Thanks for responding. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. You can edit the text and watch how the layer effect tracks the change.
 
 

DOWNLOAD Adobe Photoshop CC Classroom in a Book ( release) PDF eBook.

 

Please check the similar thread: lost my disc photohsop cs2 cib help lessons! Tags: Photoshop. I work through Premier Pro classroom in a book, and I can add audio transitions in all the different ways they adobe photoshop cc 2015 classroom in a book pdf free for. Default shortcut as well as through the sequence menu. I can’t add a drag and drop any kind crossfade. Not between audio or at the beginning or end of the sequence. Y acobe – it a setting that I turned on to turn it off?

It seems that since I’m following the examples of book and there was no mention of any weird behaviour that should not be the case. We tried a few things and looked in the forums, but nobody seems to have the same problem. Video transitions are drag and able to receive. Looks like I got accidentally audio transition default to 0.

I agree with the PS CC. So, I was regularly updated. What are the parts of the book are now outdated? I want to have the tutorial on the function of fluidity addobe became somehow. I was wondering if the site Web of Fres Pit would automatically update i book in its form online. Will follow your instructions photshop I’m still confused about the function of fluidity.

You said that you have saved the book on the Peachpit website, and it’s a good thing. When you are logged on the Peachpit website, go to your account on, your downloadable digital files for the book and the lessons will be under the tabs digital purchases and updates. If there is an update of this edition источник статьи the book, you will be able to download it here.

Also, when I said earlier that the new Select functionality and mask should be used if the book mentions refine edge, which also applies at pdv time that see you improve the mask as in Lesson 6.

Refine edge and improve the 20015 and now select and mask. I opened the first project for lesson 1, as instructed, but looks like that when he opened it imported two media adobe photoshop cc 2015 classroom in a book pdf free the project of the lesson and media one of the practical projects that I’ve done before.

Can someone tell me what I did wrong and why it has imported two sets of brackets instead of only in the media for the lesson. Media for two different projects are not storeed in the same place? I found the problem. Sorry if I’ve lost any time.

Please do not take into account. Thank you. Said is of letterlijke text: “De Shifttoets tijdens het magnetisch ten opzichte van liniaaleenheden lidt lijn maakt. First of muisknop los laat dan on the move.

Hulplijn is geselecteerd. Maar wat ik ook try, hulplijn adobe photoshop cc 2015 classroom in a book pdf free ;hotoshop niet en het lukt me niet om die ook na die handeling alsnog you bewerken in deelvenster windows server 2016 standard 2019 download Beheer.

Daar is geen classoom van die hulplijn. Het is misschien een klein, maar op een specific time clean kan het nauwkeurig Hotel adobe photoshop cc 2015 classroom in a book pdf free van een liniaal zijn cruciaal.

Wie kent said clean ook en wie has een antwoord. Can you please mark your own answer as being correct, while others know it is resolved. I am considering buying 14 items first. Adobe plans to publish a classroom in a book for first 14 elements? Consider classroom Adobe Press Publisher to determine the present state and the future of the classroom in a book for first 14 elements. Contact us. While you wait for more information on that, please consider using the free help of Adobe PDF files.

Please consider. In addition, the Adobe Premiere elements Forum is a good place to ask questions and seek clarification on one of your workflow in Premiere Elements.

Classroom in a book for Lightroom 6. I pf the book by Martin Evening, but like progress with some useful phottoshop. Classroom in a book – release information. I am relatively new to the use of CC and I decided to buy some of the classroom in a book books in series to phtoshop 3 main products I use. I will pre-order the book of Photoshop and would have liked to have ordered the Muse and Illustrator books too, but they are not on Amazon yet.

Y at – it somewhere that lists all the books in adoobe classroom in a series of release dates? Thanks in advance. I know, stupid mistake. But I can’t take back the book. Is is quite similar to CC I can always get the use of the book? Thank you very much. Each hpotoshop of Adobe products is based on the previous ones. Some things like filters and advanced features may change or become obsolete over time, but the basic tools remained much the same for decades.

As long as you know there are subtle differences between the versions, По этому адресу think ссылка на подробности you will always get a large part of the value of C to a and B for CS6.

I downloaded claswroom lessons, but standard free office microsoft 2013 free is impossible to open with Adobe premiere elements 2105 There перейти на источник problems with the samples offered in class in a series of books for Premiere Elements known.

Please contact the editor of the adobe photoshop cc 2015 classroom in a book pdf free of lessons files issues correction There was a lot. And what is the name of a specific file in these lessons you are trying to open in the first 12 items?

No doubt, most important and to the point, can you import your own photos or videos without problems in. Update the 12 to I just begin as part of vree Adobe Illustrator CS5 classroom in a book that tries to teach me how to use the program.

I’m still in the lesson 0 and got to the 2051 “Use of the appearance Panel and effects. Selection’ and not ‘Path’ as stated in the book. I adobe photoshop cc 2015 classroom in a book pdf free if I missed a step while working through the book. I would like to attach the file, but do not see a link for me to attatch a file. Bill Hunt suggested that I size my animations created in Photoshop and ImageReady, x pixels at 72 dpi for optimal playback on a 24 “display.

Ditto the two classrooms in a book and first Elements itself, in what concerns the contribution of afobe video camera. However, Steve Grisetti gives a size asobe x as a “standard definition video” and recommend a продолжение здесь of x for a still of a card that is be enlarged in and out and drag onto the classroomm viewing.

