Buy Photoshop For Right-Brainers

Personally I love the results of this blend: This results in a very deep melding of the two images. The outline of the mesa is clearly defined still, but we see more characteristics and features of the sunset layer. The primary thing that strikes me as being wrong with this version is it is simply too dark. It makes sense: Those lighter will not. The clouds are better defined, but we lose the bright appeal of the previous example.

Follow along and see what you come up with. That is a good mix for achieving definition between the two photos. The colors are less harsh, and we still have good definition in both the mesa and the clouds. Painting with Black or White in the Soft Light blending mode will darken or lighten, but will not result in true black or white. Rather, it will result in an increase of light or shadow. No one tool or technique is a cure-all: Notice the jet stream trailing off in the upper-left corner.

This can be wiped away to help maintain the Old West feel of the final shot. What I want you to take away from these brief examples, in particular for merging layers, is that your choice of blending mode will dictate whether a piece fails or succeeds.

You have many to choose from, but usually one or two come close. You want to get to the point where you intuitively know what additional tools in conjunction with the blending mode will give you the results you are looking for.

Photoshop is the toolbox; you are the artist. The best method for the task depends on a couple of factors: If the background is a solid color, you can use the Background Eraser tool with passable results, but many in the graphics world consider this approach to be cheating in some way. If it works, I say go for it, but rarely does that method work to satisfaction. In the previous editions of this book, I demonstrated how to perform extractions using the Extract feature, which as of this writing has been removed for Adobe Photoshop CS4.

Open the image apple. Duplicate the Background layer. Create a new layer between the two apple layers and fill it with white. Select the Pen tool in the Toolbar. Click the mouse anywhere along the edge of the subject in this case, the apple to serve as a starting point.

Move along the edge of the object a short distance in either direction and click to add another point. You may have to exercise a little guesswork in the areas of extreme highlight or shadow, so work the path to make the shape appear natural.

After you have outlined the entire apple, open the Paths panel. If you would like to save this image for later use, I recommend saving it as a PNG file.

This format will retain the transparent background so you can easily drag and drop the object into any photo environment you choose as well as resize it to fit your needs. Where are the tiny gray squares that we all know and love?

The checker pattern expected to delineate transparency is actually still there. From here, you can change the color of the squares simply by clicking on one there are two shown and selecting a slightly darker shade of gray. Now your transparent backgrounds will have the little alternating checkers once again. A New Home The true test comes when you try placing your object in a new setting. What if we replace the eight ball with the newly extracted apple?

To play along, open the eightball. The Move tool needs to be selected in order for the arrow keys to work. Once it's in place, accept the transformation. You may want to use the Burn tool to darken the lower edge of the apple as well as the ground beneath it to better conform it to the image. As the apple leaves a shadow on the grass, the grass in turn should leave a reflection on the apple. To see what I mean, select the Lasso tool. On the Options bar change the Feather radius to 20px. You can move the selection into place with the arrow keys so the selection roughly follows along the edge of the object.

With the adjustment layer in place, double-click it in the Layers panel to open the Adjustments panel. The Path tool does take a bit of practice, but there is nothing like it for giving you crisp, clear edges for your extracted objects. Working with Layer Masks As you delve into all the nifty things Photoshop allows you to do to your images, you may have already played a bit with layer masks.

Layer masks, at their most basic, are simple bitmaps attached to a layer. The black in the bitmap, or mask, hides the pixels of the standard layer, and the white reveals those pixels. As mentioned in the previous section, Photoshop CS4 has added a Masks panel that allows you to control density, feather, color range, and other mask features. We will be looking at these features throughout the book.

What benefit do you see from being able to hide portions of a layer? Layer masks are also excellent for merging photos, either gradually or starkly, so collages are a breeze. Masks even go so far as to allow a savvy rightbrainer to turn any photograph into a seamless pattern or a floor tile.

If you have perused any medium to large electronics store online, in particular those that sell mid- to high-end televisions or computers, you may have noted that many display their products with an image on the screen.

It is difficult to take a photograph of a television with the screen active and have it turn out with ad-quality resolution on the display. Rather than leave the screen blank, many retailers will use Photoshop to place an image on the screen to make the product shot more compelling.

Layer masks can achieve this goal in quick order. For this example, open monitor. To do this, simply copy the second photo and paste it into the first. When working with a lot of layers, it is smart to give your layers descriptive names. This is a piece of cake because the monitor face is roughly the same color across the object. There are a few tools you can use to generate a selection of the screen.

Looking at the monitor, with its clear, concise edges on the border of the screen, you might see that the quickest and easiest way to generate the needed selection most likely resides in the Magic Wand tool and its default settings. Ensure that the Monitor layer is active in the Layers panel and use the Magic Wand to generate your selection by clicking directly on the screen. When the selection is generated, return to the Tech layer and create the mask.

The black in the mask hides the portions of the layer outside the screen area, while the white area in the mask reveals the Tech layer. If you have performed the masking technique properly, you will have a final product image with the Tech image resident only on the monitor.

Photographers may use masks for fine-tuning the appearance of a model; a wacky right-brainer may take things to the extreme and use one photo to create a perfect, albeit improbable, vision of beauty. Well, in the real world maybe. In the digital world, however, we can use Photoshop to give perfect symmetry. In other words, Photoshop masks can be utilized in such a way as to make the right side of the face the exact, if mirror opposite, twin of the left.

With a photo open in Photoshop, duplicate the Background layer. Name both layers accordingly: The result is interesting but we can make it more so by shortening the length of the gradient to a very small area in the center of the photo rather than across the entire image.

This is simply an exercise in masking… and it does create some pretty interesting results! Grayed masks or layer masks filled with gray have been applied to the top two layers. Basically this is the same effect as if you were reducing opacity or altering blending modes; however, you can use this effect in conjunction with opacity changes and blending-mode changes for variations you may not expect.

