Photoshop CS3 for Screen Printers- P14 ppsx

Using the Lighting Effects dialog box, as shown in Figure20-4, you can create light from any direction, choose a spotlight, usedirectional or omni light, configure intensity and focus, a

. Note:

As with the other filters, the dialog box is pretty intuitive Click inside the

window to adjust the amount of distortion for this one, and use the – and +buttons for zooming

Noise

Noise adds or removes noise, or static, in a picture Noise consists ofrandom pixels, and adding noise is useful when you need to apply randompixels for a special effect I can’t think of any reason why you’d want toadd noise to an image, unless you’ve got a picture of a TV set and want tomake it look like it’s broken, but I’m sure there’s a reason out theresomewhere!

On the flip side, reducing noise is generally helpful, and the

Despeckle and Dust & Scratches options can be used to reduce noise in

an image quite successfully Be careful if you plan to screen print theimage though; the options in the Dust & Scratches dialog box can signifi-cantly blur the image and might not be useful

Figure 20-3: Using the Twirl distort filter

Pixelated images are generally bad news, but if you’re looking for aneffect that will cause it, look no further The Color Halftone filter takeseach channel of color, divides the image into rectangles, and then

replaces them with circles, similar to halftone screens Crystallize usespolygonal shapes, Facet uses block shapes, and Mosaic uses squareblocks The other filters in this category do similar distortions

Render

Render filters can be used to create cloud patterns, refraction patterns,and light reflections in an image The patterns that can be created can beused as special effect backgrounds

To create a background using a cloud pattern, for instance, start with

a new canvas and choose Filter>Render>Clouds A cloud pattern will fillthe area using the foreground and background colors in the toolbox Youcan then apply other filters, such as Filter>Blur>Radial Blur or Filter>Distort>Ocean Ripple for more effect

Lighting effects let you create effects on RGB images using variouslighting styles Using the Lighting Effects dialog box, as shown in Figure20-4, you can create light from any direction, choose a spotlight, usedirectional or omni light, configure intensity and focus, and more

Figure 20-4: The Lighting Effects dialog box

] Tip:

Sharpen filters can be used to repair blurry photographs! They can also be

used after selecting a part of an image that’s blurry to sharpen only the

object that was in motion as you snapped the picture

Sketch

These filters add texture to an image and can be used like the artisticand brush strokes filters Examples of sketch filters include Chalk &Charcoal, Conté Crayon, Graphic Pen, Photocopy, Plaster, Torn Edges,and Water Paper

Stylize

These filters produce a painted or impressionistic effect by increasingthe contrast in the image Figure 20-5 shows before and after pictures ofthe OrangesII.jpg file The filter applied is Filter>Stylize>GlowingEdges I use this filter quite a bit for creating images for printing on blackshirts—concert shirts, motorcycle shirts, etc

If you’d like to experiment with this filter, open the OrangesII.jpg filefrom the Chapter 20 folder on the companion CD, and apply the filter.While you’re at it, try the Extrude, Solarize, and Wind filters.

Texture

Texture filters add texture to an image to make it look like you couldreach out and touch it and actually feel the texture that you’ve applied.Texture options include Craquelure, which gives the image a crackedlook, Grain, Mosaic Tiles, Patchwork, Stained Glass, and Texturizer.Stained Glass is a nice one to try if you need to create a logo for a church,while Mosaic Tiles might work for a handyman

Other and Digimarc

Use Other to create your own filters to modify masks, make color ments, and offset a selection in an image The filters you create can also

adjust-be saved for later use Digimarc filters emadjust-bed copyright information into

an image using a watermark These topics are beyond the scope of thischapter and book

Extract

Extract lets you remove an object or objects from an image and workswhen other options don’t (like the Background Eraser tool or the MagicEraser tool) With the Extract option, you can trace around an image toselect it for removal using a large highlighter-type pen, fill that area withcolor, and extract it from the image Sometimes it’s difficult to use theeraser tools, especially when the image you’re working with is a photo-graph and edges and colors are poorly defined or extremely similar incolor The Extract tool works when you want to “Photoshop out” a per-son in an image and place him or her in another photo, like what’s shownlater in Figure 20-7

In what situations would the Background Eraser or Magic Erasertools not work?

To use the Extract tool:

1 Open an image that contains an object to extract If necessary, fromthe Layers palette, select the layer that you want to work with

2 Choose Layer>Duplicate Layer to create a copy of the layer You

will see the duplicate layer in the Layers palette

3 To work only in a selected area, use the marquee tools to select anarea This is optional

4 Choose Filter>Extract You’ll see a dialog box similar to the one

shown in Figure 20-6

5 Configure the options for Brush Size, Highlight, and Fill as youwould with any other dialog box Highlight color is the color thatyou’ll see when you trace around an image; Fill is the color that will

be used to define the extracted object Brush Size defines the tip ofthe tracing brush

6 If the edge that you want to trace around contrasts highly with its

background, check Smart Highlighting.

