2018 release Adobe Photoshop CC

Transcription

1 2018 release Adobe Photoshop CC The Professional Portfolio

2 Managing Editor: Ellenn Behoriam Cover & Interior Design: Erika Kendra Copyright 2018 Against The Clock, Inc. All rights reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained in writing from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. The fonts utilized in these training materials are the property of Against The Clock, Inc. and are supplied to the legitimate buyers of the Against The Clock training materials solely for use with the exercises and projects provided in the body of the materials. They may not be used for any other purpose, and under no circumstances may they be transferred to another individual, nor copied or distributed by any means whatsoever. Against The Clock and the Against The Clock logo are trademarks of Against The Clock, Inc., registered in the United States and elsewhere. References to and instructional materials provided for any particular application program, operating system, hardware platform, or other commercially available product or products do not represent an endorsement of such product or products by Against The Clock, Inc. Photoshop, Acrobat, Illustrator, InDesign, Flash, Dreamweaver, and PostScript are trademarks of Adobe Systems Incorporated. Macintosh is a trademark of Apple Computer, Inc. QuarkXPress is a registered trademark of Quark, Inc. Word, Excel, Office, Microsoft, and Windows are either registered trademarks or trademarks of Microsoft Corporation. Other product and company names mentioned herein may be the trademarks of their respective owners. Cover image by Nigel Tadyanehondo on Unsplash.com Print ISBN: Ebook ISBN: th Street North, Saint Petersburg, FL ATC

3 Acknowledgements About Against The Clock Against The Clock, long recognized as one of the nation s leaders in courseware development, has been publishing high-quality educational materials for the graphic and computer arts industries since The company has developed a solid and widelyrespected approach to teaching people how to effectively use graphics applications, while maintaining a disciplined approach to real-world problems. Having developed the Against The Clock and the Essentials for Design series with Prentice Hall/Pearson Education, ATC drew from years of professional experience and instructor feedback to develop The Professional Portfolio Series, focusing on the Adobe Creative Suite. These books feature step-by-step explanations, detailed foundational information, and advice and tips from professionals that offer practical solutions to technical issues. About the Author Erika Kendra holds a BA in History and a BA in English Literature from the University of Pittsburgh. She began her career in the graphic communications industry as an editor at Graphic Arts Technical Foundation before moving to Los Angeles in Erika is the author or co-author of more than thirty books about Adobe graphic design software. She has also written several books about graphic design concepts such as color reproduction and preflighting, and dozens of articles for industry online and print journals. Working with Against The Clock for more than fifteen years, Erika was a key partner in developing The Professional Portfolio Series of software training books. Contributing Editors and Artists A big thank you to the people whose comments and expertise contributed to the success of these books: Dan Cristensen, technical editor Debbie Davidson, technical editor Jose Moncada, technical editor Roger Morrissey, technical editor Susan Chiellini, copy editor Images used in the projects throughout this book are in the public domain unless otherwise noted. Individual artists credit follow: Project 1: Sunrise.jpg photo by Stefan Kunze on Unsplash.com. Lightning.jpg photo by David Mourn on Unsplash.com Tornado.jpg photo by Jean Beaufort on Publicdomainpictures.net Project 2: amg.jpg photo by Mike on Pexels.com inset1.jpg photo by Kyle Murfin on Unsplash.com inset2.jpg photo by Jake Weirick on Pexels.com inset3.jpg photo by Sergiusz Rydosz on Publicdomainpictures.net tires.jpg photo by Imthaz Ahamed on Pexels.com Project 3: Museum images in this project are courtesy of the Getty s Open Content Program: getty.edu/about/whatwedo/opencontentfaq.html HDR image exposures by Charlie Essers. Project 4: Images used in this project are copyright Against The Clock, Inc. Roshambo.jpg photo by Charlie Essers. Project 5: Photos used in this composition are by skeeze on Pixabay.com Project 6: Images used in this project are copyright Against The Clock, Inc. Images in the supplied banner ad are photos by Jesse Darland and Dark Rider on Unsplash.com Project 8: Images used in this project are copyright Against The Clock, Inc. iii