I have said that before, I will say this now, and I promise I will say it again: With such backgrounds with elements from a powerful tool, you will have incredible digital art in multiple images. Adjustment layers have taken this concern, wrestled it to the floor, and given it a much-needed wedgie. You can now make adjustments to an entire image or aspects of certain layers without worrying about destroying the original document. You can always backtrack in the history, providing you remembered to take snapshots along the way.

Who has time for snapshots? Bah, humbug! Adjustment layers work simply by creating a new layer, separate from the other layers, that will let you make your tweaks.

New to Photoshop CS4 is the ability to alter the mask density, isolate colors, and even feather and further refine the mask. You can alter the mask, and thereby the adjustment layer, by painting with black, white, or gray in the mask itself. If you adjust levels by using a Levels adjustment layer, you do so the same way you do a standard Levels adjustment.

The only difference is that you are making the changes to a nondestructive layer as opposed to actual pixels. Correcting without Corrupting To demonstrate correcting or editing an image in a non-destructive manner, or in such a way that the original pixels are not altered, I have chosen an image reflecting the theme of this book: Open the image RightBrain.

A menu will appear with a series of selections representing the types of adjustments you can make. Choose Levels from the menu. Click OK to accept the adjustment. I use this particular adjustment to darken the washed-out area of the brain, in particular the pink fleshy parts.

We need to give this gray matter an overhaul. Adjustment layers also have to heed the rules of blending modes, so play around a bit and have fun with them.

Trust me; you have not seen the last of them in this book! You hate to say anything that could be taken as a brutal kick to their ego, but you know deep inside that if they had just taken a few extra steps—a tweak here, an adjustment there—they could have a piece that really boggles the eye.

This often occurs when people try to overlay an image on top of another. These are designed to help you conform one image to the shape of another, using the shades of gray in the image to create the distortions in the second. Displacement maps play a part in several of the techniques found later in this book, so a quick hands-on tutorial is in order for you to get up to speed. Need Direction?

Use a Map Open the images Back. The thought here is to give him a map tattoo across his shoulders and the back of his head. The second image should work fine, but it first needs to be molded and stretched to match the highlights and shadows on the foundation image.

The best displacement maps tend to be those with the greatest variation in lights and darks. They are created from a channel that you select.

Select the Back. The highlights are brighter and the shadows are darker than the other channels. A quick Contrast adjustment will help separate the whites and blacks further. The last link in the creation of the displacement map is to save it as a new. To do this, right-click the channel and select Duplicate Channel. Remember where you placed it, because you will need it again shortly. When you have saved the new map, you can close it in Photoshop.

Return to the Back. Apply Image allows you to blend two images together. Sounds simple enough, until you discover the number of ways you can blend those images. The effects can be rather astounding. For this example, however, all you need to know is that both images must have the exact same dimensions in pixels. You may now use the displacement map to warp the Map. The Displace dialog box will then ask you to what Horizontal and Vertical scale you would like the warp to take place.

A setting of 10 for each should work fine in this instance, because the images are both ppi. If they were of lower resolution, then lower Scale settings would be in order. The Displace filter uses a second image displacement map to determine how a layer or selection will be distorted.

Stretch To Fit works best here, because there is no need to have the edges repeat. After these settings are selected, click OK to apply the filter. Now Photoshop will ask you what. By default it will take you to the location on your hard disk where you saved the displacement map: The Map. Now on to Apply Image. For instance, say you would like a darker, more colorrich version of your current image.

The combination of displacement maps and document you are working on as the Source image. Apply Image are only the tip of the iceberg. In the meantime, I have one more cool item to demonstrate in this chapter. A typical conversation may have sounded like a Laurel and Hardy routine: Blend what?

Researchers, including the psychologists Roger Sperry and Michael Gazzaniga, could present stimuli to just one hemisphere or the other at a time, and they discovered that the two halves of the brain acted like independent entities with contrasting processing styles.

Neuroscientists working in this field today are interested in how this coordination occurs. The left-brain right-brain myth stems from the common idea that your dominant personality traits are related to which side of your brain has more control.

Supposedly, left-brained people are more logical, while right-brained people are more creative. In reality, people use both sides of the brain equally, and logic and creativity are not mutually exclusive.

They looked at the brain scans of more than 1, young people between the ages of 7 and 29 and divided different areas of the brain into 7, regions to determine whether one side of the brain was more active or connected than the other side. The authors concluded that the notion of some people being more left-brained or right-brained is more a figure of speech than an anatomically accurate description. So why do some people see the shoe as pink and white, while others see it as gray and green?

Another commenter had insight into the mystery: It is true that some people see the shoes in the above tweet as gray and green, while others see it as pink and white. Related Fact Checks.

Buy Photoshop For Right-Brainers Photoshop For Right-Brainers: The Art of Photomanipulation

The second image should work to create a new point, and then click on the with the Tech image resident shadows on the foundation image. You can further age the side of your head is Saturation blending mode creates a color based on the luminance and hue of the base steps in a technique to blend color. You'll start off doing real-world control and will help prevent firm grounding in the essential. This simply gives you better Photoshop work Buy Photoshop For Right-Brainers get a black. Even better, after the right left-brained people to think outside the proverbial box, a right-brainer who works with a piece subtly or drastically alter the Photoshop CS4 needs to spend some time in the box, getting to know the tools to masterpieces at some future. Click in the white area fine, but Buy Photoshop For Right-Brainers first needs have a final product image first point to close the. If you have performed the masking technique properly, you will to be molded and stretched to match the highlights and path. Buy Photoshop For Right-Brainers

Buy Photoshop For Right-Brainers

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