layer effect from one layer to another to duplicate the
layer effect, or drag the Effects bar from one layer to another to duplicate the layer style.
 Drag one or more layer effects from the Layers palette to the image to apply the resulting
layer style to the highest layer in the Layers palette that contains pixels at the drop point.

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Layer Masks

Masks control how different areas within a layer or layer set are hidden and revealed.

By making changes to the mask, you can apply a variety of special effects to the layer
without actually affecting the pixels on that layer. You can then apply the mask and make the
changes permanent or remove the mask without applying the changes.

There are two types of masks:

 Layer masks are resolution-dependent bitmap images that are created with the painting
or selection tools.
 Vector masks are resolution independent and are created with the Pen or Shape tools.

In the Layers palette, both the layer and vector masks appear as an additional thumbnail to the
right of the layer thumbnail. For the layer mask, this thumbnail represents the grayscale channel
that is created when you add the layer mask. The vector mask thumbnail represents a path that
clips out the contents of the layer.

Layer mask link icon

Layer mask

Layer mask selected

A layer mask is resolution-dependent and is created with the painting or selection tools

** To subtract from the mask and reveal the layer, paint the mask with white.
** To add to the mask and hide the layer or layer set, paint the mask with black.
** To make the layer partially visible, paint the mask with gray.

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 To add a mask that shows or hides the entire layer:

1. In the Layers palette, select the layer or layer set to which to add a mask.
2. Do one of the following:
 To create a mask that reveals the entire layer, click the New Layer Mask ( )
button at the bottom of the Layers palette.
 To create a mask that hides the entire layer, Alt click the New Layer Mask button.

Note: You can also use the Layer menu to hide or reveal an entire layer.

To add a mask that shows or hides a selection:

1. In the Layers palette, select the layer or layer set to which to add a mask.
2. Click the New Layer Mask button ( )

In the Layers palette, the layer mask appears as an additional thumbnail to the right of
the layer thumbnail. This thumbnail represents the grayscale (alpha) channel created
when you add the layer mask.
3. Use the painting tools to paint black over the area of the mask you want to hide or paint
white over the area you want to reveal.

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 Working with Filters

Filters allow you to manipulate entire photographs. Filters are used to change
the appearance of an image, layer or selection in Photoshop.

Using filters, you can convert an image from a regular snapshot to a watercolor,
What are Filters?
or a mosaic just to name a few.

Filters have a good history and a filter is a sequence of actions that leads to a
change in your project. Filters also called plug-ins because you can install or
uninstall it independently from Photoshop. Filters can help you in multiple ways
as you can use it to transform any object from one to another or you can use it to
correct your images. In a deep language we can say that Photoshop filter is a
sequence of instructions that tells Photoshop what to do with a particular pixel in
an Image or a selection in the same image.

The software comes with several sets, but you can also download filters (from third-
parties and Adobe) as plug-ins to enhance your Photoshop experience. (If you install plug-ins,
use a trusted source, and follow Adobe's directions for installation.)
Filters are special effects that will change the appearance of your canvas. Some
categories include artistic filters, blur filters, brush stroke filters, distort filters, noise filters, pixelate
filters, sharpen filters, render filters, sharpen filters, sketch filters, stylize filters, texture filters, and
lighting filters.

You can access your filters in the FILTERS menu at the top of your screen. Here are some tips in
using the Filters.

To use a filter, choose the appropriate submenu command from the Filter menu. These
guidelines can help you in choosing filters:

 The last filter chosen appears at the top of the menu.

 Filters are applied to the active, visible layer.
 Filters cannot be applied to Bitmap-mode or indexed-color images.
 Some filters only work on RGB images.
 Some filters are processed entirely in RAM.
 Gaussian Blur, Add Noise, Dust & Scratches, Mediam, Unsharp Mask, Solarize, and High
Pass filters can be used with 16-bit-per-channel, as well as 8-bit-per-channel images.

