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The truth about cheating I’ve used the word ‘cheating’ in the title of this book in two ways.
Seventh edition first published 2012 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 Simultaneously published in the UK by Focal Press 2 Park Square, Milton Park, abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor Francis Group, an informa business First published as How to Cheat in Photoshop 2002 by Elsevier Ltd Reprinted 2002, 2003 Secand edition 2004 hird edition 2005 Reprinted 2006 Fourth edition 2007 Fifth edition 2009 Sixth edition 2010 First published as How to Cheat in photoshop cs5 2012 by Focal Press, an imprint of the taylor Francis Group Copyright@2002,2004,2005,2007,2009,2010,2012 Steve Caplin The right of Steve Caplin to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and patents act 198 electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publishe ans No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any Notice: No responsibil ity is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe Library of Congress Cataloging in Publication Data A catalog record has been applied for SBN:978-0-240-52592-1 ForinformationonallFocalPresspublicationsvisitourwebsiteatwww.focalpress.com Book design and cover by Steve Caplin Printed and bound in the united states 10111213141510987654321 Contents How to Cheat in Photoshop CS6 How to cheat, and why Hiding and showing 80 Acknowledgments....,........viii How to use this book Texture with layer modes ......... 82 What's new in Photoshop CS6 Layer masks 1: intersections........ 84 Layer masks 2: soft edges Natural selection Layer masks 3: smoothing 88 Selectⅰon∵: the fundamentals. Layer masks 4: auto masking The Lasso and the magic Wand Weaving in and out.…, QuickMask 1: better selection Blending 1 fire power..........94 96 Quick Mask 2 tips and tricks Blending 2: plane view. QuickMask 3: transformations interlude: Graphics tablets The Quick Selection tool Refine edge: fuzzy logic... Image adjustment 100 Refine edge: Going further 22 d hie glints.....….∴∴∴… The pen is mightier .24 . earnIng 104 The pen tool by numbers........26 Matching colors with Curves Putting the pen into prac The photographer's level 30 Selective hue and saturate 110 Find and replace...,.....,...32 Sharpening: Unsharp Mask 112 Color by numbers .. 34 Adjustment layers ............ 114 The color of her face 36 Hard light layer adjustment 116 Brush-on color 38 inter/ude: Taking the initiative Interlude: The perfect setup 40 Composing the scene 120 2 Transformation and distortion 42 Location tells the story 122 The free transform tool 44 Relative values: interaction 124 Step and repeat rotation……,46 I only have eyes for you 126 Image Warp: flag waving 48 Back to the foreground.......... 128 Tying yourself in knots ..50 Composition tips and tricks ....... 130 Cloning in perspective 52 Special effects with cloning 54 interlude: The left and right of things 132 Puppet Warp: animal tamer 134 Puppet Warp: get to grips......... 58 Getting into perspective Cappuccino with sprinkles........60 Establishing the horizon 136 Content-Aware Scaling 62 Introducing vanishing points 138 Content-Aware fill 1 64 Two point perspective Content-Aware Fill 2 66 Three point perspective 42 Content-Aware Moving 1.................68 Correcting perspective....... 144 Content-Aware Moving 2 70 Fixing wide angle objects 146 Choose your distortion..........72 Using existing perspective 148 Wide-angle wonder..., ,74 Boxing clever doubling up........ 150 Easy panorama correction 76 Vanishing point filter 1 152 hing point filter 2 154 Interlude: The freelance artist Contents Cropping in perspective. .156 9 Shiny surfaces 238 A piece of cake ..158 Introducing.. Plastic Wrap........ Interlude: Photomontage ethics 160 Im forever blowing bubbles ........ 242 Light and shade Water: moats and reflections 162 Making water from thin air Shadows on wall and ground.......164 Submerging in water.,......... 24 Tricky ground shadows 166 Snow and icicles 250 Creating complex shadows........168 Making it rain. ...,.......... 252 Light from windows........... 170 a cool glass of water ........... 254 Multiple shadowed objects........ 172 A massive block of ice .,......... 256 Shading on Hard Light layers.......174 Getting the glazing bug.,..... 258 Visible light sources 176 Glass: refraction 260 Turn the lamp on 178 Combining reflections .......... 262 Shading using light modes 180 Complex reflections Reverse shading with Curves.......182 a bridge too far 266 Making smoke without fire 84 Putting things in bottles 268 Making fire without smoke........186 Glass: putting it all together 270 Lighting up: perfect neon.........188 A refracting glass case..... 272 Day for night ... Interlude: Photographing glass 274 Interlude: want to tell you a story. 192 10 Metal, wood and stone 276 8 Heads and bodies 194 Instant metal using Curves........ 278 Making the head fit..… 196 Metal with Adjustment Laye 280 Complex head fit 198 Metal with Layer Styles 282 Comb body parts 200 Turning silver into gold 284 Changing history.