Save Document and The Format

Adobe Photoshop and Adobe ImageReady support a variety of file formats to suit a wide range of output needs. You can save or export your image to any of these formats. You can also use special Photoshop features to add information to files, set up multiple page layouts, and place images in other applications.


Formats:

•  .PSD This is the PhotoShop format and it preserves layers.
• .JPG This is for the web and is used for graphics on the web.
• .GIF This is also for the web but is best for text.
• .TFF A great cross platform format that preserves all quality for printing.
• .PCT Another good format for print and cross platform.

Steps:

1. First lets open Collage.psd located in the workshop folder on the desktop.
2. Menu > File > Open navigate to document, click once on it, click OK.
3. Next let’s save it as Work.psd in the Test folder in the workshop folder on the desktop.
4. Next save it as Work.jpg in the FindMe folder in the workshop folder on the desktop.
5. Menu > File > Save As Change name, Navigate to desired save location, Click OK.

Printing

Printing is the process of sending your image to an output device. You can print on paper or film (positive or negative), to a printing plate, or directly to a digital printing press.


Steps:

1. Open Test, jpg
2. Menu > File > Page Setup. A window will open. Check that document is going to print to the printer you desire.
3. Select desired Printer. Make sure Landscape/Portrait is correct.
4. Click OK
5. Menu > File > Print. All should be ok, but just double check
6. Click OK

Using The Type Tool

Clicking in an image with the type tool puts the type tool in edit mode. You can enter and edit characters when the tool is in edit mode; however, you must commit changes to the type layer before you can perform other operations. For example, you cannot select a command from the Layer menu while the type tool is in edit mode. To determine if the type tool is in edit mode, look in the options bar—if you see the OK button and Cancel button, the type tool is in edit mode.

To commit changes to a type layer:

Do one of the following:

• Click the OK button in the options bar.
• Press the Enter key on the numeric keypad.
• Press Ctrl+Enter on the main keyboard (Windows) or Command+Return (Mac OS).
• Select any tool in the toolbox, or click in the Layers, Channels, Paths, Actions,  History, or Styles palette.

To enter point type:

1. Select the type tool.
2. Click the New Type Layer button in the options bar.
3. Click an orientation button in the options bar.
4. Click in the image to set an insertion point for the type. The small line through the I-beam marks the position of the type baseline. For horizontal type, the baseline marks the line on which the type rests; for vertical type, the baseline marks the centre axis of the type characters.
5. Select additional type options in the options bar, Character palette, and Paragraph palette.
6. Enter the characters you want. Press Enter on the main keyboard (Windows) or Return (Mac OS) to begin a new line.
7. Commit the type layer. 

Entering paragraph type

When you enter paragraph type, the lines of type wrap to fit the dimensions of the bounding box. You can enter multiple paragraphs and select a paragraph justification option. You can resize the bounding box, which causes the type to reflow within the adjusted rectangle. You can adjust the bounding box while you’re entering type or after you create the type layer. You can also rotate, scale, and skew type using the bounding box.

To enter paragraph type:

1. Select the type tool .
2. Click the New Type Layer button in the options bar.
3. Click an orientation option in the options bar:
4. Select additional type options in the options bar, Character palette, and Paragraph palette.
5. Enter the characters you want. Press Enter on the main keyboard (Windows) or Return (Mac OS) to begin a new paragraph. If you enter more type than can fit in the bounding box, the overflow icon ( ) appears on the bounding box.
6. If desired, resize, rotate, or skew the bounding box.
7. Commit the type layer.

To resize or transform a type bounding box:

1. Display the bounding box handles.
2. Drag to achieve the desired effect:

• To resize the bounding box, position the pointer over a handle the pointer turns into a double arrow and drag. Shift-drag to maintain the proportion of the bounding box.
• To rotate the bounding box, position the pointer outside of the bounding border the pointer turns into a curved, two-sided arrow and drag. Shift-drag to constrain the rotation to 15° increments. To change the center of rotation, Ctrldrag (Windows) or Command-drag (Mac OS) the center point to a new location. The center point can be outside the bounding box.
• To skew the bounding box, hold down Ctrl+Shift (Windows) or Command+Shift (Mac OS) and drag a side handle. The pointer turns into an arrowhead with a small double arrow.
• To scale the type as you resize the bounding box, Ctrl-drag (Windows) or Command-drag (Mac OS) a corner handle.

