iP ANION Adobe PhotoshopLecture Companion Adobe Photoshop© Copyright 2010 by MAYA ACADEMY OF ADVANCED CINEMATICS ‘MAAC Lecture Companion is published as part ofthe course curriculum of Maya Academy of Advanced Cinematics (MAAC). All rights reserved. No part of this book may be reproduced or transmitted in any form, by any means (electronic, photocopying, record ing or otherwise) without the prior permission of the publisher. Published as part of the course curriculum Trademark: All brand names and product names used in this book are trademarks, registered trademarks, of trade names of their respective holders. Maya Academy of Advanced Cinematics is not associated with any product or vendor mentioned in this book. All the pictures and images used in this book are for instructional purposes only.ord © PIN BHAEYHWN Contents Graphical User Interface Monitors Color Theory Photoshop Filling color in canvas Layers Brushes Masking Color Correction Gradient Blending Modes Layer Style Clone, Heal and Patch Tool Vanishing Point Digital Painting Filter Effects File Format Multilayer Compositing Matte Painting Montage Designing 10 Ww 118 125PHOTOSHOP. CHAPTER 1 GRAPHICAL USER INTERFACE (GUI) ‘The above term has three words, graphics, user, and interface. Graphics word is derived from the word graph which you must know about. A graph has x and y axis. Same way something which is created in digital word is seen on a digital screen, this screen also has x and y axis. So the output on any digital device is termed as graphics. E.g.: cell phone display, monitor display ‘Auser is a person who uses the digital device to perform some task. E.g.: Human being Interface allows people to interact with the digital programs. E.g. Digital display screens, Touch panels, Monitors, Combining all these concepts we have the word GUI GUI: A graphical user interface (GU!) (sometimes pronounced gooey) is a type of user interface item that allows. People to interact with programs in more ways than typing such as computers; hand-held devices such as mp3 players, portable media players or gaming devices; household appliances and office equipment with images rather than text commands. > IMAGE An image or picture is something which is formed with combining or arranging colors on any surface. E.g. pictures, photographs > PIXEL ‘A.wall is build up by arranging many bricks similarly when a dital image is zoomed up it can be seen that the image is made up by arranging small colored blocks .Each individual block is termed as a pixel. Pixel is also termed as PEL i.e. Picture element. MAAC Lecture Companion » 5 Sadan Neti» RESOLUTION Total number of pixels horizontally w.rt total number of pixels vertically in the area of one square inch is termed as resolution. Resolution is always represented in A x B form i.e. 800x600 al | | 3x3 6x6 8x8 » ASPECT RATIO The ratio between length and width of any image or screen is known as aspect ratio. Aspect ratio is always represented in A : B form .e.9.: 4:3, 16: x: y is aspect ratioPHOTOSHOP TYPES OF IMAGES \n digital world there are two types of images Raster i >» RASTER IMAGES The images which are made up of pixels are known as raster or bitmap images ages & Vector images The word “raster” has its origins in the Latin rastrum (a rake). Raster graphics are resolution dependent. They cannot scale up to an arbitrary resolution without loss of apparent quality. Raster images deal more with photography and photo realistic images. Some raster images: inthis image the square blocks are the pixels. The pixel can consist of any color Here a fish is formed by blue color pixels. Though the image is not taken from a digital camera its not a photorealistic image,but as the basic building block of this image is pixel the image is a raster image ‘The below images are the photorealistic images taken from a digital camera. Any image formed by pixels are Raster Images — MAAG Lecture Companion = 7VECTOR IMAGES ‘A vector image is formed by the geometrical primitives such as such as points, lines, curves, and shapes or polygon(s) created by mathematical equations or algorithms. Vector images can be scaled up to any size without losing the details. fe) 7x Magnification In the above image, same area is shown in both raster(bitmap) and vector form.The vector is made up of lines and curves, the raster is made up of pixels. When the raster image is scaled up it gets pixellated whereas the vector image stil remains with the same qual- ity.Mostly the logos and graphics designs are done in vectors. 8 » MAAC Lecture CompanionPHOTOSHOP Combination of vector and raster: 1 this image the model is captured with a camera hence it is the raster part, whereas the background containing some graphics is a vector image. res. sale MAAC Lecture Companion + 9CHAPTER 2 H MONITORS The device connected to a computer that displays information on a screen. Also known as visual display unit. With the advancement in time and change in technology the following generations of monitor were made: CRT, LCD, PDP, and TFT. No the SETTING UP YOUR MONITOR: 4. Monitor should be operated in subdued light; strong direct light should not reach the screen 2. Display adaptor should be set to 24 or 32 bit color (True Color). Right-click on the Windows wallpaper then click on Properties, Settings. 3. Monitor has an option of setting color temperature with video card or monitor calibration software. Do not set it in both; this may result in an overcorrection-- your monitor will appear dim and yellow. 4, Monitor's gamma should be 2.2 (for Windows) or 1.8 (for older Macintosh systems) 5, Most laptop LCD screens are poorly suited for critical image editing because gamma is extremely sensitive to viewing angle. 10 + MAAC Lecture CompanionLd HOW AN IMAGE IS DRAWN ON THE SCREEN??? This is an important question and one should know how the colors are displayed on to the screen. ‘As mentioned earlier that an image is made up of pixels. When a pixel is zoomed up to microscopic level following arrangement is seen inside it. The appearance varies in different monitors. RT, Now there is a common feature in every image that they contain only three colors red, green, and blue. In short.....when electricity is supplied to a monitor these red green blue colors starts glowing and thus shows the colors on the screen. Below is an example: ST i) DERRRR nant ue Ha i ee i i i i coe i ip on Ht Ta a iu i it t mel a: ennai HACHEM TT Fi ive (MAAC Lecture Companion » 11 rememCHAPTER 3 COLOR THEORY This theory explains how the colors are formed. For this purpose there is a figure which is known as COLOR WHEEL. The color wheel explains how the colors are combined to produce a third color. There are two types of color wheel artistic and technical > ARTISTIC COLOR WHEEL In daily life people use a color combination in their dressing sense to look descent and attractive. Same way when a colorful design is created the combination of these colors should be matching. For this purpose a color wheel guides how to combine the colors with each other to create an attractive output. > PRIMARY COLORS: Red, Blue and Yellow are the primary colors RED BLUE YELLOW > SECONDARY COLORS: Colors formed by mixing two primary colors are secondary colors. orange, violet, and green. RED + BLUE = VOILET RED + YELLOW = ORANGE Re BLUE + YELLOW = GREEN t » TERTIARY COLORS: Colors formed by mixing one primary and ‘one secondary color. | COLOR SCHEMES Itis the choice of colors used in design for a range of media. It is used to create style and appeall. Color scheme _ involves two or more colors based around a single color to create a design. ‘Some color schemes: > MONOCHROMATIC COLOR SCHEME: It consists of different values of a single color 42. + MAAC Lecture Companion ere-OR: solor » ANALOGOUS COLOR SCHEME: Colors those are adjacent to each other on the color wheel. Yellow and red are adjacent to orange E Ty 5 / ) ’ a way \ color | lors y » NEUTRAL COLOR SCHEMI Accolor scheme that includes only colors not found on the color wheel, called neutrals, such as brown and gray. nd veme: MAAC Lecture Companion + 13> WARM COLOR SCHEMES: This color scheme contains red, yellow and orange color .As these colors can be related with fire they are warm color. > COOL COLOR SCHEMES: This color scheme contains green, violet, blue colors. ‘4 + MAAC Lecture Companion> COMPLEMENTARY COLORS: The color which lies opposite to each other on the wheel is complementary colors. E.g. Green and Red K C This is an example WLAN uaaar-1e Oa S aN COLORS should not be used together IMPORTANT: Never use the combination of complimentary colors specially for writing text. MAAC Lecture Companion « 15 (erred ieeeTECHNICAL COLOR WHEEL This color whee! explains how the colors are displayed on the monitors. Red Raspberry ue ea nta tate Just like artistic color whe wheel. » PRIMARY COLORS: Rep, GREEN, BLUE > SECONDARY COLORs: cyan, MAGENTA, YELLOW. 