This is what we call the “cognitive dissonance”. I recognize the experience of Steve G with this. However, I disagree on a regular basis about resizing images. I disagree on two levels. One is that it is more than enough to do everything by making a video without adding additional steps and other programs in the workflow. The second is that it does not seem to slow down my computer at all. Of course, I have a computer i7 with 16 GB cyberlink powerdirector 9 free free memory.

He seems to care not the size of the file. I arrived at this discovery as a beginner of pre. I didn’t know anything about resizing until I read about on this forum. Clasaroom fact, I didn’t know how each. Thus, in a minute video project family reunion, I added the video 2 pictures of different cameras follow around where classrom video track pff has had a bit of bad quality in it. Most were. Looking at the screen, the project adpbe like a mess, but he played well.

When this topic has come up before, I spend a day trying to understand with workflow “events”. I’ve posted the results on YouTube or Vimeo. I also searched the ‘official’ Adobe instructions and cannot find even the word “resize”. In a recent slide show project, I used a bunch of files huge RAW photo. PrE11 integrates Adobe Camera Raw somewhere ‘under the hood’ and it worked fine.

Steve works hard in his excellent books and training videos, and Bill Hunt has many years of experience. I am retired and play with it. I don’t know there are versions running on computers older and weaker, where files photo caused problems. I am also convinced that bit PrE11 on newer computers /15654.txt managed to overcome these problems.

Dreamweaver Classroom in a Book. Where are the instructions for use of the lesson files in dreamweaver classroom in a book. Thanks for responding.

 

Adobe photoshop cc 2015 classroom in a book pdf free. Adobe Creative Cloud (2015 release)

 

Malgrado un qualunque computer sia potenzialmente in grado di permettere la lettura di un eBook, si dovrebbe parlare di eBook reading device solo riferendosi a quei dispositivi dotati di caratteristiche tali da poter essere usati in maniera analoga a quella di un libro cartaceo. Le caratteristiche essenziali che un eBook reading device dovrebbe avere sono:. Tenendo conto di queste caratteristiche, possiamo suddividere i vari dispositivi hardware disponibili sul mercato in Tablet PC , palmari e lettori dedicati.

Questa operazione, oltre a non essere una soluzione definitiva al problema, spesso presenta problemi tali da non essere facilmente eseguibile da tutti; in alcuni casi i problemi tecnici sono tali da renderlo praticamente irrealizzabile. Anche se vengono genericamente chiamati “formati di testo”, alcuni di questi formati permettono la creazione di ipertesti e l’inserimento di oggetti multimediali come immagini, audio o video.

I molti formati di testo disponibili, in relazione al mondo degli eBook, possono essere suddivisi in due categorie:. Utilizzandoli pertanto difficilmente si corre il rischio di non possedere il software o il dispositivo hardware adatto per leggerli. In generale gli svantaggi derivano dalla mancanza di compressione del testo che aumenta lo spazio occupato dall’eBook sul supporto di memorizzazione e dal fatto che si adattano male ad essere utilizzati su dispositivi portatili dotati di schermi di piccole dimensioni come i palmari.

I formati appositamente ideati per gli eBook hanno generalmente il vantaggio di essere adatti a piattaforme dotate di meno risorse hardware rispetto ai computer desktop. Spesso infatti prevedono la riduzione delle dimensioni del testo e si adattano meglio ad essere visualizzati sui piccoli schermi dei dispositivi portatili.

Libri che si possono toccare, libri che si possono odorare, libri dai quali possiamo dipendere. L’avvento degli eBook ha tuttavia sollevato anche una serie di problematiche. Nel tentativo di combattere questa piaga, il 27 maggio l’Alta Corte inglese ha decretato per i 5 grandi fornitori di servizi internet del Regno Unito – BT, EE, Sky, TalkTalk, Virgin Media – l’obbligo di interdire l’accesso a 7 siti internet accusati di offrire in maniera illegale un totale di 10 milioni di eBook [23].

L’Associazione italiana editori Aie , ha recentemente reso noto le impressionanti cifre che testimoniano l’ampia diffusione della pirateria di eBook. Infatti, analizzando i dati, emerge che in Italia, su Coloro che caricano sul web internet illegalmente, non agiscono in maniera disinteressata, ma per guadagnarne. Chi mette on line file riceve denaro dal servizio hosting, in base alla dimensioni e alle migliaia di scaricamenti.

Inoltre, ne ricavano profitto le compagnie pubblicitarie che forniscono le inserzioni ai servizi di hosting e i provider di servizi finanziari attraverso cui i pagamenti possono avvenire anonimamente. La ricerca, condotta in Uk da Kantar Media, rivela che i consumatori di eBook sono quelli che hanno pagato in numero maggiore per i contenuti di cui hanno usufruito rispetto ai consumatori di altro tipo film, musica, videogames ecc. Altri progetti. Da Wikipedia, l’enciclopedia libera. Commento : da riscrivere in forma discorsiva, niente elenchi specie senza fonti Contribuisci a migliorarla secondo le convenzioni di Wikipedia.

