xxxi Contents Ways to Change Selection Outlines . . . . . . . . . . . . . . . . . . . . . . . 330 Quick changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Manually adding and subtracting . . . . . . . . . . . . . . . . . . . . . 331 Using Shift and Alt like a pro . . . . . . . . . . . . . . . . . . . . . . . 333 Adding and subtracting by command . . . . . . . . . . . . . . . . . . 334 Softening selection outlines . . . . . . . . . . . . . . . . . . . . . . . . 338 Moving and Duplicating Selections . . . . . . . . . . . . . . . . . . . . . . . 344 The role of the move tool . . . . . . . . . . . . . . . . . . . . . . . . . 344 Making precise movements . . . . . . . . . . . . . . . . . . . . . . . . 345 Cloning a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Moving a selection outline independently of its contents . . . . . . . 349 Scaling or rotating a selection outline . . . . . . . . . . . . . . . . . . 350 The untimely demise of floating selections . . . . . . . . . . . . . . . 353 How to Draw and Edit Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Paths overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Drawing paths with the pen tool . . . . . . . . . . . . . . . . . . . . . 357 Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Filling paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Painting along a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Converting and saving paths . . . . . . . . . . . . . . . . . . . . . . . 374 Importing and Exporting Paths . . . . . . . . . . . . . . . . . . . . . . . . . 377 Swapping paths with Illustrator. . . . . . . . . . . . . . . . . . . . . . 377 Exporting to Illustrator. . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Retaining transparent areas in an image . . . . . . . . . . . . . . . . . 378 Chapter 9: Masks and Extractions. . . . . . . . . . . . . . . . . . . . . 383 Selecting Via Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Masking defined. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Painting and Editing Inside Selections . . . . . . . . . . . . . . . . . . . . . 386 Working in Quick Mask Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 390 How the quick mask mode works. . . . . . . . . . . . . . . . . . . . . 390 Changing the red coating . . . . . . . . . . . . . . . . . . . . . . . . . 395 Gradations as masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Creating gradient arrows. . . . . . . . . . . . . . . . . . . . . . . . . . 401 Generating Masks Automatically . . . . . . . . . . . . . . . . . . . . . . . . 404 Extracting a subject from its surroundings . . . . . . . . . . . . . . . 404 Using the Color Range command . . . . . . . . . . . . . . . . . . . . . 410 A few helpful Color Range hints. . . . . . . . . . . . . . . . . . . . . . 414 Creating an Independent Mask Channel . . . . . . . . . . . . . . . . . . . . 415 Saving a selection outline to a mask channel . . . . . . . . . . . . . . 415 Converting a mask to a selection . . . . . . . . . . . . . . . . . . . . . 418 Viewing mask and image . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Building a Mask from an Image . . . . . . . . . . . . . . . . . . . . . . . . . 419 Chapter 10: Corrective Filtering . . . . . . . . . . . . . . . . . . . . . . 427 Filter Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 A first look at filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 xxxii Contents How filters work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Fading a filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Heightening Focus and Contrast. . . . . . . . . . . . . . . . . . . . . . . . . 438 Using the Unsharp Mask filter. . . . . . . . . . . . . . . . . . . . . . . 438 Using the preset sharpening filters . . . . . . . . . . . . . . . . . . . . 446 Sharpening grainy photographs . . . . . . . . . . . . . . . . . . . . . 446 Using the High Pass filter . . . . . . . . . . . . . . . . . . . . . . . . . 451 Blurring an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Applying the Gaussian Blur filter . . . . . . . . . . . . . . . . . . . . . 455 The preset blurring filters . . . . . . . . . . . . . . . . . . . . . . . . . 458 Antialiasing an image. . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Directional blurring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Softening a selection outline. . . . . . . . . . . . . . . . . . . . . . . . 469 Noise Factors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Adding noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Removing noise with Despeckle . . . . . . . . . . . . . . . . . . . . . 478 Averaging pixels with Median . . . . . . . . . . . . . . . . . . . . . . . 479 Sharpening a compressed image . . . . . . . . . . . . . . . . . . . . . 479 Cleaning up scanned halftones . . . . . . . . . . . . . . . . . . . . . . 482 Chapter 11: Full-Court Filtering . . . . . . . . . . . . . . . . . . . . . . 487 Destructive Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 A million wacky effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 487 What about the others? . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Third-party filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 One final note about RAM . . . . . . . . . . . . . . . . . . . . . . . . . 492 The Pixelate Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 The Crystal Halo effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Creating a mezzotint . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Edge-Enhancement Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Embossing an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Tracing around edges . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 Creating a metallic coating . . . . . . . . . . . . . . . . . . . . . . . . 