4 Walk-Through Car Magazine Cover Your client publishes a monthly magazine for car enthusiasts. Your agency has been hired to take over the magazine design; you have been tasked with designing the cover for the next issue. This project incorporates the following skills: o Resizing and resampling supplied images o Creating complex vector paths and shape layers o Compositing images as Smart Objects o Applying non-destructive styles, effects, and filters o Developing a custom artistic background Project Goals Each project begins with a clear description of the overall concepts that are explained in the project; these goals closely match the different stages of the project workflow. Project Meeting client comments Every month, the magazine cover includes one main featured car, and three smaller images related to other articles in the issue. In addition to those images and the magazine title, we also always include several text blurbs with teasers for secondary articles in the issue, and a QR code that links to the Web site. We re looking for a new way to present these elements. Once we finalize a general layout, we ll use that layout going forward for every new issue. The only thing we re fixed on in is the trim size, which is 8 10 with 1/8 bleed allowance. art director comments project objectives The client sent me the main car image for the first redesign. It s a little bit small, so we ll have to do some manipulation to make it large enough to fill the cover space. The car also needs to be knocked out of its background so it can be more prominent. A vector path will work well to meet this goal because you can edit it at any time without losing quality. You re going to use a combination of styles, filters, and effects on the background and inset images. Photoshop s Smart Object capabilities will be a significant advantage in this task because we can edit the effects and filters if the client isn t thrilled with the initial effort. I ve also already created a template in Illustrator with the magazine nameplate and text elements; we ll repurpose the same file every month with the different text for each issue. You can place that file directly into Photoshop as a linked file so that any lastminute changes in the file will automatically appear in the final composite cover. To complete this project, you will: o Resize and resample an existing source image o Edit the canvas size o Create a vector-based layer mask o Create a vector shape layer o Create a clipping mask o Add texture to a shape layer o Apply custom layer effects o Use the Filter Gallery o Liquify a layer o Use the Eyedropper tool o Create a custom gradient o Print a composite proof The Project Meeting Each project includes the client s initial comments, which provide valuable information about the job. The Project Art Director, a vital part of any design workflow, also provides fundamental advice and production requirements. Project Objectives Each Project Meeting includes a summary of the specific skills required to complete the project. Stage 1 Enlarging Source Files Any project that you build in Photoshop requires some amount of zooming in and out to various view percentages, as well as navigating around the document within its window. As we show you how to complete different stages of the workflow, we usually won t tell you when to change your view percentage because that s largely a matter of personal preference. Nonetheless, you should understand the different options for navigating around a Photoshop file so you can easily and efficiently get to what you want, when you want to get there. To review information from the Interface chapter, keep in mind that you have a number of options for navigating around a document: Click with the Hand tool to drag the image around in the document window. Click with the Zoom tool to zoom in; Option/Alt-click to zoom out. Use the View Percentage field in the bottom-left corner of the document window. Use the options in the View menu (or the corresponding keyboard shortcuts). Use the Navigator panel. Resize and Resample the existing source image This project like many others you will build throughout your career starts with an existing image, which you will open and use as the basis for the rest of the project. Whenever you start with an existing file, it s best to evaluate what you already have before you make any changes. 1. Download Cars_PS18_RF.zip from the Student Files Web page. 2. Expand the ZIP archive in your WIP folder (Macintosh) or copy the archive contents into your WIP folder (Windows). This results in a folder named Cars, which contains the files you need for this project. You should also use this folder to save the files you create in this project. 