7 Use the Zoom tool in the Extract dialog box to zoom in on the object,and press the Alt key to zoom back out Use the Hand tool to viewother parts of the image while zoomed in.

8 Select the Highlighter tool Use the mouse to trace completely

around the image and create a closed shape Figure 20-7 shows howI’ve traced around a person

Tips for Tracing

n When tracing around an object, position the brush so that you get a little ofthe background and a little of the object itself

n If possible, draw completely around the object and enclose it by connectingthe beginning and ending points

n Use a larger brush for tracing around hair or other wispy edges Use a smallerbrush for more defined areas

n Use the Eraser tool in the dialog box to erase a highlight drawn incorrectly.Use Alt+Backspace on a PC to erase the entire highlight, or use

Option+Delete on a Mac

Figure 20-6: Using the Extract command

9 Once the object has been traced around completely, select the Fill

tool from the left side of the Extract dialog box and fill the area byclicking once inside it

] Tip:

To remove a fill, click again in the filled area with the Fill tool

10 Click Preview If the preview doesn’t yield the results you want and

you want to start over, change the Preview option in the Extract

dia-log box from Extracted to Original Then press Alt+Backspace on

a PC to erase the entire highlight, or use Option+Delete on a Mac.

11 If the extraction is off to a good start, you can edit it Simply repeatthe steps above

12 Locate the Clean Up tool and the Edge Touch Up tools in the Extractdialog box Use these tools to touch up the extraction

Figure 20-7: Tracing and filling

13 To see how the object would look against a different background,select a choice in the Preview area of the Extract dialog box UnderDisplay, choose None, Black Matte, Gray Matte, White Matte, Other,

or Mask

14 Click OK in the Extract dialog box when you are finished.

15 From the Layers palette, remove the eye icon from the originalimage layer so that only the duplicate layer is showing You’ll seeyour extraction (If you did not create a duplicate layer, this step isn’tnecessary.)

16 Use Edit>Fade Extract to add the final touches to the image.

While using the Extract tool is a bit more complex than using the lasso oreraser tools, it’s also much more functional Practice makes perfect, sopractice away!

Liquify

Liquify is a fun tool for making a mess of things Beyond that, its ness lies in the ability to create awesome borders and special effects.Use this filter to turn any piece of artwork into a gooey, liquid-lookingmess of colors, or use the colors as an edge for a rectangular design To

useful-experiment with the Liquify filter, open the file Trunk.jpg from the

Chapter 20 folder on the companion CD (it’s very colorful and perfect for

this project), choose Filter>Liquify, and follow along here:

1 In the Liquify dialog box, as shown in Figure 20-8, choose the Twirl

Clockwise tool You can select it from the left side of the Liquify

dialog box or by pressing R on the keyboard

2 Choose a brush size in the Liquify dialog box that is approximatelythe size of one of the squares on the trunk Position the mouse over

a rectangular part of the trunk where red meets gold Click and hold

to apply the twirl effect Use the curser, now a circle, to create theeffect

3 Select the Twirl Counterclockwise tool and repeat step 2.

4 Select the Pucker tool and repeat again You’ll have to drag this tool

to get the desired effect

5 Work your way through the rest of the tools

6 Click Reconstruct to revert the image to its original, or click OK to

accept the changes See Figure 20-9

Figure 20-8: The Liquify dialog box

As with other tools and dialog boxes, the Liquify dialog box offers theHand tool and Zoom tool for panning the image and zooming in and out.There are other options though, and you’ll want to experiment withthem You can also choose show only the active layer in the dialog box bydeselecting Show Backdrop However, only the active layer is actuallydistorted.

Experiment with this tool to create borders and edges for photos thatyou need to blend into shirts and other items With practice, you canmake the object look like it’s moving as well After applying a filter, tryEdit>Fade to see the effects that can be created after the transition.Use your imagination!

The Fade Command

The Fade command appears in the Edit menu after a filter has beenapplied and allows you to change the blending options for that filter TheFade command also appears after using a painting tool or an eraser orafter making a color adjustment The Fade dialog box has two options:one to change the opacity and another to change the blending mode

Figure 20-9: Using the Liquify tool

The Fade command can be used on a single layer, a selection, or anentire image To work on a layer, choose that layer from the Layerspalette before applying the filter and working with Edit>Fade To use it

on a selection, make the selection, apply the filter, and then use the Fadecommand to edit the selection The Fade command can only be usedimmediately after applying a filter, eraser, painting tool, or color

to create special effects, like adding soft light or hard light, or changingthe color, saturation, hue, luminosity, or other attributes of how thelayers can be combined