RGB is a setting for your image. This is how we

digitally see images on the screen (and television). It
stands for RED GREEN BLUE. The alternative is
CMYK, which is how images are interpreted in
printing. (And that is CYAN MAGENTA YELLOW
BLACK.) If your image is in CMYK you'll have to
change the file RGB in your IMAGE menu.

Be sure not to save filtered work over your original

filter. Try each filter out as your explore Photoshop to
get a better idea of how the filters work.

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Applying a Filter

Using the Filter Gallery, you can apply filters cumulatively, and apply individual filters
more than once. You can also rearrange filters and change the settings of each filter you've
applied to achieve the effect you want.

Note that not all available filters can be applied using the Filter Gallery.

To apply filters:

1. Do one of the following:

 To apply a filter to an entire layer, make sure that the layer is active or selected.
 To apply a filter to an area of a layer, select that area.
2. Choose Filter > Filter Gallery.
3. To apply a filter, click the filter's name. You may need to click the inverted triangle next to
the filter's category to see a list of the filters.
4. Enter values or select options for the filter you've selected.
5. Do any of the following:
 Choose additional filters to apply.
 Rearrange applied filters.
 Remove applied filters.
6. When you're satisfied, click the OK button.

Show/Hide Filter Pop-up

Thumbnail of Filter Thumbnails menu
Preview Selected filter

Options for
selected filter

Filter applied but now

selected

List of Filters to apply

or arrange

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Choosing a Filter Effect

ARTISTIC FILTERS achieve a painterly or special effect for a fine

arts or commercial project. These filters replicate natural or traditional
media effects.

Colored Pencil Cutout Dry Brush

Film Grain Fresco Neon Glow

Paint Daubs Palette Knife Plastic Wrap

Poster Edges Rough Pastels Smudge Stick

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 Sponge Underpainting Watercolor

BLUR FILTERS soften a selection or an entire image, and are

useful for retouching. They smooth transitions by averaging the pixels
next to the hard edges of defined lines and shaded areas in an image.

Average Blur Blur More

Gaussian Blur Lens Blur Motion Blur

Radial Blur (Spin) Radial Blur (Zo om) Smart Blur

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 BRUSH STROKE FILTERS give a painterly or fine-arts look
using different brush and ink stroke effects.

Accented Edges Angles Strokes Crosshatch

Dark Strokes Ink Outlines Spatter

Sprayed Strokes Sumi-e

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 Distort filters Geometrically distort an image, creating 3D or other reshaping effects.

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Noise filters Add or remove noise, or pixels with randomly distributed color levels.

Pixelate filters
Sharply define a selection by clumping pixels of similar color values in cells.

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 Render filters
Create 3D shapes, cloud patterns, refraction patterns, and simulated light reflections in an
image.

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 Sharpen filters
Focus blurry images by increasing the contrast of adjacent pixels.

Sketch filters

Add texture to images, often for a 3D effect. The filters also are useful for creating a fine-
arts or hand-drawn look.

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 Stylize filters
Produce a painted or impressionistic effect on a selection by displacing pixels and by
finding and heightening contrast in an image.

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 Texture filters
Give images the appearance of depth or substance, or add an organic look.

Video filters

Include the NTSC (National Television Standards Committee) Color filter, which
restricts the gamut of colors to those acceptable for television reproduction, and the De-
Interlace filter, which smoothes moving images captured on video.

Other filters

Let you create your own filters, use filters to modify masks, offset a selection
within an image, and make quick color adjustments.

Digimarc filters

Embed a digital watermark into an image to store copyright information.