8! this whee! also has primary secondary and tertiary colors butit atfers from the other The digital display device Uses this color wheel to Create different colors on the screen as well as the same wheel can be used in oPPasite way in print media to print colors. A printer has two ink cartridge siots,one for black and other for colored ink. The colored cartridge has three colors CYAN MAGENTA and YELL OW.in prinnting the process to force colors is reversed. CYAN + MAGENTA = BLUE MAGENTA + YELLOW = Rep CYAN + YELLOW" GREEN 6 rionPHOTOSHOP CHAPTER 4 PHOTOSHOP The software is developed by adobe systems. It is a computer pixel drawing program used mainly to create images that have complex texture and shading such as photographs and paintings. MAJOR USES FOR PHOTOSHOP: Image manipulation, painting + drawing (Digital Painting), graphic design, illustrations etc. PHOTOSHOP INTERFACE. new canvas GETTING STARTED When a painter start’s painting he needs a canvas, similarly to start a project in Photoshop some base is need- ed to work upon. While creating a new file or workspace (Shortcut: Cri +n) a new canvas setting box appears. The workspace is also known as canvas. MAAC Lecture Companion + 17—— || wath: [8 inches a belete preset | Height: [10 [inches a | Device Central. | | Reschtion: [300 EI NAMI PRESET: Have some predefined settings, can be directly selected trom the list according to the requirements. WIDTH & HEIGHT: The dimension for the new canvas. RESOLUTION: The higher is the resolution, better is the quality. : To assign some name to the canvas COLOR MODE: Determines which color method is used to display and print the image. RGB mode is used if the final output has to be displayed on a digital screen, CMYK is preferred if the output has to be printed on some surface with ink. COLOR MODES Photoshop has five color modes for the new canvas. » BITMAP: This mode uses only two colors, black and white to represent the pixel in an image » GRAYSCALE: This mode uses different shades of gray in an image, The range of gray varies from black to white. > RGB: This mode uses the RGB color model to represent color in a pixel. For each color Red, Green and Blue the value ranges from O(black) to 256(white) and the final color is formed by combining all these three colors. ‘When the final output has to be prepared for a digital screen or a digital display device this mode is chosen as it displays a wide range of colors (0 to 255) » CMYK: This mode is used when the work has to be done for printing purpose. CMYK stands for Cyan, Ma- genta, Yellow and Black. As the printing work is done with a printer and it contains the cartridge having the colors CMYK, this is why this mode is selected. » Lab: This mode is based on the human perception of color. This mode is used to transform colors from one Space to other. This mode is device independent. Lab has a lightness component (L), the a component (green-red) and the b component (blue-yellow). 48 + MAAC Lecture CompanionPHOTOSHOP CHAPTER 5 FILLING COLOR IN CANVAS ‘After creating a canvas the next task is to fill color into it for this purpose the color box in the toolbar allows to fill two different colors. A: Foreground Color Box, B: Background Color Box C: Switch Color Option(x) D: Default Color Option (D) | ‘i —_— 8B D When a maximum level of any color is selected, a yellow triangle appears near the cancel button, this triangle is @ symbol of gamut waming i.e. the selected color is not suitable for printing, Clicking on this triangle gives the nearest color which can be possibly printed. This is why CMYK mode is selected for printing purpose work. When an out of gamut color is selected and the mode of the canvas is CMY« it automatically fis the color which lies inside the gamut. MAAC Lecture Companion + 19To fill the color on the blank canvas use the paint bucket tool in the toolbar. There can be two colors in the color box i.e foreground color and background color. Clicking in the blank canvas fills the foreground color into it + »v PEND ASORR NAT The foreground and background colors can be swapped by pressing X on the keyboard. To bring the color box in default black and white colors, press D on the keyboard. RRR In color picker box any color can be selected by entering values for RGB. ‘The range of RGB varies from 0 to 255.When the RGB values are 0 the result color is black. When it goes to a maximum level of 255 each the result is white and when RGB are having equal values the result color is a shade of gray. aly ele we SELECTION TOOL, This tool creates an area in which any operation (color fill, delete etc) can be performed which is restricted into the selected area only. There are following types of selection tools: 4.Lasso Tool 2.Polygonal Lasso Tool 3.Magnetic Lasso Tool 4.Rectangular Marquee Too! 5 Eliptical Marquee Too! 6.Magic Wand Too! 7.Quick Selection Too! 20 + MAAC Lecture CompanionPHOTOSHOP Racangulr Marquee Tool lie Marques Too Sle ow Marquee Too Single Cohn Marque Tol Bs Fe 0 P) = Cusseta tf Wo pavaonsane too Biagio Too Sie & ase ®: 7 2108 Be & Gr SR RR ED & &, BO, o8, oun x &. PS aN yo yo mf > MARQUEE TOOL: Rectangular marquee makes a rectangular selection (or a square, when used with the shift key). Elliptical marquee makes an elliptical selection (or a circle, when used with the shift key). Single row or single column defines the border as a 1-pixel-wide row or column. > LASSO TOOL: The lasso tool is useful for drawing freeform segments of a selection border. > POLYGONAL LASSO TOOL: The polygonal lasso tool is useful for drawing straight-edged segments of a selection border. v MAGNETIC LASSO TOOL: in magnetic lasso tool, the border snaps to the edges of defined areas in the image. The magnetic lasso tool is not available for 32-bits-per-channel images. > QUICK SELECTION TOOL: can be used to quickly ‘paint’ a selection using an adjustable round brush tip. As the brush is dragged, the selection expands outward and automatically finds and follows defined edges in the image. > MAGIC WAND TOOL: the magic wand tool allows selecting a consistently colored area without having to trace its outline. A color range, or tolerance is specified for the magic wand tool's selection. SELECTION OPTION Selection option in every selection tool allows adding, subtracting or intersecting the one selection with other. ane Feather: [Ope Feather optior is used to soften the edges of the selection MAAC Lecture Companion » 21FILLING COLOR IN SELECTED AREA To fill the color in only a restricted area, create a selection from any of the selection tool. Selection tool restricts the operation only in the selected zone. ‘Select any marquee tool or lasso tool to create a shape. Either use the paint bucket tool or just right click into the selection and to get the fill option. Use the short cuts to fill foreground (Alt +backspace) or background (Ctrl +backspace) color Right click in the selection to get some more options like: DESELECT: The selection is removed SELECT INVERSE: Selection is inverted FEATHER: Edges are smoothened REFINE EDGE: Improves the quality of selection FREE TRANSFORM: To transform the selected area i.e. rotation, scale, skew ‘TRANSFORM SELECTION: Only the selection box is transformed FILL: To fill any color in selected area vvvvvvYyY STROKE: To apply a stroke following the boundary of the selection. 22 + MARC Lecture CompanionPHOTOSHOP CHAPTER 6 LAYERS In our daily life we have many objects which consist of layers. Like onion, cabbage, sandwich, ironed clothes etc. When the objects are arranged in layer format it becomes easy to manage them, Similarly we have layers in the Photoshop by which we can arrange and manage all the operations in an easy way. In a new canvas create two new layers. Select rectangular marquee tool and drag a rectangle selection. Fill two different colors in each layer. Using the move tool, the layer content can be moved. Now one rectangle is above another. The order of these layers can be swapped in layer palette by dragging them from up to down or down to up. Below are the images which show the layers and swapped layers. MAAC Le 23DESIGNING A MAGAZINE COVER To design a magazine cover we would need some images. Following are the reference images from which will create a gaming magazine cover. Let's look into the process of creating a MAGAZINE COVER 1. Create a new canvas with the setting required for the magazine cover. When working for some output for printing we should take the mode as CMYK (previously discussed) and the resolution should be higher (here 300).The higher is the resolution the more clear is the quality in final output 24 = MARC Lecture CompanionPHOTOSHOP 2. We import the base image into the canvas. As the image is bright, and the area is properly filled with colors it has been chosen to set as the background. 3. The image is dragged on to the new canvas with the move tool (V). The Move Tool is used to move the selected layer or area on the same or different canvas. 4. The dragged image appears as a layer into this new canvas.F7 ie is the shortcut to see the layer palettes or can be accessed = A through windows > layers. oe ae ayer le ta Ft A: Controls the opacity of the layer to make it opaque transparent or translucent B: Control visibility of the layer i.e, makes it on or off C: Creates a new layer D: To delete the selected layer 5. With the layer selected press Ctrl +7 This enables to transform the layer. Press (Alt +Ctrl) for uniform scaling. MAAC Lecture Companion » 256. The layer is scaled up to fit into the canvas. Some shapes are drawn with the help of rectangular marquee tool and polygon tool. Color is filled into it and The opacity of the layer is decreased. 