Segui i suggerimenti del progetto di riferimento. Sarebbe utile correggerla eliminando valutazioni soggettive sugli impatti all’industria multimediale. Per contribuire, correggi i toni enfatici o di parte e partecipa alla discussione. URL consultato il 20 aprile URL consultato l’11 febbraio URL consultato il 18 aprile archiviato dall’ url originale il 18 aprile URL consultato l’11 dicembre URL consultato il 14 dicembre E che impatto ha la pirateria sul mercato?

Altri progetti Wikiquote Wikizionario Wikimedia Commons. Portale Letteratura. Portale Scienza e tecnica. Categoria : Ebook. Menu di navigazione Strumenti personali Accesso non effettuato discussioni contributi registrati entra.

Namespace Voce Discussione. Visite Leggi Modifica Modifica wikitesto Cronologia. Wikimedia Commons Wikiquote. Lo stesso argomento in dettaglio: EBook reader. Lo stesso argomento in dettaglio: Audiolibro. Adobe Digital Editions. Windows , Windows Mobile.

 
 

Adobe photoshop cc 2015 classroom in a book pdf free. Adobe Photoshop CS Classroom in a Book

 
 

You may want to zoom in to see him more clearly. Photoshop displays a preview of the content that will replace the boy. Release the mouse button when the patch is positioned where you want it. The selection changes to match the area around it. The boy is gone, and where he stood is a section of the bridge wall and of a building. The effect was pretty impressive, but not quite perfect. Repairing areas with the Clone Stamp tool The Clone Stamp tool uses pixels from one area of an image to replace the pixels in another part of the image.

Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. Make sure that the Aligned option is selected. Move the Clone Stamp tool to an area where the top of the bridge wall is smooth. When you press Alt or Option, the pointer appears as target cross-hairs. Drag the Clone Stamp tool across the top of the bridge wall in the patched area to even it out, and then release the mouse button.

Each time you click the Clone Stamp tool, it begins again with a new source point, in the same relationship to the tool as the first stroke you made. That is, if you begin painting further right, it samples from stone that is further right than the original source point. Deselect Aligned if you want to start from the same source point each time. Select a source point where the bottom of the bridge wall is even, and then drag the Clone Stamp tool across the bottom of the wall where you patched it.

Select a smaller brush size, and deselect Aligned. Then select a source point over the rightmost windows in the lowest row on the building you patched. Click across to create accurate windows there. Repeat step 6 to make any adjustments you want to apply to the lowest area of the building and the wall that runs in front of it.

If you like, you can use a smaller brush size to touch up the stones in the patched portion of the wall. Save your work. Sharpening the image The last task you might want to do when retouching a photo is to sharpen the image. There are several ways to sharpen an image in Photoshop, but the Smart Sharpen filter gives you the most control. The colored dots you see are artifacts of the scanning process. The Threshold value determines how dissimilar the pixels should be before they are eliminated.

The Radius value determines the size of the area searched for dissimilar pixels. The default values are great for tiny dots of color like the ones in this image. Now that the artifacts are gone, you can sharpen the image. In the Smart Sharpen dialog box, make sure that Preview is selected, so you can see the effect of settings you adjust in the image window. You can drag inside the preview window in the dialog box to see different parts of the image, or use the plus and minus buttons below the thumbnail to zoom in and out.

Make sure Lens Blur is chosen in the Remove menu. Lens Blur provides finer sharpening of detail and reduced sharpening halos. Gaussian Blur increases contrast along the edges in an image. Motion Blur reduces the effects of blur that resulted from the camera or the subject moving when the photo was taken. Drag the Radius slider to about 1. The Radius value determines the number of pixels surrounding the edge pixels that affect the sharpening.

The higher the resolution, the higher the Radius setting should usually be. Your image is ready to share or print! Extra credit Converting a color image to black and white You can get great results converting a color image to black and white with or without a tint in Photoshop.

Click Open. Adjust the color sliders to change the saturation of color channels. You can also experiment with options from the preset menu, such as Darker or Infrared. Or, select the tool in the upper left corner of the Adjustments panel, position it over an area you want to adjust, and drag horizontally to lighten or darken that color wherever it appears in the image. We darkened the bike itself and made the background areas lighter. If you want to colorize the entire photo with a single hue, select Tint.

What does resolution mean? What does the Crop tool do? How can you adjust the tone and color of an image in Photoshop? What tools can you use to remove blemishes in an image? How can you remove digital artifacts such as colored pixels from an image? The term resolution refers to the number of pixels that describe an image and establish its detail. Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi.

You can use the Crop tool to trim, scale, or straighten an image. To adjust the tone and color of an image in Photoshop, first use the White Point tool in a Curves adjustment layer. Then refine the tone using a Levels adjustment layer. The Clone Stamp tool copies the source area exactly; the Healing Brush and Spot Healing Brush tools blend the area with the surrounding pixels. In Content-Aware mode, the Patch tool replaces a selection with content that matches the surrounding area.

About selecting and selection tools Making changes to an area within an image in Photoshop is a two-step process. You first use one of the selection tools to select the part of an image you want to change.

Then you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area. You can make selections based on size, shape, and color. When a selection is active, changes you make apply only to the selected area; other areas are unaffected. There are four primary types of selections: Geometric selections The Rectangular Marquee tool selects a rectangular area in an image.

The Elliptical Marquee tool , which is hidden behind the Rectangular Marquee tool, selects elliptical areas. The Single Row Marquee tool and Single Column Marquee tool select either a 1-pixel-high row or a 1-pixel-wide column, respectively. Freehand selections The Lasso tool traces a freehand selection around an area. The Polygonal Lasso tool sets anchor points in straight-line segments around an area.