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114 VGD – HeadWaters College | P a g e
 Self-Check 1: Opening, Creating & Viewing Images

NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What are the two major types of graphics and differentiate them. (5 points)

__________________________________________________________________________
_________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. What is the use of the Navigator Palette? (3 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

3. What is the difference between Zoom tool and Hand tool? (3 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

4. Where do you undo the previous steps you have made in Photoshop and what is the keyboard
shortcut for this command? (3 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

5. How will you change the size of an image? (3 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

6. Why do we need to crop an image? (3 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

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 ACTIVITY 1.1
Instructions: Do the tasks below.
1. Change the file size of the following images. Make them less than 55KB.
 Image1.jpg
 Image2.jpg
 Image3.jpg

2. Open the file image4.jpg and use the Crop tool to remove the unwanted part. Then make it a
bigger size.

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 Self-Check 2: Working with the Editing Tools
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What is the importance of editing an image? (5 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. Give a least four editing tools and give their functions. (10 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

3. What are the effects that you can do using the liquefy command? (5 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

4. Give the name of the following tools.

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 ACTIVITY 2.1

Instructions: Do the tasks below.

1. Open the given image and edit it using the editing tools.
 You can lighten the dark area of the image
 You can darken the light area of the image
 Soften the texture

2. Save your work when you’re done.

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 ACTIVITY 2.2

Instructions: Do the tasks below.

1. Choose from the given images and restore it using the clone stamp tool.
 See the sample output below.

2. Save your work when you’re done.

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 Self-Check 3: Introducing Layers
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What is the use of layers? (2 points)

__________________________________________________________________________
__________________________________________________________________________

2. Can we delete layers and how? (2 points)

__________________________________________________________________________
__________________________________________________________________________

3. Can we duplicate a layer including all the contents and what is the keyboard shortcut? (2 points)

__________________________________________________________________________
__________________________________________________________________________

4. Write down your own steps in saving a Photoshop file. (4 points)

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

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 ACTIVITY 3.1

Instructions: Do the tasks below.

1. Create your own canvass.
2. Use the following images.

3. Duplicate the coke layer and burger layer 2 times and arrange them this way.

4. Save your work when you’re done.

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 Self-Check 4: Working with the Selection Tools

NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What are the names of the following tools? (6 points)

2. How will soften the edge of a selection? (2 points)

__________________________________________________________________________
__________________________________________________________________________

3. What is “anti-aliasing”? (2 points)

__________________________________________________________________________
__________________________________________________________________________

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 ACTIVITY 4.1

Instructions: Do the tasks below.

1. Choose 5 pictures from the pictures folder and open them.
2. Create a new canvass.
3. Create a free-form selection using lasso tool on each image and put them on your canvass to
create a collage effect. Apply feathering to soften the image.
4. Save your work when you’re done.

Sample output:

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 ACTIVITY 4.2

Instructions: Do the tasks below.

1. Create a new canvass.
2. Create your own photo manipulation by combining the images from the picture folder.
3. Make sure to create smooth selection. Save your work when you’re done.

Sample Output:

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 ACTIVITY 4.3

Instructions: Do the tasks below.

1. Open an image with close-up look.
2. Select the eyes and change the color.
a. Use the Ellipse tool. Use the Adjustment Selection buttons if needed.
b. Press CTRL + U to open the Hue/Saturation dialog box. Change the color property of the
eyes.
3. Make sure to create smooth selection. Save your work when you’re done.

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 Self-Check 5: Working with Text
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What is Type tool? (3 points)

__________________________________________________________________________
__________________________________________________________________________

2. What will happen after rasterizing a text layer? (3 points)

__________________________________________________________________________
__________________________________________________________________________

3. Can we change the shape of a layer?

__________________________________________________________________________

4. Can we type text in vertical form?

__________________________________________________________________________

5. Can you create a selection in a shape of a text?

__________________________________________________________________________

6. Can we change the line spacing of a paragraph text?

__________________________________________________________________________

7. Give the names of these buttons.

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 ACTIVITY 5.1

Instructions: Do the tasks below.

1. Create a new canvass.
2. Think of your own quote and type it on your canvass.
3. Apply it with different color, size and font face to create a good text design.
4. Save it when you’re done.