 To edit text in a type layer:

1. Select the type tool.
2. Select the type layer in the Layers palette, or click in the text flow to automatically select a type layer.
3. Position the insertion point in the text, and do one of the following:
4. Enter text as desired.
5. Commit the changes to the type layer.

Formatting paragraphs

A paragraph is any range of type with a carriage return at the end. You use the Paragraph palette to set options that apply to entire paragraphs, such as the alignment, indentation, and space between lines of type. For point type, each line is a separate paragraph. For paragraph type, each paragraph can have multiple lines, depending on the dimensions of the bounding box.

Selecting paragraphs and showing the Paragraph palette

You can use the Paragraph palette to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a type layer.

To select paragraphs for formatting:

Do one of the following:

• Select the type tool, and click in a paragraph to apply formatting to a single paragraph.
• Select the type tool, and make a selection within a range of paragraphs to apply formatting to multiple paragraphs.
• Select the type layer in the Layers palette to apply formatting to all paragraphs in the layer.

Creating Animations

Using the Animation palette

The Animation palette lets you create, view, and set options for the frames in an animation. You can change the thumbnail view of frames in the Animation palette—using smaller thumbnails reduces the space required by the palette and displays more frames in a given palette width.

To display the Animation palette:

Choose Window > Show Animation, or click the Animation palette tab.

To change the thumbnail view of frames:

1. Select Palette Options from the Animation palette menu.
2. Select a thumbnail size, and click OK.

Adding frames

Adding frames is the first step in creating an animation. If you have an image open in Image Ready, the Animation palette displays the image as the first frame in a new animation.

Each frame you add starts as a duplicate of the preceding frame. You then make changes to the frame using the Layers palette.

To add a frame to an animation:

1. If you want to add the animation to a rollover state, select the desired state in the Rollover palette.
2. In the Animation palette, do one of the following:

• Click the New Frame button.

• Select New Frame from the Animation palette menu.

Selecting frames

Before you can work with a frame, you must select it as the current frame. The contents of the current frame appear in the document window. You can select multiple frames, either contiguous or discontiguous, to edit them or apply commands to them as a group. When multiple frames are selected, only the current frame appears in the document window.

Copying and pasting frames

To understand what happens when you copy and paste a frame, think of a frame as a duplicate version of an image with a given layer configuration.

When you copy a frame, you copy the configuration of layers (including each layer’s visibility setting, position, and other attributes).

When you paste a frame, you apply that layer configuration to the destination frame.

To copy and paste layers between frames:

1. Select one or more frames.
2. Choose Copy Frames from the Animation palette menu.
3. Select a destination frame or frames in the current animation or another animation.
4. Choose Paste Frames from the Animation palette menu.
5. Select a Paste Method.
6. Select Link Added Layers if you want to link pasted layers in the Layers palette. Use this option when you need to reposition the pasted layers as a unit.
7. Click OK.

Creating a type selection border.

When you use the type tool with the Masked Type option selected, you create a selection in the shape of the type. Type selections appear on the active layer, and can be moved, copied, filled, or stroked just like any other selection.

To create a type selection border:

1. Select the layer on which you want the selection to appear. For best results, create the type selection border on a normal image layer, not a type layer.
2. Select the type tool, and click the Masked Type button in the options bar.
3. Select additional type options, and enter type at a point or in a bounding box.

Working with type layers

Once you create a type layer, you can edit the type and apply layer commands to it. You can change the orientation of the type, apply anti-aliasing, convert between point type and paragraph type, create a work path from type, or convert type to shapes. You can move, restack, copy, and change the layer options of a type layer as you do for a normal layer. You can also make the following changes to a type layer and still edit the type:

• Apply transformation commands from the Edit menu, except for Perspective and Distort. (To apply the Perspective or Distort commands, or to transform part of the type layer, you must rasterize the type layer, making the type uneditable.)
• Use layer styles.
• Use fill shortcuts. To fill with the foreground color, press Alt+Backspace (Windows) or Option+Delete (Mac OS); to fill with the background color, press Ctrl+Backspace (Windows) or Command+Delete (Mac OS).
• Warp type to conform to a variety of shapes.

Using Channels and Masks

Viewing channels

You can use the palette to view any combination of individual channels. For example, you can view an alpha channel and the composite channel together to see how changes made in the alpha channel relate to the entire image. By default, individual channels are displayed in grayscale.

Changing the display of the palette

You can show the individual color channels in color (rather than grayscale) in the Channels palette and specify the size of the thumbnails. Using thumbnails is the most convenient way of tracking channel contents; however, turning off the display of thumbnails can improve performance.