The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings.

Color-based selections The Magic Wand tool selects parts of an image based on the similarity in pixel color. It is useful for selecting odd-shaped areas that share a specific range of colors. In the Favorites panel, click the Lessons folder. Then double-click the Lesson03 folder in the Content panel to see its contents.

Study the 03End. Move the thumbnail slider to the right if you want to see the image in more detail. The project is a shadowbox that includes a piece of coral, a sand dollar, a mussel, a nautilus, and a plate of small shells. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start.

Double-click the 03Start. Using the Quick Selection tool The Quick Selection tool provides one of the easiest ways to make a selection. You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want.

The image of the sand dollar in the 03Working. Select the Zoom tool in the Tools panel, and then zoom in so that you can see the sand dollar well. Select the Quick Selection tool in the Tools panel.

Select Auto-Enhance in the options bar. When Auto-Enhance is selected, the Quick Selection tool creates better quality selections, with edges that are truer to the object. The selection process is a little slower than using the Quick Selection tool without Auto-Enhance, but the results are superior. Click on an off-white area near the outside edge of the sand dollar.

The Quick Selection tool finds the full edge automatically, selecting the entire sand dollar. Leave the selection active so that you can use it in the next exercise. The rest of the image is not affected by those changes. To move the selected area to another part of the composition, you use the Move tool. This image has only one layer, so the pixels you move will replace the pixels beneath them. If the sand dollar is not still selected, repeat the previous exercise to select it.

Zoom out so you can see both the shadowbox and the sand dollar. Select the Move tool. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. The layers that are under the pointer appear in the context menu. Manipulating selections You can move selections, reposition them as you create them, and even duplicate them. One of the most useful things you may find in this section is the introduction of keyboard shortcuts that can save you time and arm motions.

Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed.

If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1. Select the Elliptical Marquee tool , hidden under the Rectangular Marquee tool. Move the pointer over the plate of shells, and drag diagonally across the oval plate to create a selection, but do not release the mouse button. If you accidentally release the mouse button, draw the selection again. In most cases— including this one—the new selection replaces the previous one.

Still holding down the mouse button, press the spacebar, and continue to drag the selection. Position it so that it more closely aligns with the plate.

Carefully release the spacebar but not the mouse button and continue to drag, trying to make the size and shape of the selection match the oval plate of shells as closely as possible. If necessary, hold down the spacebar again and drag to move the selection marquee into position around the plate of shells. When the selection border is positioned appropriately, release the mouse button.

Leave the Elliptical Marquee tool and the selection active for the next exercise. If the plate of shells is not still selected, repeat the previous exercise to select it. The pointer icon now includes a pair of scissors to indicate that the selection will be cut from its current location.

Note You can release the Ctrl or Command key after you start dragging, and the Move tool remains active. Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving a selection with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selection border, but not the contents. When the Move tool is active, the arrow keys move both the selection border and its contents.

Before you begin, make sure that the plate of shells is still selected in the image window. Press the Up Arrow key on your keyboard a few times to move the oval upward. Notice that each time you press the arrow key, the plate of shells moves one pixel.

Experiment by pressing the other arrow keys to see how they affect the selection. Hold down the Shift key as you press an arrow key. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjustments. Either command hides the selection border around the plate of shells. Using the Magic Wand tool The Magic Wand tool selects all the pixels of a particular color or color range.

As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. The Tolerance option sets the sensitivity of the Magic Wand tool.

This value limits or extends the range of pixel similarity. The default tolerance value of 32 selects the color you click plus 32 lighter and 32 darker tones of that color. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. If a multicolored area that you want to select is set against a background of a different color, it can be much easier to select the background than the area itself.

Select the Rectangular Marquee tool , hidden behind the Elliptical Marquee tool. Drag a selection around the piece of coral. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee. At this point, the coral and the white background area are selected.

Select the Magic Wand tool , hidden under the Quick Selection tool. In the options bar, confirm that the Tolerance value is This value determines the range of colors the wand selects. Click the Subtract From Selection button in the options bar.

A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Click in the white background area within the selection marquee. The Magic Wand tool selects the entire background, subtracting it from the selection. Now all the white pixels are deselected, leaving the coral perfectly selected. Softening the edges of a selection To smooth the hard edges of a selection, you can apply anti-aliasing or feathering, or use the Refine Edge option.

Anti-aliasing smooths the jagged edges of a selection by softening the color transition between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar.

To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti- aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection.

Feathering effects become apparent when you move, cut, or copy the selection. You can use the Refine Edge option to smooth the outline, feather it, or contract or expand it. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Selecting with the lasso tools As we mentioned earlier, Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool.

You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool. Make sure you can see the entire mussel in the window. Do not release the mouse button. Press the Alt Windows or Option Mac OS key, and then release the mouse button so that the lasso pointer changes to the polygonal lasso shape.

Do not release the Alt or Option key. Begin clicking along the end of the mussel to place anchor points, following the contours of the mussel. Be sure to hold down the Alt or Option key throughout this process. The selection border automatically stretches like a rubber band between anchor points. When you reach the tip of the mussel, hold down the mouse button as you release the Alt or Option key. The pointer again appears as the lasso icon. Carefully drag around the tip of the mussel, holding down the mouse button.