7. Other images are imported in the canvas to balance the composition. Strokes are added to define the edges of the small images. (MAAC Lecture Companion |8, To apply strokes (Ctrl +click) on the layer, it gives you the selection through the boundary line. Right Click + Stroke or Edit + Stroke. TEXT For typing characters Photoshop has text facility in it. The toolbar has the text tool option, with this text can be written or edited, ‘When typing of text is done on the canvas a separate text layer is formed on which any effect cannot be applied. The text attributes can be changed with the character palette. Windows —> Character. ‘The attributes of characters can be changed by character palette. Text font Text font size ‘Text vertical sealing value Shifts the selected character vertically Options for Bold Italics, Caps, Superscript, Subscript, Underline, Strike mMOQ9> F: Text style regular, bold, Italics etc G: Gap between the lines Dake] a} 5 H: Kerning, sets the gap between characters E |: Text horizontal scaling value = J: Color of the text fepusn | Aalst) MAAC Lecture Companion + 27 salience lia hee ae acaciaADDING TEXT TO MAGAZINE COVER (MAAC Lecture Companion 2010 SUMMER “= ae 2010 SUMMER Coca rtePHOTOSHOP CHAPTER 7 BRUSHES When a painter has to paint a canvas with colors he would need a brush. Same way in Photoshop, to apply manual strokes on the canvas the brush tool (B) is required. Below the menu bar there is an option for opacity which controls the vi brush, lity level of the stroke created by Fle Edt Image Layer Select Fiter Analss View Window Help > Bra: @ rode: [Normal Y) prety: | 10096 | Flow: | 100% >| hm The flow option controls the flow of the brush. Pressing F5 opens the brush palette where brush strokes can be manipulated. mate | =m] ele; * | [oreo oe a Taverne | ||[Osemere al * | | er) 2 ! ||toowoun ¢ Deserowane gj $ Tom omine_ » Om al * i“ 2 a a] a] BRUSHES PALETTE ATTRIBUTES: > BRUSH PRESETS: The thumbnail displays the tip of the brush and also has the option to control the diameter of the brush. Shortcut to increase or decrease the brush size is ‘[‘and ‘J’ ie. square bracket buttons on the keyboard. MAAC Lacture Companion = 29BRUSH TIP SHAPE: See ebake epebekele a pentane een (Dee xD oom searcr|i sna > DIAMETER: Controls the size of the brush tip. > FLIP X OR FLIP Y: Flips the brush tip horizontally or vertically, > ANGLE: Rotates the brush tip. {mbH > bbb bbbbbbbbbbt ROUNDNESS: Squeeze the brush tip shape. CA 30 + MAAC Lecture Companion Saal a eel a eee Eee eee ix vPHOTOSHOP » SPACING: It controls the distance between individual brush marks SHAPE DYNAMICS: It helps to create variation in brush mark in a stroke. Deeating or” Rexam > SIZE JITTER: Creates a variation in diameter between brush marks. @OOW® 0-9 co 0e@O @ MINIMUM DIAMETER: The minimum diameter of brush mark during size jitter. MAAC Lecture Companion + 31> ANGLE JITTER: Variation in angle between brush marks. BREE BER EE > ROUNDNESS JITTER: Variation in roundness between brush marks, /@e- ¢e 7—OO@\e| > FLIP X AND FLIP Y JITTER: Vertical and horizontal variation of brush marks ‘SCATTERING: This creates randomness in position and number of brush marks in a stroke. [onshes x1 oo San Teste Dishes yng a ae, owe Cieserdyranes gi | | ether Oymanes Dive ai watson a |]toetns ||Dsmeanna a a Prete Tere seater both aves [om BS is a > COUNT: This specifies number of brush marks applied at each spacing level > COUNT JITTER: It specifies how the number of brush marks varies at each spacing level 32 + MAAC Lecture Companion‘TEXTURE: This helps to create pattem inside the brush stroke. Vv vvvvvy |, rushes» Lv PATTERN SAMPLE: Click and select from available patterns INVERT: Inverts the high and low point in the pattern based on tones. SCALE: Specifies the size of patterns in the stroke ‘TEXTURE EACH TIP: Applies pattern to each brush mark. MODE: Blending mode between brush and pattem DEPTH: Specifies how deeply the paint penetrates into the texture. MINIMUM DEPTH: The minimum depth to which the paint can penetrate. DEPTH JITTER: Variation in depth value with each brush mark. PHOTOSHOP [MAAC Lecture Companion + 33DUAL BRUSH: This creates a stroke with two brushes. The second brush stroke is applied within the area of the primary brush. =r % cm = Oemoren gl (YY eee Osenere || - [lel Ol | ® Cemeve eal | u & | om | | 4/8’, [3/8] 2 Hegel ee eee | ae lStelelelai| | alls a elu} 9 (Wet Edges a = Cina | Gee eee | = ee mene v MODE: It sets the blending mode between the primary and dual tip. DIAMETER: Defines the size of dual tip. SPACING: Controls the distance between dual tip brush marks. ‘SCATTER: Specifies the distribution between the dual brush mark in a stroke, vvvy COUNT: Defines the number of dual tip brush mark applied at each spacing interval. 34» MAAC Lecture CompanionPHOTOSHOP COLOR DYNAMICS: This can create randomness in colors between every brush mark. oe = FOREGROUND/BACKGROUND JITTER: It specifies how color varies between foreground and background color. HUE JITTER: Creates variation in the hue of the brush mark color, ‘SATURATION JITTER: Controls variation in the saturation of the brush mark color, BRIGHTNESS JITTER: Defines variation in the brightness of the stroke. PURITY: It increases or decreases the saturation of color. MAAC Lecture Companion + 35OTHER DYNAMICS: ‘rushes x1 Bah Pam pact er om ‘ah Te shape be Dstveedymenss gg] — roe loe ba Dsenwry gi] ower es Creve «| ea | ctor ¥ lester Dyers om | Dneae a Dweeds gi Darth a| | rte tecure Gi > OPACITY JITTER: Creates variation in the opacity of brush marks. » FLOW JITTER: Creates variation in the flow of brush marks. CREATING CUSTOM BRUSH Custom brush shapes can also be created in Photoshop. Draw any selection and fill it with black color. Go to EDIT--DEFINE [MAAC Lecture CompanionBRUSH PRESET Hit ok, the brush is created. Brush can also be created with any image. In the following image draw a selection with the leaf edge. Go to EDIT--DEFINE BRUSH PRESET. Hit ok, the brush is created. ‘These brushes can be seen as a thumbnail in the brush palette (= erm) = — i MAAC Lecture Companion + 37‘Strokes with both the custom brushes aaaaagauau 808066666 38 + MAAC Lecture CompanionPHOTOSHOP CHAPTER 8 MASKING Masking is a non destructive method to hide any part of an image. There are different ways to mask in Photo- shop. They are as follows: LAYER MASK VECTOR MASK CLIP MASK [ayers » LAYER MASK: Click on the layer mask option in layer palette to Rema a] ora: [mo] enable layer mask in selected layer. SS Se A: Layer mask thumbnail B: Add layer mask icon. i» This option gives a thumbnail next to the layer thumbnail which when painted with black, becomes transparent. When painting with whit, it reveals the layer, and painting with gray makes it translucent depend- ing on the shade of grey. ° ako a CREATING MATTE PAINTING WITH LAYER MASKING In next example, some images are selected to create a matte painting with layer mask. The layer mask will be sed so that the images are not destructed and there are more controls to manipulate them. (MAAC Lecture Companion + 38The selected reference images are as follows: 1. In first image horizon is there. Adjust all the other images according to this horizon line. 40 + MAAC Lecture Companion aaa a ehcle-uaapcenn cle™eee ceePHOTOSHOP 2. Each of images are placed and masked according to the requirement. at at Finally we get the output with this procedure: MAAC Lecture Companion + 41 reneeTHINGS TO REMEMBER WHILE MAKING A MATTE PAINTING: 1. The perspective should match in all the layers. 2. Camera angles should match in all the layers. 3. Overall lighting condition is matched 4. Dust and haze needs to be matched in all the layers » VECTOR MASK: To understand the concept of vector mask, it's important to know about the pen tool. PEN TOOL The pen tool can be used to create straight and curved paths, as well as shapes. With pen tool selected if clicked on a canvas, the first anchor point is created. Keep clicking on the canvas (do not drag) to get straight lines connected with each other. To close a path click on the first anchor point and a new path is created. 42+ MAAC Lecture CompsPHOTOSHOP Selecting a path and hitting Ctrl +Enter converts the path into a selection. | To create curved shapes, click and drag the mouse without releasing the button. After creating the path, to control the points and curves use Direct Selection Tool, la Direct selection tool helps to manipulate the path’s anchor point and Ne the curves: Bx ay, In. curve path every anchor pointhas a tangent which can beusedto adjust the curves of the path. ae | be Ifan anchor point does not have a tangent, then select Direct Selection Tool and Ctrl + drag from the anchor point. This gives a tangent for that. @, | selected point. 7. R) Pahsantontoel pt R Peetsacente 6 » VECTOR MASK: Select pen tool, and create a path. Select the 7@ path and click on the layer mask button twice, the area covered . under the path is visible rest is hidden. @ > CLIP MASK: In clip mask one layer is visible through the opaque io | areas of the other layer. You can use the content of one layer to o mask another layer. The bottom or base layer works as a mask. ss > BOTTOM LAYER: _ CLIP MASKING MAAC Lecture Companion + 43 sieberiana ahi lpia> UPPER LAYER: 44» MAAC Lecture CompanionPHOTOSHOP Holding Alt on the keyboard, bring the mouse cursor in between the two layers in the layer palette and click the left button. The layer palette appears in following style: The final result of clip masking is: CLIP MASKING In the result, the image is visible into the text area. To get it back into its original form repeat the same process of clip mask. —— eeCHAPTER 9 COLOR CORRECTION This process is used in many disciplines like stage, photography, television, cinematography. The process is required to alter the overall color of the light. In Photoshop we perform the color correction task on images and photographs. The color correction process involves many complicated tasks such as color replacement in images, converting gray images to colorful image.ete, to name a few. ‘To start up with the process of color correction, one should be familiar with some options and tools which directly show whether the image requires a color correction or not. For this purpose one should know the basics of his- togram, channels ete. HISTOGRAM Histogram illustrates how pixels in an image are distributed by graphing the number of pixels at each color in- tensity level. The histogram shows whether the image contains enough detail in the shadows, midtones, and highlights to make a good correction. 