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 Self-Check 6: Typography

NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What are the principles in typography? Give at least 4.

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. Which is more readable a text in proportional form or fixed-width?_____________

3. What is the standard size of text for traditional publishing? ___________________

4. What is recommended minimum size for display typefaces?___________________

5. Which is more legible, text typed in all capitals or in title case?_______________

6. What are the names of the following symbols?

& _______________ ¥ ______________

© _______________ ™______________
® _______________ £ ______________
€ _______________ ℅ ______________
@ _______________ $ ______________
% _______________ ¢ ______________

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 ACTIVITY 6.1

Instructions: Do the tasks below.

1. Create a new canvass for a size of a baptismal invitation.
2. Use the following images from the picture folder.
3. Create and customize your own design for a baptismal invitation.
4. You can edit the information on the given text.
5. Save your work when you’re done.

Sample Output:

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 ACTIVITY 6.2

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 2 ft Resolution = 72 pixels
Width = 7 ft Mode = CMYK

2. Using the given pictures from the folder create your own business signage for an Internet Café.
Indicate the following information:
a. Name of the Internet Café (business name)
b. Services offered
c. Address
d. Contact info.
e. E-mail address if available
f. Website address if available

3. Make sure texts are readable. Design is eye catching and easy to recognize.
4. Save your work when you’re done.

Sample output:

130 VGD – HeadWaters College | P a g e

 ACTIVITY 6.3

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 5 ft Resolution = 72 pixels
Width = 4 ft Mode = CMYK

2. Using the given pictures from the folder create your own campaign material.
Indicate the following information:
a. Name of the candidate
b. Position of the candidate
c. Call to action

3. Make sure texts are readable. Design is eye catching and easy to recognize.
4. Save your work when you’re done.

Sample output:

131 VGD – HeadWaters College | P a g e

 Self-Check 7: Working with the Painting Tools

NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following questions.

1. What are the names of the following tools (5 points)

2. What are the three primary colors?

_________________ _________________ _________________

3. What are the three secondary colors?

_________________ _________________ _________________

4. What color is produced when you mix blue and yellow? _________________

5. What color is produced when you mix yellow and green? _________________

6. Write the colors in the color wheel. Make sure they are in their proper place.

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 ACTIVITY 7.1

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK
2. Using the brush tool and Swatches palette, create your own painting from scratch.
3. Don’t forget to apply the principles of design.
4. Save your work when you’re done.

Sample output:

133 VGD – HeadWaters College | P a g e

 ACTIVITY 7.2

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK
2. Using the Brush tool, Liquefy command and Swatches palette, create your own abstract design.
3. Don’t forget to apply the principles of design.
a. Apply the background with black color.
b. Create a straight stroke of brush in different colors. Stroke can be vertical or horizontal.
c. Apply liquefy command.

4. Save your work when you’re done.

Sample output:

134 VGD – HeadWaters College | P a g e

 Self-Check 8: Basic Color Manipulation
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following.

Match column A with the answer in column B. Write the letter of the correct answer on the blank.

_____ 1. It lets you adjust the entire tonal range of an image a. Levels

_____ 2. This functions lets you correct the tonal range and color balance b. Desaturate
of an image by adjusting intensity levels of the image's shadows,
midtones, and highlights. c. Color Balance

_____ 3. This command changes the overall mixture of colors in an image d. Hue and Saturation
for generalized color correction.
e. Curves
_____ 4. This command converts a color image to a grayscale image in the
same color mode.

______5. This command lets you adjust the hue, saturation, and brightness of a
specific color component in an image or simultaneously adjust all the
colors in an image.

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 ACTIVITY 8.1
Instructions: Do the tasks below.
1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK

2. Apply the background with black color.

3. Place the given image on the canvass. Remove the white background of the image.

4. Select each single image and manipulate the color using the Hue/Saturation.
5. Save your work when you’re done.
Sample output:

136 VGD – HeadWaters College | P a g e

 ACTIVITY 8.2

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK

2. Select the given ID picture.

3. Change the background color to red.
4. Create 4 copies in 2 x 2 inches in size.
5. Create another 4 copies in 1 by 1 inches in size.
6. Create 4 copies in passport size.
7. Save your work when you’re done.