When you finish tracing the tip and reach the lower side of the mussel, first press Alt or Option again, and then release the mouse button. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image.

Click the starting point of the selection, and then release Alt or Option. The mussel is now entirely selected. Leave the mussel selected for the next exercise. Note To make sure that the selection is the shape you want when you use the Lasso tool, end the selection by dragging across the starting point of the selection. If you start and stop the selection at different points, Photoshop draws a straight line between the start and end points of the selection.

Before you begin, make sure that the mussel is still selected. The mussel and selection marquee are enclosed in a bounding box. Move the pointer outside the bounding box so that it becomes a curved, double- headed arrow. Drag to rotate the mussel to a degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation. If necessary, select the Move tool and drag to reposition the mussel, leaving a shadow to match the others.

Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high- contrast edges. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. Select the Magnetic Lasso tool , hidden under the Lasso tool. Click once along the left edge of the nautilus, and then move the Magnetic Lasso tool along the edge to trace its outline.

Tip In low-contrast areas, you may want to click to place your own fastening points. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. When you reach the left side of the nautilus again, double-click to return the Magnetic Lasso tool to the starting point, closing the selection. Or you can move the Magnetic Lasso tool over the starting point and click once.

Double-click the Hand tool to fit the image in the image window. Make sure that you can see the entire screw head in your image window.

Select the Elliptical Marquee tool in the Tools panel. Move the pointer to the approximate center of the screw. Click and begin dragging. Then, without releasing the mouse button, press Alt Windows or Option Mac OS as you continue dragging the selection to the outer edge of the screw.

The selection is centered over its starting point. When you have the entire screw head selected, release the mouse button first, and then release Alt or Option and the Shift key if you used it. Tip To select a perfect circle, press Shift as you drag. Hold down Shift while dragging the Rectangular Marquee tool to select a perfect square.

If necessary, reposition the selection border using one of the methods you learned earlier. Before you begin, make sure that the screw is still selected. Select the Move tool in the Tools panel. Position the pointer within the screw selection.

The pointer becomes an arrow with a pair of scissors , indicating that dragging the selection will cut it from its current location and move it to the new location. Drag the screw onto the lower right corner of the shadowbox. A bounding box appears around the selection.

Then press Enter or Return to commit the change and remove the transformation bounding box. As you resize the object, the selection marquee resizes, too. Use the Move tool to reposition the screw after resizing it, so that it is centered in the corner of the shadowbox frame. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time.

If the screw is no longer selected, reselect it now, using the techniques you learned earlier. The pointer changes, displaying the usual black arrow and an additional white arrow, which indicates that a duplicate will be made when you move the selection. Continue holding down the Alt or Option key as you drag a duplicate of the screw straight up to the top right corner of the frame. Pressing the Shift key as you move a selection constrains the movement horizontally or vertically in degree increments.

Repeat step 3 to drag a fourth screw to the lower left corner of the frame. Copying selections You can use the Move tool to copy selections as you drag them within or between images, or you can copy and move selections using the Copy, Copy Merged, Paste, and Paste Into commands. Dragging with the Move tool saves memory, because the clipboard is not used as it is with the commands.

The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. Keep in mind that when a selection is pasted between images with different resolutions, the pasted data retains its pixel dimensions. This can make the pasted portion appear out of proportion to the new image.

Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Select the Crop tool , or press C to switch from the current tool to the Crop tool.

Photoshop displays a crop boundary around the entire image. In the options bar, make sure Ratio is selected in the Preset pop-up menu and that there are no ratio values specified. Then confirm that Delete Cropped Pixels is selected. When Ratio is selected but no ratio values are specified, you can crop the image with any proportions. Drag the crop handles so that the shadowbox is in the highlighted area, omitting the backgrounds from the original objects at the bottom of the image.

Tip To crop an image with its original proportions intact, choose Original Ratio from the Preset pop-up menu in the options bar. The shadowbox is complete! How do you add to and subtract from a selection? What does the Quick Selection tool do? How does the Magic Wand tool determine which areas of an image to select? What is tolerance, and how does it affect a selection? Only the area within an active selection can be edited.

To add to a selection, click the Add To Selection button in the options bar, and then click the area you want to add. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. The Quick Selection tool expands outward from where you click to automatically find and follow defined edges in the image.

The Magic Wand tool selects adjacent pixels based on their similarity in color. The Tolerance value determines how many color tones the Magic Wand tool will select. The higher the tolerance setting, the more tones are selected. This lesson will take less than an hour to complete.

Each layer can then be edited as discrete artwork, giving you tremendous flexibility as you compose and revise an image. About layers Every Photoshop file contains one or more layers.

New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values. Working with layers is analogous to placing portions of a drawing on clear sheets of film, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without affecting the other sheets. When the sheets are stacked, the entire composition is visible.

When prompted, click Yes to delete the Adobe Photoshop Settings file. Then double-click the Lesson04 folder in the Content panel to see its contents. Study the 04End. This layered composite represents a postcard. You will create it in this lesson as you learn how to create, edit, and manage layers. Double-click the 04Start.

Saving another version of the start file frees you to make changes without worrying about overwriting the original. Using the Layers panel The Layers panel lists all the layers in an image, displaying the layer names and thumbnails of the content on each layer. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. The layer thumbnails are automatically updated as you edit the layers. The Layers panel lists five layers for the 04Working. If you click the eye, the image window no longer displays that layer.