46» MAAG Lecture CompanionA: Overexposed image B: Proper image C: Underexposed image The color correction options can be accessed from Image — Adjustment CHANNELS Channels are the grayscale images that store the information of colors. It indicates how the colors (RGB/CMYK) are distributed in any image. > COLOR CHANNEL: It depends on the mode. An RGB mode image contains three channels whereas CMYK mode image contains 4 channels, > ALPHA CHANNEL: This channel saves the information about transparency. Let's check the channels of the below image which is in RGB mode: > RED CHANNEL: MAAC Lecture Companion + 47 rr> GREEN CHANNEL: > BLUE CHANNEL: The black to white range indicates the level of a particular color. The more is the brightness in any channel the more is the color in that area In the above image it can be clearly seen that the red and green channels have brighter area whereas the blue channel has only few white area i.e. blue color is only in the light hanging on the roof. 48 + MAAC Lecture Companion EEE ea aera ee eePHOTOSHOP Now let’s look into few practical examples of Color Correction process: > COLOR CORRECTION 1 Open any image in Photoshop and check the histogram to find whether the image is underexposed or over ‘exposed. In any of the cases, it needs to be color corrected. The image can be color corrected with the use of Image>Adjustment>Levels. Following is the levels controls box: A: Selects the channel on which you want to do the task B: Shadows. All the pixels beyond this point are black C: Midtone D: Highlight, All the pixels beyond this point are White ‘The level control contains a histogram itself which has shadow, mid- tone and highlights slider to achieve the result by dragging them. For this image there is a huge gap at shadows and highlight point. After dragging them to eliminate the gap the final result is achieved. MAAC Lecture Companion » 49BEFORE: AFTER: > COLOR CORRECTION 2 In the image given it’s very much clear that the intensity of blue is much more than any other color. For color cor- recting this image Image > Adjustments > Color Balance will be used. Color balance works according to the theory of color wheel and the colors are balanced according to it. When ‘one color of the wheel is increased the opposite color is decreased. 50 + MAAC Lecture Companion eS |PHOTOSHOP Let's check the controls of color balance before color correcting the image. Li x Fs | == | Color Levels: [HT io lo | Hes) on —— tt | Magenta =o GUN Yelow a jp Tone Balance — —<——— | © Shadows @ Midtones— Hghights | F Preserve Luminosity It has three sliders to increase or decrease the colors. The slider works like a balance i.e. if it is dragged to- wards red, then red is increased while cyan is decreased and vice versa The tone balance is selected to define the preferred Tonal Balance for required correction i.e. shadow, midtone and highlight. \n this image the slider is dragged toward yellow for each tone balance to get this result: After this, brightness /contrast is applied to this imageBRIGHTNESS & CONTRAST == ee Cancel Contrast: 0 Preview ye Ue Legacy > BRIGHTNESS: Moving the slider to right increases tonal value and expands highlights, moving toward left expand the shadows and makes the image darker. > CONTRAST: It expands or shrinks the overall range of tonal values in the image. Apply brightness & contrast to get the final result: BEFORE: AFTER: 52 + MAAC Lecture Companion ‘cs shee eeriePHOTOSHOP > COLOR CORRECTION 3 HUE & SATURATION zi itl : F Coloize FAP werevew NT NT ae > HUE: Colors are also known as hue. Dragging the slider shifts the color position according to the color wheel. The value of hue represents the degree in color wheel. > SATURATION: Purity of any color is termed as the saturation. Dragging the slider to right will increase the Purity of color, while dragging it to left side will convert it to gray » LIGHTNESS: In this slider dragging to right increases white, whereas dragging to left increases black in the image. > EDIT: This dropdown is used for selecting the channel in which the change has to be done. Master works for the overall image. \We will be using Image>Adjustments>Hue/Saturation in the given image. MAAC Lecture Companion + 53In the image, the shadow of wooden logs appears in blue color. The blue color added in the shadow needs to be removed In edit option select the blue color as the changes has to be done only in blue color, To achieve the desired result the saturation value is decreased. BEFORE: AFTER: > COLOR CORRECTION 4 CURVES Curves also work on shadows, midtones and highlights but it allows us to tweak the tones without disturbing the other tones. (ERENT =) A: For selecting the channels B: Shadow point C: Highlight point D: The graph line allows you add maximum 14 points to manipulate further, The curve option is also sometimes very handy as a color correction toolset. Let's explore it with the given image. ‘54 + MAAC Lecture CompanionPHOTOSHOP In the image the red color tone is very high, and the eggs in the cup also have 3 specular points (highlight area). We need to be careful when color correcting this image, so that these highlights should not get over exposed. Keeping in mind the same, curve is the best option with which the result can be achieved 1. This image has more red tone so in channel option select the Red channel. Then add a point at the centre of the graph line and drag it down, The change is color is simply based upon the technical color wheel. When any color is decresed the opposite color which is available on the color wheel is increased, 2. The image is now rich in green. To remove the green tint, select the green channel, add a point on curves line and drag it down. Its better to select the areas seperately rather than applying color correction on whole image. MAAC Lecture Companion + 85 QO eee aaa |3. Now the image is rich in red color. Let's explore some more options to color correct this. We will use here hue/saturation to suppress the red color. Before these select the eggs so that red color suppression is done for the eggs only. For selecting the egg use Image—Adjustments—Color Range. COLOR RANGE The select menu has the color range option. This option gives the selection based on colors or tones ‘A: Specify the color or tone which has to be selected B: Fuzziness is used to increase/decrease the selection range C: Droppers are used to select add or subtract any color from selected range D: It shows the range in grayscale or the original image is shown After the selection is done with color range, the selection is feathered Select —>Modify-.Feather. After feathering the selection, use hue saturation to suppress only the red color. In hue/saturation edit option red color is selected and the saturation is decreased. ‘Oseecton Oimage selcton renew Nene A 56 + MAAC Lecture CompanionFinally the result is achieved: BEFORE: AFTER: MAAC Lecture Companion » 57 |» BLACK AND WHITE: It converts the color image to a gray scale image, and thus allowing us to control the brightness or lightness of all the colors in the image > MATCH COLOR: The Match Color command matches colors between multiple images, between multiple layers, or between multiple selections, 58 + MAAC Lecture Companionae Lo » REPLACE COLOR: Replaces specified colors in an image with new color values. > SELECTIVE COLOR: This adjusts the amount of process colors in individual color components | | » CHANNEL MIXER: Modifies a color channel and makes color adjustments not easily done with other color adjustment tools. > PHOTO FILTER: The Photo Filter command mimics the technique of putting a colored filter in front of the camera lens to adjust the color balance and color temperature of the light transmitted through the lens and exposing the film, MAAC Lecture Companion « 58 ue rrrrrrrrrerteenieenieninaniiinin niesIn the above image a cooling filter (LBB) is applied to achieve a different result » SHADOWIHIGHLIGHT: This is used to lighten the dark areas and darken the highlighted areas of an image. 60+ MAAC Lecture CompanionPHOTOSHOP One more example with the shadow-highlight effect, | >. INVERT. In simple words it inverts the color, but there is a mathematical calculation involved into it. The RGB alue of every pixel is subtracted by 255 and the result is achieved, f R=200, G=150,B=230 then invert is R=255-200,G=255-150,B=255-230. MAAC Lecture Companion » 61> VARIATION: The Variations command lets you adjust the color balance, contrast, and saturation of an image by showing you thumbnails of altematives. CONVERTING GRAYSCALE IMAGE TO COLORFUL Below is an image which can be made colorful with the use of variation option. 