Adding spot colors.

Spot colors are special premixed inks used instead of, or in addition to, the process color (CMYK) inks. Each spot color requires its own plate on the press. (Because a varnish requires a separate plate, it is considered a spot color, too.) For information on printing spot color plates, see “Printing color separations”

To change a spot channel’s options:
1 - Do one of the following:

• Double-click the spot channel name in the Channels palette.
•  Select the spot channel in the Channels palette, and choose Channel Options from the palette menu.

2 -  Click the color box, and choose a color. For more information, see “Using the Adobe Color Picker” in online Help. By selecting a custom color, your print service can more easily provide the proper ink to reproduce the image. For more information, see “Choosing custom colors (Photoshop)” in online Help.

3 -  For Solidity, enter a value between 0% and 100%. This option lets you simulate on-screen the solidity of the printed spot color. A value of 100% simulates an ink that completely covers the inks beneath (such as a metallic ink).

Using the Calculations command

The Calculations command lets you blend two individual channels from one or more source images. You can then apply the results to a new image or to a new channel or selection in the active image. You cannot apply the Calculations command to composite channels.

To load a saved selection into an image:

1. Choose Select > Load Selection. For Document, the active filename is selected.
2. For Channel, choose the channel containing the selection you want to load.
3. Click Invert to make the nonselected areas selected and vice versa.
4. If the destination image already has a selection, indicate how to combine the selections. (For information on these options, see “Saving a mask  selection”
5. Click OK.

To load a selection from another image (Photoshop):

1. Open the two images you want to use. Note: The images must have identical pixel dimensions.
2. Make the destination image active, and choose Select > Load Selection.
3. For Document, choose the source image.
4. For Channel, choose the channel containing the selection you want to use as a mask.
5. Click Invert if you want to make the nonselected areas selected and vice versa.
6. If the destination image already has a selection, indicate how to combine the selections. (For information on these options, see “Saving a mask selection”
7. Click OK.

Merging channels

Multiple grayscale images can be combined into a single image. Some grayscale scanners let you scan a color image through a red filter, a green filter, and a blue filter to generate red, green, and blue images. Merging lets you combine the separate scans into a single, color image.

Splitting channels into separate images

You can split the channels of a flattened image into separate images. The original file is closed, and the individual channels appear in separate grayscale image windows. The title bars in the new windows show the original filename plus the channel abbreviation (Windows) or full name (Mac OS). Any changes since the last save are retained in the new images and lost in the original.

Mixing color channels

The Channel Mixer command lets you modify a color channel using a mix of the current color channels. With this command, you can do the following:

• Make creative color adjustments not easily done with the other color adjustment tools.
• Create high-quality grayscale images by choosing the percentage contribution from each color channel.
• Create high-quality sepia-tone or other tinted images.
• Convert images to and from some alternative color spaces, such as YCbCr.
• Swap or duplicate channels.

Drawing and editing

About the drawing tools in Photoshop and ImageReady.

Keep in mind the following differences when using the drawing tools in Photoshop and Image Ready:

• The pen tools, polygon tool, and custom shape tool are available only in Photoshop.
• In Photoshop, you can use the drawing tools to create a work path; in ImageReady, you can’t create a work path.       
• In Photoshop, you can draw multiple shapes in layer and specify how overlapping shapes interact. In ImageReady, you can only draw one shape in a layer.
• In Photoshop, you can edit shapes after you draw them. In ImageReady, you can move and transform shapes, but you can’t edit them.

Creating shape layers

You create a shape layer using a shape tool or a pen tool. Technically, a shape layer is a fill layer with a layer clipping path; the fill layer defines the color of the shape, while the layer clipping path defines the geometric outline of the shape. You can change the color and other attributes of a shape by editing its fill layer and applying layer styles to it. You can change the outline of a shape by editing its layer clipping path.

Setting shape tool options

Each shape tool provides specific options; for example, you can set options that allow you to draw a rectangle with fixed dimensions or a line with arrowheads.

Adding, deleting, and converting anchor points

The add anchor point and delete anchor point tools let you add and delete anchor points on a shape. The convert direction point tool lets you convert a smooth curve to a sharp curve or to a straight segment, and vice versa. If you have selected Auto Add/Delete in the options bar for the pen tool or freeform pen tool, when you click a line segment, a point is added, and when you click an existing point, it is deleted.