The first task for this project is to add a photo of the beach to the postcard. Tip Use the context menu to hide or resize the layer thumbnail. Right-click Windows or Control-click Mac OS a thumbnail in the Layers panel to open the context menu, and then choose a thumbnail size. The Layers panel changes to display the layer information for the active Beach.

Notice that only one layer appears in the Beach. An image can have only one background layer. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. To convert a background layer into a regular layer: 1. Click the lock icon next to the layer name. Rename the layer.

To convert a regular layer into a background layer: 1. Select a layer in the Layers panel. Renaming and copying a layer To add content to an image and simultaneously create a new layer for it, drag an object or layer from one file into the image window of another file.

Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working.

Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. Select the Move tool , and use it to drag the Beach. Tip If you hold down Shift as you drag an image from one file into another, the dragged image automatically centers itself in the target image window.

The Beach layer now appears in the 04Working. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier.

Close the Beach. Tip Need images for a project like this one? If you purchase the images, Photoshop replaces the placeholders with high-resolution images. Viewing individual layers The 04Working. Some of the layers are visible and some are hidden. The eye icon next to a layer thumbnail in the Layers panel indicates that the layer is visible. Click the eye icon next to the Pineapple layer to hide the image of the pineapple.

Select the Beach layer. To select the layer, click the layer name in the Layers panel. The layer is highlighted, indicating that it is active. Changes you make in the image window affect the active layer. To make the opaque areas on this layer more obvious, hide all layers except the Beach layer: Press Alt Windows or Option Mac OS as you click the eye icon next to the Beach layer. The white background and other objects in the image disappear, leaving only the beach image against a checkerboard background.

The checkerboard indicates transparent areas of the active layer. The Layer Style dialog box opens. Click OK. A white border appears around the beach photo. Rearranging layers The order in which the layers of an image are organized is called the stacking order. The stacking order determines how the image is viewed—you can change the order to make certain parts of the image appear in front of or behind other layers.

The beach image is almost entirely blocked by images on other layers. Changing the opacity of a layer You can reduce the opacity of any layer to reveal the layers below it. In this case, the postmark is too dark on the flower. Select the Postage layer, and then click the arrow next to the Opacity field to display the Opacity slider. You can also type 25 in the Opacity box or scrub the Opacity label.

Notice that the change in opacity affects only the image area of the Postage layer. Duplicating a layer and changing the blending mode You can apply different blending modes to a layer. Blending modes affect how the color pixels on one layer blend with pixels on the layers underneath.

Currently, the blending mode for both layers is Normal. Right-click or Control-click the Pineapple layer, and choose Duplicate Layer from the context menu.

Click OK in the Duplicate Layer dialog box. Blending modes Blending modes affect how the color pixels on one layer blend with pixels on the layers beneath them. The default blending mode, Normal, hides pixels beneath the top layer unless the top layer is partially or completely transparent.

Each of the other blending modes let you control the way the pixels in the layers interact with each other. Often, the best way to see how a blending mode affects your image is simply to try it. You can easily experiment with different blending modes in the Layers panel, applying one after another to compare the effects. As you begin experimenting, keep in mind how different groups of blending modes affect an image. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the underlying layers.

With the Pineapple copy layer selected, choose Overlay from the Blending Modes menu in the Layers panel. The Overlay blending mode blends the Pineapple copy layer with the Pineapple layer beneath it to create a vibrant, more colorful pineapple with deeper shadows and brighter highlights.

Select the Postage layer, and choose Multiply from the Blending Modes menu. The Multiply blending mode multiplies the colors in the underlying layers with the color in the top layer. In this case, the postmark becomes a little stronger. Resizing and rotating layers You can resize and transform layers. Click the Visibility column on the Beach layer to make the layer visible.

A Transform bounding box appears around the beach image. The bounding box has handles on each corner and each side. Watch the Width and Height percentages in the options bar.

With the bounding box still active, position the pointer just outside one of the corner handles until it becomes a curved double arrow. Drag clockwise to rotate the beach image approximately 15 degrees.

You can also enter 15 in the Set Rotation box in the options bar. Click the Commit Transform button in the options bar. Make the Flower layer visible.

Then, select the Move tool , and drag the beach photo so that its corner is tucked neatly beneath the flower, as in the illustration. Adding empty layers to a file is comparable to adding blank sheets of film to a stack of images. In the Layers panel, select the Background layer to make it active, and then click the Create A New Layer button at the bottom of the Layers panel. A new layer, named Layer 1, appears between the Background and Pineapple layers. The layer has no content, so it has no effect on the image.

Double-click the name Layer 1, type Clouds, and press Enter or Return to rename the layer. In the Tools panel, click the foreground color swatch, select a sky blue color from the Color Picker, and click OK. The Background Color remains white. Realistic-looking clouds appear behind the image.

Dragging to add a new layer You can add a layer to an image by dragging an image file from the desktop, Bridge, or Explorer Windows or the Finder Mac OS. In Photoshop, select the Pineapple copy layer in the Layers panel to make it the active layer. Then navigate to the Lesson04 folder. Select Flower2.

The Flower2 layer appears in the Layers panel, directly above the Pineapple copy layer. Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Tip You can drag images from a Bridge window to Photoshop as easily as you can drag from the Windows or Mac desktop. Position the Flower2 layer in the lower left corner of the postcard, so that about half of the top flower is visible. Click the Commit Transform button in the options bar to accept the layer.