Remember to work in RGB mode Some blends and filters won’t work in

Indexed Color, Lab, or CMYK mode

Blending Mode Options

As with understanding filters, the best way to understand exactly whatblending modes do to an image or layer is to work through each typeusing the same file By doing so, you can see exactly how the layersinteract with different blending mode options In this section, I brieflydescribe what each blending mode does, and in the next section, showyou how you can apply the different modes to an image

The following list does not contain all of the blending modes, as thereare quite a few! However, I’ve listed the ones I think you’ll use mostoften, and you can experiment with the rest to find out what they do

. Note:

Blends can be between two layers, a layer and a selection, or a layer and

what is being painted on that layer with a tool such as a painting or erasing

tool You’ll run across blending mode options often after painting or editing

an image

n Normal: Called Threshold when using bitmap or indexed color mode

instead of RGB mode, this mode is the default The blend is natural,and no distortion of pixels is added The pixels added to the imagesimply replace the underlying pixels

n Dissolve: Randomly distributes foreground pixels throughout the

layer or selected area and often gives a textured look to the image

n Darken: This mode changes pixels that are lighter than the

fore-ground color Pixels that are the same color or darker aren’t changed

n Multiply: Like the Darken mode, the Multiply mode darkens the

image This is good for creating shadows, as it combines the existingpixels with the foreground color in the toolbox when painting orediting

n Linear Burn: The target layer’s colors are blended with the bottom

layer’s colors to decrease the brightness of the image As with ColorBurn, no change occurs if the target layer is white

n Color Burn: Increases the contrast by darkening the colors on the

bottom layer of the image If the layer is white, no change occurs

n Lighten: Looks at both the original color and the blend color and

chooses the lightest color as the result color If a pixel is darker thanthe blend color, it is replaced

n Screen: Produces a bleached look by blending the inverse of the

blend color and the original colors of the pixels in the image

n Color Dodge: Decreases the contrast of the layers in the image by

brightening the original colors in the image

n Linear Dodge: Increases the brightness in the layers in the image

by brightening the original colors in the image

n Overlay: Good for creating ghost-like images and effects, this mode

either multiplies or screens the colors, depending on the original ors in the image The original color and the blend color are mixed

col-n Soft Light: Applies a soft light to the image, which can either

brighten or darken the image, depending on the original colors in theimage If the image is light, the image is lightened similar to a dodge;

if the image is dark, the image is darkened similar to a burn

n Hard Light: Applies a hard light to the image, based on its original

color It is similar to the Soft Light mode and is useful for creatingshadows

n Vivid Light: Burns or dodges the original color and the blend color,

depending on the darkness or lightness of the image Lighter imageshave their contrast decreased; darker images have their contrastincreased

n Linear Light: Similar to Vivid Light, except the brightness is

changed instead of the contrast

n Pin Light: Replaces the original colors in the image based on its

blend color The math is complicated, but the result is not Generally,this mode doesn’t produce anything usable (as far as I can tell)

n Difference: Compares the blend color with the original color and

determines which is brighter With that information, either the blendcolor is subtracted from the original color or the original color is sub-tracted from the base color Blending with black produces no change

n Exclusion: Creates an effect similar to Difference mode, but with

less contrast in the resulting colors

n Hue: Combines the luminance and saturation of the original color

with the hue of the blend color

n Saturation: Combines the luminance and hue of the original color

with the saturation of the blend color

n Color: Combines the luminance of the original color with the hue

and saturation of the blend color

n Luminosity: Combines the hue and saturation of the original color

with the luminance of the blend color

Applying a Blending Mode to a Layer

To understand what all of this means, open the file Blending Modes.psdfrom the Chapter 20 folder on the companion CD It has several layersthat will be perfect for applying blending and understanding what blend-ing modes do

This file was created in a matter of minutes if you’d like to recreate it

First, use the Magnetic Lasso to trace around the bowl of oranges in the

OrangesII.jpg file, and then copy the bowl of oranges to the clipboard

Create a new file, add a background, and paste the oranges in Add text

to the background

1 With the Blending Modes.psd file open, select Window>Layer to

open the Layers palette if it is not available already

2 In the Layers palette, select the Oranges layer by clicking on it

once See Figure 20-10 (Notice that you can now select any tool towork on this layer if desired; choose the Move tool to move the bowl

of oranges around on the image.)

Figure 20-10:

Choosing the layer

3 Double-click on the Oranges layer icon in the Layers palette to openthe Layer Style dialog box Remember to double-click the icon, notthe layer name Locate the Blend Mode option in the BlendingOptions section and click the down arrow to see the list of options.See Figure 20-11.

4 Make sure Preview is checked, move the Layer Style dialog box so

you can see it and the image, and choose the blending mode

Figure 20-11: The Blend Mode options