Transforming and retouching

You can transform images in many ways. For example, you can redefine an image’s perspective; manipulate areas of an image as if the pixels in those areas had been melted; scale, rotate, or flip a selection or image in two dimensions; and transform an object in three dimensions. You can also apply filters to create special effects. Tools for retouching an image include the clone stamp, pattern stamp, smudge, blur, sharpen, dodge, burn, and sponge tools.

Moving, Copying, and Pasting Selections and Layers

You can move or copy selections and layers within or between images—and also between images in other applications. Moving selections and layers within an image. The move tool lets you drag a selection or layer to a new location in the image. With the Info palette open, you can track the exact distance of the move.

To specify move tool options:

1. Select the move tool.
2. Select any of the following in the options bar:

• Auto Select Layer to select the topmost layer that has pixels under the move tool, rather than the selected layer.
• Show Bounding Box to display the bounding box around the selected item.
• If multiple items are selected, you can choose one of the alignment options.

To copy a selection:

1. Select the area you want to copy.
2. Choose Edit > Copy or Edit > Copy Merged

To copy a selection while dragging:

1. Select the move tool, or hold down Ctrl (Windows) or Command (Mac OS) to activate the move tool.
2. Hold down Alt (Windows) or Option (Mac OS), and drag the selection you want to copy and move. When copying between images, drag the selection from the active image window into the destination image window. If nothing is selected, the entire active layer is copied. As you drag the selection over another image window, a border highlights the window if you can drop the selection into it.

To create multiple copies of a selection within an image:

1. Select the move tool, or hold down Ctrl (Windows) or Command (Mac OS) to activate the move tool.
2. Copy the selection:

• Hold down Alt (Windows) or Option (Mac OS), and drag the selection.
• To copy the selection and offset the duplicate by 1 pixel, hold down Alt or Option, and press an arrow key.
• To copy the selection and offset the duplicate by 10 pixels, press Alt+Shift (Windows) or Option+Shift (Mac OS), and press an arrow key. As long as you hold down Alt or Option, each press of an arrow key creates a copy of the selection and offsets it by the specified distance from the last duplicate.

To paste one selection into another:

1. Cut or copy the part of the image you want to paste.
2. Select the part of the image into which you want to paste the selection. The source selection and the destination selection can be in the same image or in two different Photoshop images.
3. Choose Edit > Paste Into. The contents of the source selection appear masked by the destination selection.

Using The Marquee Tools

The marquee tools let you select rectangles, ellipses, rounded rectangles (ImageReady), and 1-pixel rows and columns. By default, a selection border is dragged from its corner.

To use the marquee tools:

1. Select a marquee tool.
2. In the options bar, specify whether to add a new selection, add to a selection, subtract from a selection, or select an area intersected by other selections.
3. Specify a feathering setting in the options bar. Turn anti-aliasing on or off for the       rounded rectangle or elliptical marquee.
4. For the rectangle, rounded rectangle, or ellip-tical marquee, choose a style in the options bar.
5. For aligning your selection to guides, a grid, slices, or document bounds, do one of the following to snap your selection.
6. Do one of the following to make a selection:

• With the rectangle, rounded rectangle, or elliptical marquee, drag over the area you want to select. Hold down Shift as you drag to constrain the marquee to a square or circle. To drag a marquee from its center, hold down Alt (Windows) or Option (Mac OS) after you begin dragging.
• With the single row or single column marquee click near the area you want to select, and then drag the marquee to the exact location. If no marquee is visible, increase the magnification of your image view.

Using the Lasso, Polygonal Lasso, and Magnetic Lasso Tools

The lasso and polygonal lasso tools let you draw both straight-edged and freehand segments of a selection border. With the magnetic lasso tool (Photoshop), the border snaps to the edges of defined areas in the image.

To use the lasso tool:

1. Select the lasso tool, and select options.
2. Drag to draw a freehand selection border.
3. To draw a straight-edged selection border, hold down Alt (Windows) or Option (Mac OS), and click where segments should begin and end. You can switch between drawing freehand and straight-edged segments.
4. To erase recently drawn segments, hold down the Delete key until you’ve erased the fastening points for the desired segment.
5. To close the selection border, release the mouse without holding down Alt (Windows) or Option (Mac OS).