Then click the Commit Any Current Edits button in the options bar. This layer is at the top of the layer stack.

Note If you make a mistake when you click to set the type, simply click away from the type and repeat step 4. In the Tools panel, select the Gradient tool. The text has been rasterized. The Background Color should still be white.

In the options bar, make sure that Linear Gradient is selected. Tip To list the gradient options by name rather than by sample, click the menu button in the gradient picker, and choose either Small List or Large List.

Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. In the options bar, click the arrow next to the Gradient Editor box to open the Gradient Picker. With the selection still active, drag the Gradient tool from the bottom to the top of the letters. If you want to be sure you drag straight up, press the Shift key as you drag. The gradient extends across the type, starting with orange at the bottom and gradually blending to white at the top.

Applying a layer style You can enhance a layer by adding a shadow, stroke, satin sheen, or other special effect from a collection of automated and editable layer styles. These styles are easy to apply, and they link directly to the layer you specify. Like layers, layer styles can be hidden by clicking eye icons in the Layers panel.

Layer styles are nondestructive, so you can edit or remove them at any time. You can apply a copy of a layer style to a different layer by dragging the effect onto the destination layer. Earlier, you used a layer style to add a stroke to the beach photo. In the Layer Style dialog box, make sure that the Preview option is selected, and then, if necessary, move the dialog box so that you can see the Island Paradise text in the image window.

Tip You can also open the Layer Style dialog box by clicking the Add A Layer Style button at the bottom of the Layers panel and then choosing a layer style, such as Bevel And Emboss, from the pop-up menu.

If you set a lighting angle in one of these effects, every other effect with Use Global Light selected inherits the same angle setting. Angle determines the lighting angle at which the effect is applied to the layer. Distance determines the offset distance for a shadow or satin effect. Size determines how far the shadow extends. Click OK to accept the settings and close the Layer Style dialog box.

Photoshop nests the layer style in the Island Paradise layer. First it lists Effects, and then the layer styles applied to the layer. An eye icon appears next to the effect category and next to each effect. To turn off an effect, click its eye icon. Click the visibility column again to restore the effect.

To hide all layer styles, click the eye icon next to Effects. To collapse the list of effects, click the arrow next to the layer. Make sure that eye icons appear for both items nested in the Island Paradise layer. Blending effects Blending layers in a different order or on different groups changes the effect.

You can apply a blending mode to an entire layer group and get a very different result than if you apply the same blending mode to each of the layers individually. When a blending mode is applied to a group, Photoshop treats the group as a single merged object and then applies the blending mode. Experiment with blending modes to get the effect you want. Click OK to apply the stroke. Do not click OK.

With the Layer Style dialog box still open, click the word Satin on the left to select it and display its options. The Satin layer effect applies interior shading to create a satiny finish. The contour controls the shape of the effect; Invert flips the contour curve.

Extra credit Using an effect more than once in a layer style A great way to add visual impact to a design element is to apply multiple instances of effects such as strokes, glows, or shadows.

Open 04End. Now for the fun part! You can adjust your second drop shadow to change options such as color, size, and opacity. In the Drop Shadow options, click the color swatch, move the pointer outside the Layer Style dialog box so that the pointer changes into an eyedropper, and click the bottom flower to sample its pink color. Then match the Drop Shadow settings as shown below, and click OK. Click OK to apply both layer styles. Adding an adjustment layer Adjustment layers can be added to an image to apply color and tonal adjustments without permanently changing the pixel values in the image.

For example, if you add a Color Balance adjustment layer to an image, you can experiment with different colors repeatedly, because the change occurs only on the adjustment layer.

If you decide to return to the original pixel values, you can hide or delete the adjustment layer. Select the Flower2 layer in the Layers panel. The effect is interesting, but you want to change only the Flower2 layer.

Note Be sure to click the layer name, not the thumbnail, to see the appropriate context menu. An arrow appears in the Layers panel, indicating that the adjustment layer applies only to the Flower2 layer. Updating layer effects Layer effects are automatically updated when you make changes to a layer.

You can edit the text and watch how the layer effect tracks the change. Select the Island Paradise layer in the Layers panel. In the options bar, set the font size to 32 points, and press Enter or Return. Tip You can search for layers in the Layers panel by layer type, layer name, effect, mode, attribute, and color. As you edit the text, the layer styles are applied to the new text.

Adding a border The Hawaii postcard is nearly done. The elements are almost all arranged correctly in the composition. A pixel border is selected around the entire image. Double-click the Layer 1 name in the Layers panel, and rename the layer Border. Flattening and saving files When you finish editing all the layers in your image, you can merge or flatten layers to reduce the file size.

Flattening combines all the layers into a single background layer. To appreciate what flattening does, notice the two numbers for the file size in the status bar at the bottom of the image window.

The first number represents what the file size would be if you flattened the image. The second number represents the file size without flattening. This lesson file, if flattened, would be 2—3MB, but the current file is much larger. So flattening is well worth it in this case. Note If the sizes do not appear in the status bar, click the status bar pop-up menu arrow, and choose Document Sizes. In the Duplicate Image dialog box, name the file 04Flat. Leave the 04Flat. Choose Flatten Image from the Layers panel menu.

Only one layer, named Background, remains in the Layers panel. You have saved two versions of the file: a one-layer, flattened copy as well as the original file, in which all the layers remain intact.