… .202 Metal with Lighting Effects 286 Detailed hair cutting...........204 More on Lighting Effects.... 288 The solution for flyaway hair ....... 206 Spray-on rust and decay......... 290 Cutting hair with Refine edge Photographing shiny objects....... 292 The problem of hair loss 210 Making a better impression 294 Instant hair growth Timber floors with varnish 296 Beards and stubble 214 Recycling old wood.…,,…,298 The ageing process 216 Making statues from life Reversing the ageing process 218 Bringing statues to life.......... 302 Lewis shows his age .220 Carving words in stone.......... 304 It's all in the eyes 222 A grave business 306 Face changing with Liquify 224 Liquify: turning heads.,.........226 Interlude: The point of illustration Skin patching and healing. .. 228 Cosmetic makeover .230 Coloring black and white images..... 232 A cha //uae: Sourcing images for 236 How to Cheat in Photoshop CS6 Paper and fabric 310 14 Advanced techniques 392 How to make a load of money Tricks with layer masks ....,..... 394 ging a book by its cover Front and back 396 Paper fold crumpling iding white outlin 398 Folds and wrinkle 318 Working with Smart Objects Ripping and tearing Layer groups and layer comps 02 Simulating old photographs 322 Watercolor with Filter Gallery Smudge painting fabric 324 Working with Shapes........... 406 Making custom fibers Making tricky selection 408 Ribbon and tape...... 328 Complex repair work 410 Distortion through glass 412 Interlude: Upgrade and repl 330 414 12 The third dimension 332 Custom brush design 1 416 Custom brush design 2 418 Adding depth to flat artwork........ 334 Natural media brushes,., 420 An open and shut case 336 Precise scale matching Flipping makes sense 338 Background Eraser tricks 424 pening the hamper laking the most of bridge 426 Matching existing perspective 342 Photoshop Actions............ 428 Building boxes.....,.... 344 Working with Camera Raw 430 Displacement maps 1 346 Portable shadows 432 Displacement maps 2 Drawing pipes and cables......... 350 interlude. Take a fresh look 434 3D layers: getting started 352 15 Print and the internet 436 3D layers: reshaping 354 3D layers: texture and more ........ 356 mage size and resolution 438 3D layers: revolution ;·.·.·· 358 Working for print..... 440 3D layers: inflation 360 Working for the web 442 3d layers: scene integration 362 laking it move........,.....444 3D layers with Vanishing Point 364 Movie editing in Photoshop........446 Image-based lighting 366 Test yourself 448 Interlude: Reality overload 368 ndex 450 What's on the dvd 454 13 Hyper realism 370 Taking Photoshop furthe…… 456 The need for speed Iris Blur: yes and no 374 The hidden Bokeh effect 376 Cartoon distortions 378 Breaking gl 380 Smashing things up 1 382 Smashing things up 2 384 Magical realism Zombie pensioners from hell 388 Interlude: Working to a brief 390 Introduction How to cheat and why The truth about cheating Ive used the word 'cheating' in the title of this book in two ways The most Obvious is that I'm describing how to make images look as much as possible like photographs, when they re not. In this sense, it simply means creating photographic work without the need for a studio The other sense of 'cheating is finding shortcuts to help you work more quickly and more economically. Too often you'lI see Photoshop techniques explained using long-winded, complex operations that take an age to complete. Wherever possible, Ive used quicker solutions to achieve the same results. For the artist on a deadline, the difference between a perfect work of art and one that's turned in on time means the difference between a happy client and one faced with a blank page in the next day 's newspaper. Workthroughs and examples Each workthrough in this book is designed as a double page spread. That way, you can prop the book up behind your keyboard while going through the associated file on the dVD. Some of the workthroughs take the form of case studies, where I dissect an illustration Ivc donc as a commissioned job; many of the scctions open with one of my illustrations as a real-world example of the technique I'm taking about One reason I've used my own artwork is that I know how it was created, and have the original files to take apart Messing about in Photoshop can be the most fun you can have without breaking the law, and it s tempting to experiment with filters and special effects. But it's not until you produce an illustration to a specific brief that you realize the issues and problems involved-and then find a way around them. Almost all the techniques I describe in this book have been learned out of necessity; there's nothing like a tight deadline to concentrate the mind. Adrenaline is sometimes the best drug there is At the end of each chapter you'll find an Interlude, in which I discuss an issue of relevance to the photoshop artist. Think of them as light relief. What's on the dvd? ['ve included most of the workthroughs in this book on the dVd, so that after reading about them you can open up the original Photoshop files and experiment with