62 + MAAC Lecture Companion hee ial aati eeeHOTOSHORP The skin, lips and the hat is selected in three different selections. Variation is selected with skin selection en- abled. The following window appears. eee Co) COE) ol es The variation window contains thumbnails for each color. Clicking on the thumbnail increases the respective Color into the selected area. To add more color click again and again on the same thumbnail, to remove the color click on the opposite color according to the technical color wheel, The colors can be manipulated according to different tones i.e. shadows, midtones or highlights. The above process can be repeated with other selected areas to get a colorful image. MAAC.CHAPTER 10 GRADIENT The Gradient tool creates a gradual blend between multiple colors. Some real life examples of gradient are rainbow, sky ete. 3 E oN. 1 as, € aS, 2 FQ), » (Grde Too A 3 QyPin et To Gradient tool can be activated from the toolbar or by pressing G. or Gradient is filled by dragging in the image. The starting point (where La the mouse is pressed) and ending point (where the mouse is re a leased) affect the gradient appearance, depending on the Gradient S he tool used. g ; ¢ oom 64» MARC Lecture CompanionPHOTOSHOP STYLES OF GRADIENT: | - | [(@)] Tl Key A.LINEAR GRADIENT: Shades from the starting point to the ending point in a straight line. B.RADIAL GRADIENT: Shades from the starting point to the ending point in a circular pattern C.ANGLE GRADIENT: Shades in a counterclockwise sweep around the starting point. D.REFLECTED GRADIENT: Shades using symmetric linear gradients on either side of the starting point. E.DIAMOND GRADIENT: Shades from the starting point outward in a diamond pattern. The ending point de fines one corner of the diamond. EDITING OR CREATING NEW GRADIENT: The default gradient color depends on the foreground and background color. The gradient can be created and edited in gradient editor according to the requirement. A: PRESETS: The thumbnail displays all types of gradient which are available. The gradients can be added or deleted. ‘The color spectrum shows the merging of colors with each other. B: Controls the opacity of the colors on the gradient. C: Add, delete or edit the colors of the gradient. MAAC Lecture Companion + 65CREATING DEPTH FOG WITH GRADIENT For the image a gradient is created according to the perspective walls. Now a new layer above this image is filled with gray color which will work as a fog layer. Also the layer mask is enabled with this fog layer Select the gradient layer by pressing Ctrl + A, copy it (Ctri + C) and paste this into the alpha channel of gray fog layer to get the output 65 = MAAC Lecture CompanionMETALLIC RING WITH GRADIENT Let's now look into how gradient can be used to create a light and metal effect. On a new canvas drag a gradient to create the light effect on a flat surface. This flat gradient is like a wall on which light is coming from lower right corner [MAAC Lecture Companion « 67(On a new layer create a circular selection and drag a linear gradient into it with same colors. Now scale down the circular selection and create a reverse gradient in this scaled circle to get this output. Again scale down the selection and delete the area. After doing this ‘a metal appearance is achieved in which the area exposed directly to light is highlighted whereas the area on the opposite side of the light is dark i.e light is not reaching in that area GB + MAAC Lecture CompanionBut the output lacks the shadow in it, so the next task is to create the shadow. ‘To create the shadow Ctrl + click on the ring layer to get the outline selection of this and Feather the selection, Create anew layer and fil black color into it. Offset the layer so that the shadow should be visible while creating an effect that there is a gap between the ring and wall. Create a new layer to make rods. Reflected gradient style is used to create the rods. Create a rectangular selection for rods. Hold shift to create a straight line gradient or enable View —> Snap and View —»> Show —» Grid, After creating one rod, make multiple copies of them. To create multiple copies of rods, (Ctrl +click) on the layer to get the selection. Holding (Shift +Alt) and with move tool drag the selected area to create more copies al Next we need to create shadow of rods. The same process is repeat- | eds before to create a shadow like that of the ring. F | In this case there should be two layer of rods shadow, one falling on | the ring another falling on the wall | | To create this effect duplicate the rods shadow layer. Shift one layer fo left side as the shadow should appear first on ring then on wall Now delete the unwanted shadows area i.e. the shadow falling on | the ring should not be on wall and vice versa MAAC Lecture Companion » 69 Salil iiahierdiiduasimeridasabedunabeiadduabaliadienedudeiesaieidaeiiaicnaaad ahah he aieadeeee ieee Cee eeeFinally the shadow of rods on the ring and wall are not straight, there is an offset | I 1 re Companion renamePHOTOSHOP CHAPTER 11 BLENDING MODES ‘When we talk about blending, its often said that “blending means mixing” but blending and mixing are two different terms with different function. BLENDING: When two or more substances combine together they === produce a third product but the components can't be separated out. ‘* Ov + @ se Also the identity of each product is gone. = MIXING: When two or more substances are combined together they produce a third product but the components can be separated out. While mixing the identity of each product remains the same. ‘Thus blending is like a chemical reaction in which the internal compo- 1 nents of each product reacts with each other. F Photoshop has blending modes ie. blending between colors in two layers to produce a third color. Layer The lower layer is known as base layer and upper layer is known as blend layer. Let's look into the process how blending modes works The Base layer The Blend layer MAAC Lecture Companion « 71> NORMAL: This is the default mode. No change occurs, » DARKEN: It compares the value of base layer RGB with the blend layer RGB ie. R is compared with’R, G is compared with G and B is compared with B and the result is the lowest value in between them.eg: suppose for base layer R=230, G=35, B=186 and for blend layer R=242, G=145, B=200 Then the darken result is: R=230(230<242), G=35(35<145), B=186(186<200) 72. + MAAC Lecture CompanionEe eee : PHOT OSHC [= > MULTIPLY: The RGB values of both the layer are multiplied and then divided by 255, the formula is (Rx RY/255,(G x G)/255,(B x BY/255 » 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. 74» MAAC Lecture Companion» SCREEN: Opposite to Multiply mode i.e. the base and blend layer is inverted (RGB subtracted from 255), multiply blending mode is applied between them, and the result is again inverted to get the screen result. » 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. MAAC Lecture Companion + 75» LINEAR DODGE: (Add) Looks at the color information in each channel and brightens the base color to re- flect the blend color by increasing the brightness. Blending with black produces no change 76 = MAAC Lecture CompanionPHOTOSHOP » SOFT LIGHT: Darkens or lightens the colors, depending on the blend color. 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 » HARD LIGHT: Multiplies or screens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. = = ee MAAC Lecture Companion » 77 siiiebederisaemeasechidedielidbeeecsheteddeddieam ied edecee Cee eee eee> 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 con- trast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast. > LINEAR LIGHT: Bums 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.PHOTOSHOP > 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. MAAC Lecture Companion » 79For these blending modes the base layer is same but the blend layer is changed, THE BLEND LAYER: > HUE: The hue (color) is preserved from blend layer whereas the saturation and brightness is preserved from base layer. 80 + MAAC Lecture Companion |e rcaPHOTOSHOP » SATURATION: The saturation is preserved from blend layer whereas the hue (color) and brightness is pre- served from base layer. » COLOR: The hue (color) and saturation is preserved from blend layer whereas the brightness is preserved from base layer. MAAC Lecture Companion » 81> LUMINOSITY: The brightness is preserved from blend layer whereas the hue (color) and saturation is preserved from base layer.CHAPTER 12 LAYER STYLE Layer style provides a variety of effects that change the appearance of layer content. To enable the layer style option in a layer; double click on the layer to get the layer style window. eee Default [> Advanced Blending Fil Opacty: <0 [00% Charnes: BR 6 Ve Knockout [Rone =] IF elend interior Effects ax Group I Blend Cipped Layers a: Group I Tranaparency Shapes Layer Layer Mask Hides eects vector Mack Hides effects {4 Layer style dialogue box overview: > DROP SHADOW: Adds a shadow that falls behind the contents on the layer. layer styles> INNER SHADOW: It adds a shadow that falls just inside the edges of the layer’s content, giving the layer a layer styles > OUTER GLOW AND INNER GLOW: Add glows that emanate from the outside or inside edges of the layer’s layer styles layer styles > BEVEL AND EMBOSS: Add various combinations of highlights and shadows to a layer. layer styles layer styles > SATIN: Applies interior shading that creates a satiny finish, » COLOR, GRADIENT, AND PATTERN OVERLAY: Fills the layer’s content with a color, gradient, or pattern. layer styles layer styles 84» MAAC Lecture CompanionPHOTOSHOP » STROKE: Outlines the object on the current layer using color, a gradient, or a pattern. It