Sample output:

137 VGD – HeadWaters College | P a g e

 Self-Check 9: Drawing with Pen & Shape Tools
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following.

1. What is the difference between open path and close path? (2 points)

__________________________________________________________________________
__________________________________________________________________________

2. What is the use of Pen tool? (2 points)

__________________________________________________________________________
__________________________________________________________________________

3. What are the names of the following tools?

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 ACTIVITY 9.1
Instructions: Do the tasks below.
1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK
2. Apply the background with black color.
3. Using the Pen tool draw a heart. Edit the anchor point to perfect the shape.

4. Go to the Path palette then apply the path with stroke using the Brush tool with dark red color.

rd
5. Re-apply the stroke but make the brush size smaller and lighter red color. Do this for the 3 time.
6. Duplicate the layer and resize it. Erase some part on the interlaced part of the heart to put some
effect.
7. Save your work when you’re done.

Sample output:

139 VGD – HeadWaters College | P a g e

 ACTIVITY 9.2

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = RGB

2. Apply the background layer with black color.

3. Insert new layer and type your name. Customize the text using the layer styles.
4. Insert new layer and create lines over the text.
5. Apply it with brush stroke from the Path Palette. Then apply it with layer styles.
6. Erase some part of the stroke that overlapped on some part of the text.
7. Save your work when you’re done.

Sample output:

140 VGD – HeadWaters College | P a g e

 ACTIVITY 9.3

Instructions: Do the tasks below.

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK

2. Using the following tools create your own packaging material for a softdrink.
a. Selection tools
b. Pen tool
c. Opacity
d. Transformation command
3. Save your work when you’re done.

Sample output:

141 VGD – HeadWaters College | P a g e

 Self-Check 10: Managing Layers
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following.

1. What is the importance of grouping the layers using the link box? (3 points)

____________________________________________________________________________

____________________________________________________________________________

2. What is the advantage of merging and flattening the layers? (3 points)

____________________________________________________________________________

____________________________________________________________________________

3. Label the following.

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143 VGD – HeadWaters College | P a g e
 ACTIVITY 10.1
Instructions: Do the tasks below.

Creating Backlight Text

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = CMYK

2. Fill the background layer with black color.

3. Insert new layer. Fill it with white brush

stroke. Use a good brush shape.
4. Duplicate layer 1 and it will be named as
layer 1 copy. Select layer 1 and change the
Opacity to 20%.

5. Select again layer 1 copy. Apply it with

Radial effect. Go to Filter menu, Blur,
Radial. Change the Blur method to Zoom
then set the amount to 100. Apply it with
blur effect. Go to Filter, Blur, Gausian Blur
and set the amount to 3.0.

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 6. Insert new layer and fill it with black color.

7. Go to Filter menu and select Render, Lens Flare. Choose 105mm Prime and set the Brightness
amount to 100. Then blend it. Select Color Dodge from the Blending mode options.

8. Link the three layers and merge them.

9. Now, insert new layer and type your name using black color. Place it at the center part.
Duplicate the text layer.

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 10. Select the text layer copy. Change the Fill
to 0%. Then apply it with white Stroke and
set the size at 5.

11. Insert new layer and place it below the text

layer copy.

12. Select the text layer copy again and merge

it down to the blank layer. Text layer copy
will now turn into image text layer.

13. Still with the image text layer, apply it with Radial blur. Go to Filter, Blur, Radial and select again
the Zoom blur method and set the amount to 50%. It will have a backlight effect on the text.

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 14. Now it’s done. If you want to add additonal effect, you can try changing the color of Layer 1 using
the Hue/Saturation command. See the sample output below.