them for yourself In somc cascs Ive rcduccd thc image sizcs to make thcm How to Cheat in Photoshop CS6 more manageable, so you' ll find yourself working with screen resolution images And because it's always better to show rather than to tell, I've included over four hours of movies showing specific techniques in action In a few cases, I haven,t been able to provide the examples on the dVd These tend to be workthroughs that are case studies, in which I've used images of politicians and other celebrities for which it was impossible to get clearance to include them for electronic distribution. All the other images have been either photographed by mc or generously providcd by the various image libraries concerned, to whom I owe a debt of gratitude Spelling and metaphors Ive tried to use American spelling wherever possible. First, because were more used to reading Us spelling in England than Americans are to reading English spelling; and second, because Photoshop is an American product. Initially I tried not to use any words that were spelled differently in the two languages, but I found it impossible to get through the book without mentioning the words color and gray. My apologies if I've employed any phrases or vernacular that don't work on both sides of the Atlantic It's a wide ocean, and some expressions dont survive the journey Going fu Visitthehookswebsiteatwww.howtocheatinphotoshop.comandyoullfindthe e you can post questons or problems, al with other readers: you can also take part in the weekly Friday Challenge, to pit our wits against a wide variety of Photoshop ondon 2012 Acknowledgments I'm immeasurably grateful to the following Marie Hooper of Focal Press, for getting me to write this book in the first place Keith Martin, for helping me create the keyboard shortcuts font David Asch, for keeping the Reader Forum going despite my refusal to follow his advice All the Reader Forum members, who have provided so much useful advice and inspiration Adobe Systems Inc, for making Photoshop I'm indebted to the art editors of the newspapers and magazines who commissioned the artwork I' ve used as examples in this book: Jonathan Anstee, dave ashmore dan barber Kevin Bayliss, Andy Bodle, Julian Bovis, Roger Browning, Jo Cochrane, Martin Colyer, Zelda Davey, Miles Dickson, Robin Hedges, Paul Howe, Lisa Irving, Alice Ithier, Ben Jackson, Jasmina Jambresic, Hugh Kyle, Alix Lawrence, Giovanni di Mauro, Fraser McDermott, Garry Mears, John Morris, Doug Morrison, Lawrence Morton, Martin Parfitt, Mark Porter, Tom Reynolds, Caz Roberts, Caroline Sibley, Terri Stone, Matt Straker and Richard turley A couple of the tutorials in this edition have previously been published in a slightly different form, in the magazines MacUser and Total Digital Photography. My thanks to their editors for allowing me to repurpose my work here Many of the images in this book are from royalty-free photo libraries. My thanks to them for allowing me to include low resolution versions of their images on the DVD How to Cheat in Photoshop CS6 How to use this book I doubt if any readers of this book are going to start at the beginning and work their way diligently through to the end. In fact, you' re probably only reading this section because your computer's just crashed and you cant follow any more of the workthroughs until it's bootcd up again. This is thc kind of book you should bc able to just dip into and extract the information you need But Id like to make a couple of recommendations. The first four chapters deal with thc basics of photomontage. Thcrc arc many Photoshop uscrs who have never learnt how to use the Pen tool, or picked up the essential keyboard shortcuts I frequently meet experienced users who have never quite figured out how to use layer masks. Because I talk about these techniques throughout the book, I need to bring everyone up to speed before we get onto the harder stuff. So my apologies if I start off by explaining things you already know: it'l get more interesting later on The techniques in each chapter build up as you progress through the workthroughs. Frequently, I'll use a technique that's been discussed in more detail earlier in the same chapter, so it may be worth going through the pages in each chapter in order, even if you don' t read every chapter in the book A DVD icon on a page indicates that the Photoshop file for that tutorial is on the DVD, so you can open it up and try it out for yourself. The Movie icon indicates that theres an associated QuickTime movie on the dVd If you get stuck anywhere in the book, or in Photoshop generally, visit the Reader Forum, accessed through the main website www.howtocheatinphotoshop.com This is where you can post queries and suggestions I visit the forum every day, and will always respond directly to questions from readers. But expect other forum members to weigh in with their opinions as well! It's also a great place to meet other Photoshop users, and to take part in the weekly Friday Challenge -of which you'll see a few examples in this edition

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