3. In Photoshop, choose File>Open. Navigate to the file amg.jpg in the WIP>Cars folder and click Open. 4. Choose View>Fit on Screen so you can see the entire image, and make sure rulers are visible (View>Rulers). 5. Choose Image>Image Size. The amg.jpg file is 253 wide by high, with a resolution of 72 pixels/inch. Commercial printing typically requires 300 pixels/inch, so this image would not be considered print quality at its current size. The first step is to resize the image using the principle of effective resolution to achieve the 300 pixels/ inch required for commercial printing. Note: As you complete the exercises in this project, use any of these methods to zoom in or out on different areas of the file. Project 2: Car Magazine Cover 91 Real-World Workflow Projects are broken into logical lessons or stages of the workflow. Brief introductions at the beginning of each stage provide vital foundational material required to complete the task. Use the FreeForm Pen tool The Freeform Pen tool creates a vector path based on where you drag the cursor. The application creates anchor points and direction handles as necessary to create the shape that you draw. 1. With magazine.psd open, show the image at 100% in the document window. Ideally, you should work at 100% while you complete this exercise. 2. Choose the Freeform Pen tool (nested under the Pen tool) in the Tools panel. 3. In the Options bar, choose the Path option in the left menu. When you choose Path in the tool mode menu, the vector path that you draw is stored in the Paths panel. 4. Open the Path Operations menu and choose the Combine Shapes option. Path Operations menu Choose Path in the Tool Mode menu. Freeform Pen tool These options define how a new path will interact with any existing paths. (Illustrator and InDesign users might recognize these as options from the Pathfinder panel.) New Layer, available when Layer is selected in the Tool Mode menu, creates a new shape layer every time you draw a new path. Combine Shapes adds new paths to an already selected path or shape layer. Each path s shape is maintained as a separate vector path. If you want a new path to include only areas inside the path you draw, you should choose this option before you begin drawing a new path. Subtract Front Shape removes the area of secondary shapes from existing shapes. Intersect Shape Areas results in a shape that is only the area where a new shape overlaps an existing shape. Exclude Overlapping Shapes is similar to Subtract; overlapping areas are removed from the existing shape, but non-overlapping areas of the new shape are filled with the shape color. The Merge Shape Components option, available when a single path contains more than one shape, results in a single (possibly compound) shape. Any overlapping paths are combined into one shape/path. Note: The Pen Pressure option only applies if you have a pressure-sensitive graphics tablet. When this option is turned on, higher pressure decreases the Width tolerance. Step-By-Step Exercises Every stage of the workflow is broken into multiple hands-on, step-by-step exercises. Visual Explanations Wherever possible, screen shots are annotated so students can quickly identify important information. Project 2: Car Magazine Cover 99 iv

5 Use a vector mask to remove an image from its background Understanding Vector Path Operations PHOTOSHOP FOUNDATIONS New Layer Merge Shape Components When you first choose one of the vector drawing tools It is important to note that with the four Combine options Pen, Freeform Pen, or one of the Shape tools the Path explained to the left, the result is the appearance of a single Operations menu defaults to New Layer. When this option shape, but the original paths of each shape are maintained. is active, every new path will be created on a separate layer. You can still select and manipulate each component path independently. To make the interaction of overlapping shapes permanent, you can select the paths you want to affect and choose Merge Shape Components. This results in a single shape that is the combination of any selected paths; unselected paths are not affected. The actual result of this command depends on the interaction of the selected paths. In the example below, the Combine Shapes creates the new path on the existing top shape had been created with the Intersect Shape Areas (selected) shape layer. operation. After applying the Merge Shape Components operation, anchor points were removed where the original paths did not intersect (as you can see in the bottom image). Combining Shapes