is particularly useful on hard-edged shapes such as type. layer styles ATTRIBUTES OF LAYER STYLE: v BLEND MODE: Determines how layer style blends with the underlying layer. >» OPACITY: Sets the opacity of the layer style. » ANGLE: Sets the angle in which the style will be displayed. » DISTANCE: Offsets the distance between shadows from the original layer. > CHOKE: Shrinks the boundary of the shadow > SIZE: Defines the softness in shadow edge. » ALTITUDE: For the Bevel and Emboss effect, it sets the height of the light source > ANGLE: Determines the lighting angle at which the effect is applied to the layer. » COLOR: Specifies the color of a shadow, glow, or highlight. » CONTOUR: With solid color glows, Contour allows you to create rings of transparency. » DEPTH: Specifies the depth of a bevel. It also specifies the depth of a pattern > USE GLOBAL LIGHT: This setting allows you to set one “master” lighting angle that is then available in all the layer effects that use shading: Drop Shadow, Inner Shadow, and Bevel and Emboss. > GLOSS CONTOUR: Creates a glossy, metallic appearance. Gloss Contour is applied after shading a bevel or emboss. » GRADIENT: Specifies the gradient of a layer effect. > HIGHLIGHT OR SHADOW MODE: Specifies the blending mode of a bevel or emboss highlight or shadow. > PATTERN: Specifies the pattem of a layer effect. > POSITION: Specifies the position of a stroke effect as Outside, Inside, or Center. > RANGE: Controls which portion or range of the glow is targeted for the contour. > SIZE: Specifies the amount of blur or the size of the shadow. > SOFTEN: Blurs the results of shading to reduce unwanted artifacts.Adding some layer style effect to the magazine cover of chapter 6 asd OS Une ety Pee eee , ) ; Pu ks ul sd Pata | Fr ! 0 ( 86» MAAC Lecture Companion “alata ae a ae ai deena lca laeleaeedelaeeeeeeerieneidanPHOTOSHOP CHAPTER 13 CLONE, HEAL AND PATCH TOOL CLONE TOOL: Clone means an exact replica of all or a specific part. The function of this tool is to create the ‘exact replica of some or all part of the image. For cloning the pixels are copied from the same or different image. ‘To clone the pixels from any image press Alt and click on the area which is to be cloned, then release the Alt and holding right click mouse button drag on the same or new canvas, cloning occurs. Cloning has an option aligned, if selected the cloning sample point moves along with the cursor and gives a new source point every time you click and drag, if not selected the cloning is done from the first source point every time. Below are the images before and after applying cloning: MAAC Lecture Companion + &7 ci eee laceHEAL TOOL: Like the clone tool it copies and paste the pixels, but it also matches th parency and shading of the sampled pixels to the pixels being healed. ting, texturing, trans- Below is an example of healing tool: PATCH TOOL: Patch tool works similarly to heal tool ie. it matches the lighting, texturing, transparency. The only difference is that it doesn't use a brush. A selection is drawn and can be dragged anywhere on the image. ‘When right clicked on the selection two options source and destination appears. If “use patch as source” is cho- sen then the patch effect is applied on the selected area. If “use patch as destination’ is chosen then the selected area can be dragged and the patch effect is applied on the area where it is dragged. 8B + MAAC Lecture Companion emerPHOTOSHOP CHAPTER 14 VANISHING POINT | __ The Vanishing Point preserves correct perspective in images that contain perspective planes. | _ Inthe below image perspective lines are created ‘These lines give an idea about the perspective of walls, roof and floor. MAAC Lecture Companion + 89Now we need to change the floor and put some design on the wall. Selecting the image layer in the menu bar G0 to Filter—-Vanishing point. This gives the following layout: VANISHING POINT CONTROLS: A: EDIT PLANE TOOL B: CREATE PLANE TOOL C: MARQUEE TOOL D: STAMP TOOL, ___E: SETS THE SIZE OF GRID ON PLANE F: SETS THE ANGLE BETWEEN SELECTED PLANE AND ITS PARENT 90 = MAAC Lecture CompanionPHOTOSHOP Create plane tool is set by default. Clicking on the image will give a blue line with which perspective lines are created. For every plane in the above image a new plane is created ‘The blue color grid indicates that the grid is properly drawn according to perspective. If the grid appears in red then there is a possibility of error in perspective lines. To adjust the plane or extend it, drag the control point on the plane. Hit Ok to go back on the layer. The vanishing point wil stil be there. The given image will be replaced with the floor. MAAC Lecture Companion + 81 ices callSelect the image CtrltA Ctrl +C (copy command). Before going to the vanishing point option, create a New Layer. Without this the layer will paste on the same layer. In vanishing point window press Ctrl +V (paste). The selected image is pasted into the grid lines and is aligned according to the perspective. Now to create a reflection on the floor which is there in the original image, the highlights are selected from original image through color range option. The selection is feathered. 92.» MAAG Lecture CompanionPHOTOSHOP (Cirltd) Copy the selected area and paste it into a new layer. Blend this new layer with the new floor to get the light reflection in the new floor. Use levels and curves to adjust the dark edges of the new floor. ‘After color correction this is the result: ‘Similarly some designs on the walls are also added: —_). MAAC Lecture Companion + 83CHAPTER 15, DIGITAL PAINTING We will leam to create a digital painting from this image. To create the Digital Paining we will first require the outline of this image. Duplicate this image. Image —> Duplicate. Set the foreground and background colors as black and white Apply Filter + Sketch — Photocopy The sketch filter takes color from the foreground and background color. You will get a black and white result with black and white outlines For thin outline, reduce the detailing and increase the darkness from the sliders at the top right corner of the box. You get the dimension of this particular face. 94 + MARC Lecture Companion una,OT O! Click the background layer in the layers and change it to multiply mode to make all the white pixels transparent. Now begin with the Grayscale digital paint using the outline of this image. To start the painting we will be doing the basic blocking, Change the mode, Image —+ Mode — Grayscale. While converting the image to Grayscale, do not merge the layers. Selecting the brush tool, select a new layer and start the blocking Pick a lighter shade (in the black and white color slider) for blocking, After blocking the face of the character, choose a darker shade to block the hair of the character. Decrease the hardness while doing the hair. Name the layer ‘blocking’ MAAC Lecture Companion « 95 Mie ese ARA AERA EEE ERs EO AaNext, you can copy the same layer with ctrl + J and create another new layer on which you-can paint further details, Save the image. The face has dense areas like the comer of the eyes, under the nose, in the eyebrows, lip area, under the lashes where you can paint with a slightly dark shade. Change the mode to Darken, Select the same color as the color of the outline, reduce the flow and add a shade of darkness. Don't change the opacity because opacity works in transparency and flow works in the brush pressure. Set the working layer to multiply mode. You don't have to change the shade of your color. It will multiply the base color with the blend color. Reduce the flow to 5%. This is now the second stage with a little bit of shading. After completing the basic shading one can start the detailing. We will paint the eyebrows. Take an artistic brush, from #14 to #59. Welll choose #39 Let’ increase the size of the brush, Then go to brush presets. Increase the spacing to 4%, change the angle a bit and start painting the eyebrows. Select the multiply mode and reduced the flow to 5%. 96» MAAC Lecture Companion CECE ease CsEE erase USEC ##ESEEE2F EPSP EV e222PHOTOSHOP ‘Once the eyebrows are done we need to start adding details to the eyes. For the eyelashes select a smaller pixel brush like 9 pixels. In shape dynamics mode, change the control to Pen Pressure, you can choose Fade and can give the amount you want. For longer streaks, increase the amount, 25% to 50%. Increase the flow of the brush and paint the eyelashes After this, change the mode to Screen and add some highlights to the eye area. Reduce the flow. Image reference For brighter highlights you can change the mode to color dodge and brighten the highlight select a slightly darker color to get a blend effect. ‘Always keep the reference image at the side so that you can check the source of light based on which you have to paint. We have painted gradually on different layers and increased the detailing, | Now will start painting the hair. For that same we will create a new brush of width .5 inches and height .5 inches, resolution 300. MAAC Lecture Companion + 87 Disaiesasehehaieiainabnaedabeeersicele sie cece eaOn this new page, we will create some minute dots of 2 pixels. Reduce the hardness, take the default colors black and white, dab the dots randomly. We want to define a brush. Edit Show All Menu Items to find Define Brush preset option. You can rename the brush as ‘hair’ and hit Okay. ‘When you create a brush in Photoshop, if your background is white, it will make the white background transpar- ent and you can get the desired brush. Now you can see that your brush has been created. It is the last brush in the brush palette and we will be using this. The opacity and flow of the brush is set to 100. Now we will paint over the face. But this is not the result we want because there is 25% spacing in the in brush tip shape so reduce the spacing to get smooth continuous thin lines. 