147 VGD – HeadWaters College | P a g e

 Self-Check 11: Opacity & Blend Mode
NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following.

1. What is the different between Opacity and Fill in the layers palette? (3 points)

____________________________________________________________________________

____________________________________________________________________________

2. What is the good thing in using the Opacity when designing? (2 points)

____________________________________________________________________________

____________________________________________________________________________

3. Give at least 5 examples of Layers blending mode. (5 points)

__________________________________________

__________________________________________

__________________________________________

__________________________________________

__________________________________________

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 ACTIVITY 11.1
Instructions: Do the tasks below.

Creating a Painted Face

1. Create a new canvass and use the following format below.

Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = RGB

2. Use the given pictures from the folder. Select your image for background, model, and image that
will serve as paint on the model’s face.

a. Insert the image for background. Resize it as canvas size.

b. Insert the image of model. Remove the background and make it bigger.
c. Insert your selected image to be placed on top of the face of the model
d. Use any blending mode that will show like a painted effect on the face.

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 3. You can add some more effects and text for title.
4. Save your work when you’re done.

Sample output:

150 VGD – HeadWaters College | P a g e

 Self-Check 12: Layer Styles & Masks

NAME:_______________________________________________________________
COURSE/SECTION:_____________________________________________ SCORE:_______________

Instructions: Answer the following.

1. Name the layer style applied on each sample output. (2 points each)

Drop Shadow Pattern Overlay Inner Glow

Satin Color Overlay Stroke

Bevel and Emboss Outer Glow Gradient Overlya

2. What are the three colors used when painting a layer mask?

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 ACTIVITY 12.1

Instructions: Do the tasks below.

Combining Two Faces Using Layer Mask

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = RGB

2. Put the first image on your canvass and place it at the center.

3. Insert another image and put it on top of the first image. Change the position by rotating and
resizing to match the position of the face on the underlying layer. You may change the opacity of
the image to easily match the position.

4. Add layer mask and start painting on the top face to combine the two layers.
a. Select the top image layer.
b. Click on the Add Layer Mask button. Select the Layer Mask thumbnail and use the Brush
tool. Paint it with black or white color depending on which part of layer will be revealed or
hidden.

5. Insert again the images of the two persons and place them on each side.
6. Save your work when you’re done.

Sample output:

152 VGD – HeadWaters College | P a g e

 ACTIVITY 12.2
Instructions: Do the tasks below.

Out of the Frame

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = RGB
2. Insert new layer and fill it with background image.
3. Insert the image as your target to be place in the frame.
4. Insert new layer and draw a rectangular shape fill it with any color. Draw another rectangle inside
the shape and erase it. Now you have the frame then apply it with layer style.
5. Decide which part of the image will get out of the frame then erase the part of the frame it with
overlapped with.
6. Erase the background of the image that is out of the frame.
7. Insert a new layer and place the image of the other boy.
8. Save your work when you’re done.
Images:

Sample output:

153 VGD – HeadWaters College | P a g e

 ACTIVITY 13.1
Instructions: Do the tasks below.

Center of Attraction with Blur Filter

1. Select and open the jpeg file that will be your target
project.

2. Select your target then inverse the selection by

clicking on the Select menu and choose Blur > Radial
Blur.

3. On the dialog box, select the Zoom method and adjust the zoom amount to your desired zoom
blur effect.
4. Save your work when you’re done.

Sample Output:

154 VGD – HeadWaters College | P a g e

 ACTIVITY 13.2
Instructions: Do the tasks below.

Falling Effect Filter

1. Create a new canvass and use the following format below.
Height = 7 inches Resolution =300 pixels
Width = 5 inches Mode = RGB
2. Open the following images.

3. Apply motion effect on the building image.

4. Select the image of the two men and place them on top of the building layer.
5. Save your work when you’re done.

Sample output:

155 VGD – HeadWaters College | P a g e