Photoshop Foundations Additional functionality, related tools, and underlying graphic design concepts are included throughout the book. Subtract Front Shape creates the new path on the existing (selected layer), and removes overlapping areas of the new shape from the existing shape. Merging Shape Layers Intersect Shape Areas results in the shape of only If multiple shape layers are selected in the Layers panel, you overlapping areas in the existing and new shapes. can combine them by choosing Merge Shapes in the Layers panel Options menu. This command combines the shapes on all selected layers into a single shape layer basically the same as using the Combine Shapes path operation. The new combined Exclude Overlapping Areas removes overlapping areas layer adopts the name of the highest layer in the previous between the existing and new shapes. selection. Important note: Don t confuse this Merge option with the Merge Shape Components option in the Path Operations menu. The Merge Shapes option in the Layers panel actually combines the various shapes into a single layer, but maintains all of the existing paths. Project 2: Car Magazine Cover 15. In the Layers panel, double-click the Drop Shadow effect for the Car layer. Double-clicking an effect in the panel opens the dialog box, where you can make changes to the settings that define the effect for the active layer. 16. Click in the document window (behind the dialog box) and drag down until the drop shadow is much more prominent behind the car layer. When you drag in the document window, the dialog box dynamically changes to reflect the new angle and distance for the effect. As you dynamically change the angle, you should also notice the effect on the three Inset layers. Because the Use Global Light option is checked for all four layers, changing the angle for one of these layers applies the same change to all four layers. You should also notice, however, that the altered Distance value does not apply to the other three layers where the Drop Shadow effect is applied. Only the Angle of the effects is synchronized between the various layers. 117 Note: If you double-click the word Effects in the Layers panel, the dialog box opens to the Blending Options: Default screen. Double-clicking a specific effect opens the dialog box directly to the settings for the effect you clicked. Advice and Warnings Where appropriate, sidebars provide shortcuts, warnings, or tips about the topic at hand. fill in the blank Project Review short answer 1. sharpens an image by increasing contrast along the edges in an image. 2. refers to the overall image area, like the surface used by traditional painters. 3. The tool is used to draw freeform vector-based shapes and paths. 4. A is a special type of Photoshop layer that retains vector path information. 5. control the shape of a curve between two anchor points. 1. Briefly explain the difference between vectors and pixels. 6. The option is used to link the angle of styles to the master angle for the entire file. Changing it affects any linked style applied to any layer in the entire file 7. A is a smooth transition from one color to another. 8. The command is used to show only areas of one layer that fall within the area of the underlying layer. 9. In the Liquify filter, the tool can be used to protect specific areas from being liquified. 2. Briefly describe two different tool modes when using a vector drawing tool. 10. The allows you to experiment with different filters and filter settings, and to compound multiple filters to create unique artistic effects. Portfolio Builder Project Use what you learned in this project to complete the following freeform exercise. Carefully read the art director and client comments, then create your own design to meet the needs of the project. Use the space below to sketch ideas; when finished, write a brief explanation of your reasoning behind your final design. Against The Clock is considering a new design We really like the existing cover design, but after for the covers of its Professional Portfolio series five editions we re starting to think a fresh look of books. You have been hired to design a new might be a good thing. cover comp for the Photoshop CC book. Obviously, the most important element of the o Measure the cover of the existing cover is the title. However, it seems that Adobe is Photoshop CC book to determine the going to stop using version numbers in its software required trim size. releases, so we re also going to need a way to o Incorporate the same elements that differentiate editions; your design should include currently appear on the book cover title, an edition number (2nd edition, etc.) publisher