98 + MAAC Lecture CompanionPHOTOSHOP Now you will be able to paint a bunch of hair with just one brush stroke ‘We will check on the Shape Dynamics option and set the control to Pen Pressure for the pointed hair in the end of the stroke. Check on the Other Dynamics option as well and set the flow to Pen Pressure to get transparency at the beginning and end. This is the hairbrush. Before this, you can select any of the artistic brushes like the ‘one we used for painting the eyebrows, reduce the flow to 3% - 4%, increase the spacing, change the angle and start painting the hair. Take a lighter shade, set the mode to multiply, increase the brush size and paint accordingly. When you set the mode to multiply, each time you paint on the same stroke, you will get a multiplied result. Let's increase the detailing now. Select the created brush for hair, reduce the spacing, and check on the Shape dynamics and other Dynamics. Set the control to Pen pressure and mode to multiply, re- duce the flow to 20% - 25%, use a darker shade and paint strokes. Notice that these are thin strokes that are being produced. Increase and decrease the flow values. Once we are done with the strokes, we will change the mode to Screen to work on the highlighted parts, reduce the flow and paint the highlights. Give a litle more detailing and you will get the desired result. MAAC Lecture Companion + 89 Piece eee eee eC Sere eee sere eee cee eee cece eee eeeWe have now leamed how to color in grayscale Let's add color to it. Go to color mode and convert the mode to RGB. Use a feather brush and Set the Hardness to 0, Then select the skin tone you like, Copy the same layer once again. Uncheck the shape dynamics of the brush and paint on top of the grayscale image, adjusting the color and flow. Ifyou want to paint some texture over it, you can check on texture and append the patterns or else you can make your own pattern. Define a pattern and use the same patter for the texturing, Reduce the flow of the brush, take the same color and enlarge the image so that you can see which type of texture you are using. Change the mode to the desired one and see that you get a thin texture, You can choose a skin texture also, so that you can paint over it, Make sure you maintain the pressure of your brush so that you get a smooth result. You can increase the scale, if required, This is how you can color your grayscale digital paint or any gray scale image. 400 + MAAC Lecture CompanionPHOTOSHOP CHAPTER 16 FILTER EFFECTS Filters can be used to create special effects on an image. The filter can be applied on the whole image or onto the selected area | > CREATING A FOG EFFECT: | Choose an image to apply Fog effect Press D to set the default color black and white in the color palette, Create a new layer. Apply Filter > Render — Clouds [MAAC Lecture Companion » 101Set the blending mode of the layer to screen to get the result. The layer can be scaled up to achieve proper result. > CREATING FIRE EFFECT: Create a new canvas. Press D to set the default color black and white in the color palette. | Apply Filter — Render — Clouds. Then apply difference cloud multiple times which will give a similar effect 102. + MAAC Lecture Companion rnnnnnnnnnmmnenmmmemermmmmmmmmmemmmmrmmeentinm=eesgrgrysgescececestikteceie 2S 2-3 Sasa| Go to Image —> Adjustment —+ color balance. Adjust the sliders to increase the Red and Yellow color. Use levels | to increase the darkness | | Duplicate the layer, apply Gaussian blur, and set the blending mode to screen. The glow within the texture is achieved MAAC Lecture Companion « 103,Create another duplicate of the base layer. Apply Blur —> Radial blur with maximum value. Select zoom from op- tions. Ctrl+F apply the same effect again on the selected layer. Try out with different blending modes. > CREATING LIGHT RAY: 404 + MAAC Lecture Companion rr eeeeeneeeecaeerreaascseracccsieslCreate a duplicate of the above image and apply radial blur on it Use blending modes to create the final effect. > DISTORT EFFECT: MAAC Lecture Companion » 105‘We will write some text on the stones so that it should distort. According to the curves of stone. Below is the text layer which has to be wrapped on the stones, It can create by free writing with brush tool Mel Then apply Filter —> Distort > Displace .This allows to displace the pixels with respect to another layer. For per- fect displacement it's better to convert the image into grayscale and save it in (.psd) format. Later it can be used for displacement. Once the Text layer is distorted, double click on the above layer to apply layer style. In the Blending options: Default hold alt and drag the sliders to get a proper blended effect.PHOTOSHOP > ICE EFFECT: To start creating this effect, White colored Text is merged with a black background, FROZEN ICE Four layers are created from the above image. Filter + Stylize + Wind is applied on one layer. The direction in wind is set from the right FROZEN ICE MAAC Lecture Companion + 107The same effect is applied on the other layer from left direction. To apply the wind effect in vertical direction, rotate the layer by 90 degree, apply the effect and rotate it back E: FO] FA@) se ce OTE 74 @) = Es 108 + MAAC Lecture CompanionPHOTOSHO! ‘Screen blending mode is applied between all the layers to get the wind effect in all direction. Through color range option, the midtone value is sélected. Ctrl+) copies the selected pixels in new layer. Layer style is applied to this copied layer with bevel emboss and color overlay. On the text layer and enable inner shadow in layer style to get the following output MAAC Lecture Companion « 108CHAPTER 17 FILE FORMATS Every fle has a different format, i.e. a particular way to arrange and store the information in a computer file The file format specifies first whether the file is a binary or ASCII file, and second, how the information is organized. SOME FILE FORMATS USED IN PHOTOSHOP: > PSD: Default Photoshop format that supports most Photoshop features. > BMP: Itis the standard windows image format. It supports RGB, bitmap, grayscale and index color modes, > GIF: Graphics interchange format, commonly used to display index color graphics and images in HTML documents over the World Wide Web. > EPS: Encapsulated post script can contain both vector and bitmap graphics and is supported by all graphics, illustration and page layout programs. > JPEG: ‘JPEG’ stands for Group. Saving a file in this format results in data loss in terms of quality which can't be restored, > RAW: A camera raw file contains unprocessed, uncompressed grayscale picture data from a digital camera's image sensor, along with information about how the image was captured, v PNG: Portable Network Graphics (PNG) format is used for lossless compression and for display of images on the web. Unlike GIF, PNG supports 24-bit images and produces background transparency without jagged edges. > TIFF: Tagged-Image File Format (TIFF, TIF) is used to exchange files between applications and computer platforms. TIFF is a flexible bitmap image format supported by virtually all paint, image-editing, and page- layout applications. > TGA: The Targa (TGA) format supports images of any dimensions with between 1 and 32 bits of color. It is designed for Truevision hardware, but itis also used in other applications. > PDF: Portable document format, displays and preserves fonts, page layouts, and both vector and bitmap graphics. 410 + MAAC Lecture Companion a aPHOTOSHOP CHAPTER 18 MULTILAYER COMPOSITING We will see how different options and tools can be used to create some composition in Photoshop. | _ Inthe following image, the blue background has to be removed And it should be placed over another image\ ‘To match any two or more images,always check these conditions: 1.The images should be of almost same resolution 2 Light direction should be same in the composition. 3.Camera angle should match in the composition. 4,Shadows should be accurate in the composition 5.Edges of foreground should propery blend with the background MAAC Lecture Companion » 111 acannon nae ele theese ala icc ec ecThe girl image is dragged onto the interior image to check the camera angle .The opacity value is decreased and the girl is adjusted according to the floor. Now the blue color has to be re- moved .use select > color range to select the blue color and apply layer mask to hide the blue color background, Here is the result: Apply Filter —> Blur —> Gaussian Blur to the alpha channel to soften the edges. The radius value is entered as 1.5 here. 412. + MAAC Lecture Companion ee =|PHOTOSHO Now zoom the image ,the blue pixels can be seen at the edge of the masked image. | Right click on the layer mask thumbnail and select apply layer mask. Now the image has no layer mask also the blue background is deleted. To remove the blue pixels from edge go to Layer —- Matting — Defringe. Defringe doesn't works with masked edges. Defringe replaces the blue pixels from its nearby pixels.Enter a value of 5 or 6 to get the result: Now the hair has the blue color effect. To remove this use hue saturation, select the blue color in edit option and expand the range of blue. Now decrease the saturation or change the hue, which ever gives the best result. MAAC Lecture Companion « 113i Next task is to color correct the foreground so that it should match with the background, The foreground is rich in colors whereas the background has more light in the environment. So the hue saturation is used in foreground and the saturation is decreased. 