This lesson only begins to explore the vast possibilities and the flexibility you gain when you master the art of using Photoshop layers.

About layer comps Layer comps provide one-click flexibility in switching between different views of a multilayered image file. A layer comp is simply a definition of the settings in the Layers panel. Then, by switching from one layer comp to another, you can quickly review the two designs.

The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file. To create two different layer comps, you would simply turn on visibility for the French layer and turn off visibility for the English layer, and then click the Create New Layer Comp button in the Layer Comps panel. To view the different layer comps, click the Layer Comp box for each comp in the Layer Comps panel in turn.

Layer comps can be an especially valuable feature when the design is in flux or when you need to create multiple versions of the same image file. If some aspects need to stay consistent among layer comps, you can change the visibility, position, or appearance of one layer in a layer comp and then sync it to see that change reflected in all the other layer comps. Extra credit Merging photos Take the blinking and bad poses out of an otherwise great family portrait with the Auto-Align Layers feature.

Open FamilyPhoto. In the Layers panel, turn Layer 2 on and off to see the two similar photos. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away. Make both layers visible, and Shift-click to select them. Toggle the eye icon next to Layer 2 off and on to see that the layers are perfectly aligned. Select the Eraser tool in the Tools panel, and pick a soft, pixel brush in the options bar.

Use the Eraser tool on the two girls looking away, revealing the image below, where they look into the camera. What is the advantage of using layers? When you create a new layer, where does it appear in the Layers panel stack? How can you make artwork on one layer appear in front of artwork on another layer?

How can you apply a layer style? Layers let you move and edit different parts of an image as discrete objects. You can also hide individual layers as you work on other layers.

A new layer always appears immediately above the active layer. To minimize file size, you can flatten the image, which merges all the layers onto a single background. Sometimes just one or two clicks in Photoshop can turn an image from so-so or worse to awesome. Quick fixes get you the results you want without a lot of fuss. Getting started Not every image requires a complicated makeover using advanced features in Photoshop. Photoshop gives you the tools to make quick changes to a snapshot.

Fortunately, red eye is easy to fix in Photoshop. In the Favorites panel in Bridge, click the Lessons folder. Then, in the Content panel, double-click the Lesson05 folder to open it. Adjust the thumbnail slider, if necessary, so that you can see the thumbnail previews clearly. Not only does red eye make an ordinary person or animal appear sinister, but it can distract from the subject of the image.

The Darken Amount specifies how dark the pupil should be. The red reflection disappears. If the red reflection is directly over the pupil, clicking the pupil removes it. However, if the red reflection is slightly off the pupil, try clicking the highlight in the eye first. Sometimes the best option is to try them all and see which one you like best.

Click Curves in the Adjustments panel. Click Auto to see what Photoshop applies. The image brightens. Choose Lighter from the Preset menu.

Photoshop applies some subtle changes. That brightens the image nicely, and also improves the contrast. Save the file, and then close it. The snapshot is ready to share. Blurring a background The interactive blurs in the Blur Gallery let you customize a blur as you preview it on your image. In the final image, the egret appears sharper, as its reflection and the grass around it have been blurred. Iris Blur, one of the interactive blurs in the Blur Gallery, makes the task an easy one—no masking required.

Photoshop opens the image. A blur ellipse is centered on your image. Kristin Cullen. Lynne Weikart. Art Law in a Nutshell. Leonard DuBoff. Don’t have a Kindle? About the authors Follow authors to get new release updates, plus improved recommendations.

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See more on the author’s page. Andrew Faulkner. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness.

Top reviews Most recent Top reviews. Top reviews from Canada. There was a problem filtering reviews right now. Please try again later. Verified Purchase. I needed to buy this book for an online photoshop course I was taking and found the instructions and lessons very interesting and well explained.

I had no issues following a long and the exercises they give you allow you to learn multiple ways to accomplish the same thing. Since the course I took only covered a portion of this book I am going to continue making my way through the lessons to learn even more about photoshop.

One person found this helpful. There is false advertising in the description, “ebook updates when Adobe releases new features for Creative Cloud customers”. I have found there are many small changes that affect the lessons greatly for example lesson 6 there is not a way to achieve the shadow effect in the way the book directs.

It help so much for all beginners. I’ve been using photoshop for a while now and learned things I never realized before. I felt just like the title that I was in a classroom. This is a very good guide for a program with such a steep learning curve.

Very informative. Useful and clearly written. The condition was average. See all reviews. Top reviews from other countries. This book is ideal for a beginner who, like me, has been completely baffled by the mystery that is Photoshop. I downloaded the free trial of the CC version a while ago and gave up as I just couldn’t understand how to do anything. But as the Adobe programs are the industry standard, I decided I really needed to learn Photoshop, so reinstalled it and played around, again I was completely lost.

Lots of people have advised watching videos on You tube etc, and yes, it is possible to learn from those, but for me, I wanted a structured, start from the beginning kind of learning course. That’s where this book comes in. It really is like being in a classroom, as each chapter is a lesson or lots of lessons really. With the book comes the opportunity to download lesson files, and these really are crucial to the method of learning. Rather than just reading about the various functions of PS, this book teaches them in the most practical way, you use the starting photograph you’ve downloaded from the lesson files to achieve an edited end result, following step by step, click by click instructions.