logo, and the text in the bottomright corner. (The logo file is included in a representation of places where graphic design In the existing covers, we chose the cityscapes as the Covers_PS18_PB.zip archive on the students find jobs. We don t really have any set Student Files Web page.) ideas for new imagery, but there should be some o Create compelling images and artwork to connection between graphic design and the illustrate the concept of the book title. imagery you choose. o Design the cover to meet commercial Finally, keep in mind that the design should allow printing requirements. for repurposing for the other titles in the series. art director comments Project Review After completing each project, you can complete these fill-in-the-blank and short-answer questions to test your understanding of the concepts in the project. client comments Project Summary Portfolio Builder Projects Each step-by-step project is accompanied by a freeform project, allowing you to practice skills and creativity, resulting in an extensive and diverse portfolio of work. Vectors offer an advantage over pixel-based images because they can be freely scaled and edited without losing quality. This project focused on many different options related to working with vectors in Photoshop drawing paths, creating shape layers, and editing vector shape properties. You used Briefly explain the difference between the Path Selection tool and the Direct Selection tool. Project 2: Car Magazine Cover project justification vectors in this project to create a custom layer mask, as well as vector shapes that you filled with other images and a custom artistic pattern. This project also introduced some of the creative tools that can turn photos and flat colors into painting-like artwork. You learned to use the Filter Gallery, the Liquify filter, custom gradients, and layer blending modes. You will use these options many times in your career as you complete different types of projects in Photoshop. Create a compound vector shape layer Edit corner properties of vector shapes Apply a style to a vector shape layer Use gradients to create a custom background Liquify pixels to create unique effects Adjust blending mode and opacity to blend one layer into another 153 Create clipping masks to isolate specific image areas Apply filters to images to create artistic effects Visual Summary Using an annotated version of the finished project, you can quickly identify the skills used to complete different aspects of the job. 154 Project 2: Car Magazine Cover v

6 Projects at a Glance Against The Clock s The Professional Portfolio Series teaches graphic design software tools and techniques entirely within the framework of real-world projects; we introduce and explain skills where they would naturally fall into a real project workflow. The project-based approach in The Professional Portfolio Series allows you to get in-depth with the software beginning in Project 1 you don t have to read several chapters of introductory material before you can start creating finished artwork. Our approach also prevents topic tedium in other words, we don t require you to read pages and pages of information about text (for example); instead, we explain text tools and options as part of a larger project (in this case, as part of a postcard series). Clear, easy-to-read, step-by-step instructions walk you through every phase of each job, from creating a new file to saving the finished piece. Wherever logical, we also offer practical advice and tips about underlying concepts and graphic design practices that will benefit students as they enter the job market. The projects in this book reflect a range of different types of Photoshop jobs, from creating a magazine ad to correcting menu images to building a web page. When you finish the eight projects in this book (and the accompanying Portfolio Builder exercises), you will have a substantial body of work that should impress any potential employer. The eight Photoshop projects are described briefly here; more detail is provided in the full table of contents (beginning on Page viii). project 1 project 2 Music CD Artwork o Compositing Images and Artwork o Managing Layers o Creating Complex Selections o Saving Files for Multiple Media Car Magazine Cover o Enlarging Source Files o Working with Vector Tools o Applying Styles and Filters the portfolio series project 3 Museum Image Correction o Retouching Damaged Images o Correcting Lighting Problems o Correcting Color Problems o Preparing Images for Print o Working with HDR Images