To use the polygonal lasso tool:

1. Select the polygonal lasso tool, and select options.
2. Click in the image to set the starting point.
3. To draw a straight segment, position the pointer where you want the first straight segment to end, and click. Continue clicking to set endpoints for subsequent segments.
4. To draw a freehand segment, hold down Alt (Windows) or Option (Mac OS), and drag. When finished, release Alt or Option and the mouse button.
5. To erase recently drawn straight segments, press the Delete key.
6. Close the selection border:

To use the magnetic lasso tool (Photoshop):

1. Select the magnetic lasso tool, and select options.
2. Click in the image to set the first fastening point. Fastening points anchor the selection border in place.
3. To draw a freehand segment, move the pointer along the edge you want to trace. (You can also drag with the mouse button depressed.) The most recent segment of the selection border remains active. As you move the pointer, the active segment snaps to the strongest edge in the image, based on the detection Width set in the options bar. Periodically, the magnetic lasso tool adds fastening points to the selection border to anchor previous segments.
4. If the border doesn’t snap to the desired edge, click once to add a fastening point manually. Continue to trace the edge, and add fastening points as needed.
5. To activate the lasso tool, hold down Alt (Windows) or Option (Mac OS), and drag with the mouse button depressed.
6. To activate the polygonal lasso tool, hold down Alt (Windows) or Option (Mac OS), and click.
7. To erase recently drawn segments and fastening points, press the Delete key until you've erased the fastening points for the desired segment.
8. Close the selection border.

Color Modes and Models

HSB Model (hue, saturation, brightness).

Hue is the color reflected from or transmitted through an object. It is measured as a location on the standard color wheel, expressed as a degree between 0° and 360°. In common use, hue is identified by the name of the color such as red, orange, or green. Saturation, sometimes called chroma , is the strength or purity of the color. Saturation represents the amount of gray in proportion to the hue, measured as a percentage from 0% (gray) to 100% (fully saturated). On the standard color wheel, saturation increases from the center to the edge. Brightness  is the relative lightness or darkness of the color, usually measured as a percentage from 0% (black) to 100% (white). Although you can use the HSB model in Photoshop to define a color in the Color palette or Color Picker dialog box, there is no HSB mode available for creating and editing images.

RGB model (red, green, blue)

A large percentage of the visible spectrum can be represented by mixing red, green, and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan, magenta, yellow, and white. Photoshop’s RGB mode uses the RGB model, assigning an intensity value to each pixel ranging from 0 (black) to 255 (white) for each of the RGB components in a color image. For example, a bright red color might have an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of neutral gray. When the value of all components is 255, the result is pure white; when the value is 0, pure black. Although RGB is a standard color model, the exact range of colors represented can vary, depending on the application or display device. Photoshop’s RGB mode varies according to the working space setting that you have specified in the Color Settings dialog box.

CMYK model (cyan, magenta, yellow, black)

The CMYK model is based on the light-absorbing quality of ink printed on paper. As white light strikes translucent inks, part of the spectrum is absorbed and part is reflected back to your eyes. In theory, pure cyan (C), magenta (M), and yellow (Y) pigments should combine to absorb all color and produce black. For this reason these colors are called  subtractive colors. Because all printing inks contain some impurities, these three inks actually produce a muddy brown and must be combined with black (K) ink to produce a true black. (K is used instead of B to avoid confusion with blue.) Combining these inks to reproduce color is called four-color process printing. Although CMYK is a standard color model, the exact range of colors represented can vary, depending on the press and printing conditions. Photoshop’s CMYK mode varies according to the working space setting that you have specified in the Color Settings dialog box. 

L*a*b model

The L*a*b color model is based on the model proposed by the Commission Internationale d’Eclairage (CIE) in 1931 as an international standard for color measurement. In 1976, this model was refined and named CIE L*a*b. L*a*b color is designed to be  device independent, creating consistent color regardless of the device (such as a monitor, printer, computer, or scanner) used to create or output the image. L*a*b color consists of a  luminance or lightness

Component (L) and two chromatic components:

•  The  a component (from green to red)
•  The b component (from blue to yellow).

Introduction to Adobe Photoshop 6.0

Welcome to the Adobe Photoshop 6.0 application, the world-standard image-editing, photo-retouching, and Web-graphics solution. With its integrated Web tool application, Adobe ImageReady 3.0, Photoshop delivers a comprehensive environment for professional designers and graphics producers to create sophisticated images for both print and the Web. Moreover, Photoshop 6.0 expands the definition of desktop image-editing by adding new support for vector-based drawing and editing, improved tools for producing Web graphics, and an enhanced user interface, all to your creative advantage.