114» MAAC Lecture Companionlees) The image is cropped. The light effect is still missing in this image: ‘To create the lighting effect on the mode! duplicate the background and apply radial blur with zoom blur \ method. ‘Mask this image and try out different blending modes so that the edges are properly lit according to the light value, Screen or vivid light works well here. MAAC Lecture Companion » 115Now use Ctri+E to merge all the layers in a single layer. Duplicate the layer, apply Gaussian blur to it, and try out different blending modes. Here screen is set and the opacity of upper layer is decreased, 116 + MAAC Lecture CompanionSen le =e ‘One more output with same image: MAAC Lecture Companion = 117CHAPTER 19 MATTE PAINTING In this chapter we are going to learn about “how to do a matte painting?” First lets understand what do we understand by the term “Matte” } > MATTE ‘Amatte is a solid shape that is used to block out areas of a frame so that no image gets exposed there. A simple matte shot would require a shot of the painting with a matte to block out the live area, the film sequence with a matte to block out everything but the live area, and a final piece of film for everything to be exposed onto. > MATTE PAINTING Matte paintings are used to create virtual sets and digital backgrounds. They can be used to create entire sets, or to extend portions of an existing background. Traditional matte painting is done optically by painting ‘on top of a piece of glass to be composited with the original image. The simplest matte paintings are ones in which the camera is stationary throughout the entire sequence. This is called a locked-off shot. Creating a matte painting for this kind of shot can be fairly easy. Only one frame, or plate, of the footage is needed, It can be opened in Photoshop and the new areas painted right ‘ontop. ‘A.common application of matte painting is set extension. This is where only the background immediately behind the action is filmed and for practical, budgetary, or other reasons, the rest must be painted in later. There are few aspects which we need to take care of while creating a matte painting 1. The correct size of the BG Plate /Matte Painting Perspective Camera Light Match oe en Aesthetics Considering all of these above aspects we need to firstly design a sketch/basic line art of the landscape or the environment which we are further going to design in Photoshop. 118 + MAAC Lecture Companion (elPHOTOSHOP ‘As we can see in the above sketch, we have designed a radiating composition/layout which has a single vanish- ing point. All the elements in the composition converge towards a single point. Also the scale of the elements declines as we move closer to the vanishing point. Few examples showing that the elements are getting smaller as they are converging to the vanishing point. MAAC Lecture Companion » 119 Siaa 1 STEP 1 - CREATE A NEW FILE Create a new file of the size width: 1920px and height: 1080px, the resolution: 300ppi. The image that we would be creating may be used as a high-resolution matte paint or a background plate. Name: Preset: | Custom Width: Height: Resolution: Color Mode: Background Contents: ¥) Advanced 1080 ae oadate ives (COgnice central.) 300 RGB Color v Transparent > STEP 2—- CHOOSING THE CORRECT IMAGE s8 420» MAAG Lecture Companion>» STEP 3: MASKING AND REPLACING SKY To begin, let's open “Image (B)". Using the Move tool (V) and drag it to our canvas, with the image in place, then use Ctrl+T for rotating the image. The sky of our present image doesn't look that good, so we have to change it by using channel masking, For doing that we need to go to the channel palette, select the blue channel and duplicate it. With the help of Curves ( Ctri+M ) we adjust the black point and the white point of the image there by changing it into an alpha channel where white denotes the selection area. MAAC Lecture Companion » 121Press Ctrl and click on the thumbnail to get the selection and moving back to the layer palette and apply a layer mask for removing the sky. > STEP 4: ADDING SKY AND MATCHING COLORS ‘As we need to add in a new sky, so we've selected the sunset's image and add it up to the background, Now we need to match the colors of the foreground plate with the colors from the sky. For doing the same we create an adjustment layer and choose gradient from the menu. Also choose the blending mode to overlay. For further color enhancement using the same selection area apply curves (Ctr+M) 122. + MAAC Lecture Companion /p a Snel > STEP 5: ADDING SOME FLOATING ISLANDS From the above images extract the island by using the channel masking method and then drag it to the main file. To thoroughly fix the shape of the island we would need to transform it Activate the Transform tool and click on Warp from the contextual menu ‘As for matching the colors with the background we need to create few more adjustment layers for the island choosing curves, brightness and contrast and color balance. Also need to keep applying mask in all the color adjustments as we need to apply all these corrections in the island only. More manipulation can be added by painting certain areas in the mask for highlighting the areas where the color correction is required. Following the sketch created place more islands by making a duplicate (Ctrl+J) of the layer. Also applying color correction to all the islands following the mood of the composition. WAAC Lecture Companion + 123,> STEP 6: FOR FURTHER ENHANCEMENT AND TO ADD A GLOW TO YOUR IMAGES Use the copy merges command which is Shift+Ctri+T and then Paste (Ctri+V) it on to a new layer, this step copies all the visible layers, merges them and pastes it on to a new layer. For the glow, take a duplicate of the layer and apply Gaussian blur to it. Change the blending mode to softlight and adjust the curves. FINAL RESULT 424» MAAC Lecture CompanionCHAPTER 20 MONTAGE DESIGNING In this chapter learn to create a montage for a TV idents and commercials. These montages are designs which are generally known as style sheets, they are the last frame of the motion graphic animations which run on the television. > STEP 1- CREATE ANEW FILE Create a new file of the size width: 720px and height: 576px, the resolution: 300ppi. (MAAC Lecture Companion + 125> STEP 2- APPLYING GRADIENTS & EXTRACTING IMAGE OF THE PRODUCT > STEP 3: ADDING GRAPHICS Using the marquee tool (M) create a elliptical shape and fill it with #48b4af color. Transform the selection and scale it inside, 428 + MAAC Lecture Companion eel eee neal alae© ® Q © oO) ‘Adjust the shape dynamics, scattering, other dynamics and hue jitter before using itin the composition. Apply the brush multiple times into different layers in multiple sizes. MAAC Lecture Companion « 127Using pen tool (P) create a path and stroke it by using brush with simulating pressure. Reduce the fill of the layer with stroke to zero (0). With the help of blending options add inner glow and outer glow to the layer. 428 + MAAC Lecture Companion Ba ee eeelena (=| > STEP 4: CREATING METALLIC BASE RIM Using elliptical marquee tool create a shape and fill it with a reflected gradient as shown in the pictures below. Now for making multiple copies of the shape use Alt+Ctrl+T and transform the layer, using Shift+Alt+Ctrl+T repeatedly for more copies. Merge all the duplicate layers and change the saturation to -28 and lightness to +14 by using Hue/Saturation ( Ctrl+U). Adjust the perspective of the rim by using free transform (Ctl +T), Ha MAAC Lecture CompanionCreating another layer with the elliptical marquee and create another shape to fill the gap in between the rim, Also mask the area which shows extra.‘The background area of the composition needs more elements for the same we create a stroke with the pen tool and make duplicates of the stroke by following the steps as described in the part of making a rim. Make few changes in the color of the strokes MAAC Lecture Companion + 131> STEP 5: CREATING A DIRT BRUSH Using certain images of walls, ground planes where there's a lot of concrete and wand tool (VW) extract a particular area from the image and save it as a brush. with the help of magic Use the brush to paint splats in the composition. Now create another layer using a round soft brush paint some color and clip mask the layer into the splat brush layer also change the blending mode to linear burn. 182.» MAAC Lecture CompanionHOTOSHO! Paint more splats and paint some color over it to add in depth to the splat by using bevel and emboss from the blending options panel. > STEP 6: ADDING SILHOUETTES MAAC Lecture Companion + 133> STEP 7: ADDING LOGO Using the text tool create a layer with characters “HUGO”. The font style should be a simple, basic font with no serifs as stated in the original logo's image. HUGO HUGO BOSS Original logo Created in Photoshop Final Image 134» MAAC Lecture Companion Foe aeA DIVISION OF i NOT FOR SALE, FOR MAAC STUDEN’ ITS CIRCULATION ONLY Pe Head Office : 23, Shah Industrial Estate, Off Veera Desai Road, Andheri (West), Mumbai - 53 aC Ney) eee PL DO UAC Cee Rel) (rrrretey)