7 project 4 City Promotion Cards o Creating New Files o Manipulating Pixels o Working with Type o Creating Style with Layers o Working in 3D project 7 House Painting o Filling Solid Areas o Painting with Brushes o Working with Patterns o Painting Nature project 5 Calendar Cover o Managing Missing Fonts o Creating Custom Vector Shapes o Creating a Complex Mask project 8 Photographer s Web Page o Automating Repetitive Tasks o Editing Layers for Visual Effect o Generating Web-Ready Assets o Working with Spot Channels project 6 Advertising Samples o Cleaning and Adjusting Images o Working in Perspective o Working with Lighting Our goal in this book is to familiar ize you with the majority of the Photoshop tool set, so you can be more productive and more marketable in your career as a graphic designer. It is important to keep in mind that Photoshop is an extremely versatile and powerful application. The sheer volume of available tools, panels, and features can seem intimidating when you first look at the software interface. Most of these tools, however, are fairly simple to use with a bit of background information and a little practice. Wherever necessary, we explain the underlying concepts and terms that are required for understanding the software. We re confident that these projects provide the practice you need to be able to create sophisticated artwork by the end of the very first project. vii

8 Contents Acknowledgements Walk-Through Projects at a Glance Getting Started iii iv vi xii The Photoshop User Interface 1 Explore the Photoshop Interface...1 Understanding the Application Frame...2 Explore the Arrangement of Photoshop Panels....4 Customizing the Photoshop Tools Panel...9 Accessing Photoshop Tools...10 Create a Saved Workspace Customizing Keyboard Shortcuts and Menus...12 Explore the Photoshop Document Views...13 Summing Up the Photoshop View Options...18 Explore the Arrangement of Multiple Documents...19 Project 1 Music CD Artwork 23 Stage 1 Compositing Images and Artwork...25 Open and Resize an Image Crop the Canvas and Place Ruler Guides...30 Understanding File Saving Preferences...31 The Crop Tools in Depth The Crop Tools in Depth (continued)...38 Copy and Paste Selected Pixels Create a Feathered Selection...42 Understanding the Lasso Tool Variations...44 Rasterize a Vector File...45 Place Files as Smart Object Layers Working with Embedded and Linked Smart Objects Working with CC Libraries...49 Working with CC Libraries (continued)...50 Stage 2 Managing Layers...51 Name Layers and Layer Groups Move and Transform a Smart Object Layer Understanding Smart Guides...54 Move and Transform Regular Layers...57 Transform the Background Layer Navigating the History...62 Stage 3 Creating Complex Selections...63 Create and Refine a Color-Based Selection...65 Understanding Channels...71 Edit a Layer Mask...72 Edit Layer Mask Properties...74 Arrange Layer Position and Stacking Order...76 Filtering Layers...78 Stage 4 Saving Files for Multiple Media...79 Save a Flattened TIFF File...79 Reduce the Physical File Size...81 Save a JPEG File for Digital Media...84 Project Review...86 Portfolio Builder Project...87 Project 2 Car Magazine Cover 89 Stage 1 Enlarging Source Files...91 Resize and Resample the Existing Source Image...91 Sharpen the Enlarged Image...94 Edit the Canvas Size...95 Stage 2 Working with Vector Tools...98 Use the Freeform Pen Tool...99 More about Working with the Paths Panel Understanding Anchor Points and Handles Add to an Existing Path Edit Vector Paths Drawing with the Curvature Pen Tool Create a Vector-Based Layer Mask Create a Vector Shape Layer More About Vector Shape Options Understanding Vector Path Operations Selecting and Modifying Paths Clone and Align Layers Auto-Select Layers Create Clipping Masks Stage 3 Applying Styles and Filters Add Texture to a Shape Layer Apply Custom Layer Effects Layer Styles in Depth Use the Filter Gallery Fading Filters Duplicate a Layer Liquify a Layer More about the Liquify Filter viii

9 Use the Eyedropper Tool Create a Custom Gradient Create a Gradient Fill Layer Adjust Blending Mode and Layer Opacity Distinguishing Photoshop Blending Modes Finish the Magazine Cover Sharing Photoshop Files Print a Composite Proof Print Output Options Project Review Portfolio Builder Project Project 3 Museum Image Correction 155 Stage 1 Retouching Damaged Images Remove Grain with Blur and Sharpen Techniques The Noise Filters The Blur Filters Understanding the Shake Reduction Filter Heal Severe Scratches Aligning the Healing Source Clone out Major Damage The Clone Source Panel in Depth Stage 2 Correcting Lighting Problems Correct Problems with Brightness/Contrast Correct Contrast and Tonal Range with Levels Identifying Shadows and Highlights Correct Lighting Problems with the Exposure Adjustment The Gradient Map Adjustment Stage 3 Correcting Color Problems Understanding Color Terms Correct Color Cast with the Color Balance Adjustment Correct Gray Balance with Curves Adjusting Curves On-Screen Correct Contrast with Curves Understanding Curve Display Options Understanding Automatic Color Correction The Match Color Adjustment Stage 4 Preparing Images for Print Color Management in Theory and Practice Understanding Color Modes Define Color Settings Identify Out-of-Gamut Colors Adjust Highlight and Shadow Points for Print Converting Image Color Modes Converting Images to Grayscale The Channel Mixer Adjustment Stage 5 Working with HDR Images Use Merge to HDR Pro Project Review Portfolio Builder Project Project 4 City Promotion Cards 213 Stage 1 Creating New Files Create a New Color-Managed File Control the Background Layer Control Missing and Mismatched Profiles Stage 2 Manipulating Pixels Apply Content-Aware Scaling More about Content-Aware Scaling Use the Content-Aware Move Tool Apply a Tilt-Shift Blur Effect More about the Content-Aware Move Tool Apply an Iris Blur Effect More about the Blur Gallery Stage 3 Working with Type Place and Format Point Type More About Working with Fonts The Character Panel in Depth Use the Move Tool with Type Layers Create Vertically Oriented Type The Paragraph Panel in Depth Create and Control Area Type Create Paragraph Styles Load Paragraph Styles from Another File More about Working with Type ix

10 Contents Stage 4 Creating Style with Layers Create a Solid-Color Fill Layer Stage 5 Working in 3D Create a 3D Postcard Move an Object in 3D Create a 3D Sphere Understanding 3D Materials Properties Create Layer Comps Project Review Portfolio Builder Project Project 5 Calendar Cover 279 Stage 1 Managing Missing Fonts Evaluate Project Requirements Working with Adobe Typekit Stage 2 Creating Custom Vector Shapes Create a Custom Shape Layer Create Warped Text Stage 3 Creating a Complex Mask Select the Focus Area Erase and Paint the Alpha Channel Stage 4 Working with Spot Channels Define a New Spot Channel Copy Layer Information to a Spot Channel Save the File without Spot-Color Information Understanding Duotones Project 6 Advertising Samples 315 Stage 1 Cleaning and Adjusting Images Remove Unwanted Image Elements Replace Colors in Parts of an Image Adjust Hue and Saturation with an Adjustment Layer Understanding the Selective Color Adjustment More about Adjustment Layers Adjust Image Shadows and Highlights Extended Control for Shadows/Highlights Adjustments Painting Image Correction Tools Painting Image Exposure and Saturation Stage 2 Working in Perspective Transform the Perspective of a Layer Free Transform Options Apply a Perspective Warp Use the Vanishing Point Filter Vanishing Point Controls Warp the Sample Ad Apply a Custom Warp Stage 3 Working with Lighting Apply a Point Lighting Effect Apply an Infinite Light Lighting Effect Apply a Spot Light Lighting Effect The Rendering Filters Project Review Portfolio Builder Project Project Review Portfolio Builder Project x

11 Project 7 House Painting 363 Stage 1 Filling Solid Areas Import Custom Swatches Create Fill Shapes Fill Areas with the Paint Bucket Tool Stage 2 Painting with Brushes Use Hard Brushes Use Soft Brushes Paint Strokes around Selections Apply Strokes to Closed Paths Apply Strokes to Open Paths Paint Behind Existing Color Modify Selections to Fill Behind Color Painting with the Mixer Brush Create Texture with a Faux Finish Brush Use Opacity and Blending Modes to Create Shadows Painting Back in Time Stage 3 Working with Patterns Define a Pattern from Existing Artwork Understanding the Pattern Stamp Tool Save Custom Patterns Erasing Pixels Stage 4 Painting Nature Use a Filter to Create Trees Change Brush Settings to Paint Random Elements Brush Settings Brush Settings (continued) Create a Brush Preset The Tool Presets Panel in Depth Finish the Painting Working with Bristle Brushes Export a PDF File for Print Project 8 Photographer s Web Page 419 Stage 1 Automating Repetitive Tasks The Actions Panel in Depth Review the Initial Site Design Save an Action Set Create a New Action Inserting Action Stops and Menu Options Batch-Process Files Place and Align Thumbnails on the Page Stage 2 Editing Layers for Visual Effect Extrude a Text Layer to 3D Use Puppet Warp to Transform a Layer Stage 3 Generating Web-Ready Assets Define a New Artboard Generate Image Assets from Layers More about Using Adobe Generator Copy CSS for Text and Shape Layers Creating Image Slices Copy and Edit Artboard Sizes Adjust Image Content for Alternate Display Sizes Generate Type CSS for Alternate Display Sizes Project Review Portfolio Builder Project Project Review Portfolio Builder Project xi