503 Distortion Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Reflecting an image in a spoon . . . . . . . . . . . . . . . . . . . . . . 507 Twirling spirals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Creating concentric pond ripples. . . . . . . . . . . . . . . . . . . . . 514 Creating parallel ripples and waves . . . . . . . . . . . . . . . . . . . 517 Distorting an image along a curve . . . . . . . . . . . . . . . . . . . . 524 Changing to polar coordinates . . . . . . . . . . . . . . . . . . . . . . 525 Distorting an image inside out . . . . . . . . . . . . . . . . . . . . . . 528 Distorting with the Liquify command . . . . . . . . . . . . . . . . . . 532 Wrapping an Image around a 3D Shape . . . . . . . . . . . . . . . . . . . . . 539 Using the 3D Transform filter . . . . . . . . . . . . . . . . . . . . . . . 540 Layer before you apply. . . . . . . . . . . . . . . . . . . . . . . . . . . 544 xxxiii Contents Adding Clouds and Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Creating clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Lighting an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Part IV: Layers, Objects, and Text 553 Chapter 12: Working with Layers . . . . . . . . . . . . . . . . . . . . . 555 Layers, Layers Everywhere. . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 Sending a Selection to a Layer . . . . . . . . . . . . . . . . . . . . . . . . . . 557 Other ways to make a layer . . . . . . . . . . . . . . . . . . . . . . . . 558 Duplicating a layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Working with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Switching between layers . . . . . . . . . . . . . . . . . . . . . . . . . 561 Switching layers from the keyboard . . . . . . . . . . . . . . . . . . . 563 Understanding transparency . . . . . . . . . . . . . . . . . . . . . . . 563 Modifying the background layer . . . . . . . . . . . . . . . . . . . . . 566 Reordering layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568 Automated matting techniques . . . . . . . . . . . . . . . . . . . . . . 569 Blending layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 Fusing several layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573 Dumping layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574 Saving a flattened version of an image . . . . . . . . . . . . . . . . . . 574 Selecting the Contents of Layers . . . . . . . . . . . . . . . . . . . . . . . . 574 Drop shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Halos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578 Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580 Moving, Linking, and Aligning Layers . . . . . . . . . . . . . . . . . . . . . . 582 Linking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582 Uniting layers into sets. . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Locking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587 Using guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Automatic alignment and distribution . . . . . . . . . . . . . . . . . . 590 Setting up the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 Using the measure tool. . . . . . . . . . . . . . . . . . . . . . . . . . . 592 Applying Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Transforming the entire image . . . . . . . . . . . . . . . . . . . . . . 594 Transforming layers and selected pixels. . . . . . . . . . . . . . . . . 594 Numerical transformations . . . . . . . . . . . . . . . . . . . . . . . . 597 Masking and Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Preserving transparency. . . . . . . . . . . . . . . . . . . . . . . . . . 598 Creating layer-specific masks . . . . . . . . . . . . . . . . . . . . . . . 601 Pasting inside a selection outline . . . . . . . . . . . . . . . . . . . . . 604 Masking groups of layers . . . . . . . . . . . . . . . . . . . . . . . . . 604 xxxiv Contents Chapter 13: The Wonders of Blend Modes . . . . . . . . . . . . . . . 609 Mixing Images Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Using Opacity and Blend Modes. . . . . . . . . . . . . . . . . . . . . . . . . 612 The Opacity setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 The blend modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 Blend mode madness. . . . . . . . . . . . . . . . . . . . . . . . . . . . 624 Applying Advanced Blending Options . . . . . . . . . . . . . . . . . . . . . 627 Blending interior layer effects (or not). . . . . . . . . . . . . . . . . . 629 Blending clipping groups . . . . . . . . . . . . . . . . . . . . . . . . . 630 Blending individual color channels. . . . . . . . . . . . . . . . . . . . 631 Knocking out layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Knocking out by brightness value . . . . . . . . . . . . . . . . . . . . 633 Using Channel Operation Commands. . . . . . . . . . . . . . . . . . . . . . 638 The Apply Image command . . . . . . . . . . . . . . . . . . . . . . . . 640 Add and Subtract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645 The Calculations command . . . . . . . . . . . . . . . . . . . . . . . . 647 Combining masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649 Chapter 14: Shapes and Styles. . . . . . . . . . . . . . . . . . . . . . . 653 Some Stuff We Never Ordered . . . . . . . . . . . . . . . . . . . . . . . . . . 653 Drawing Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 The pros and cons of shapes . . . . . . . . . . . . . . . . . . . . . . . 655 The shape tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657 The shape drawing process . . . . . . . . . . . . . . . . . . . . . . . . 659 Combining and editing shapes . . . . . . . . . . . . . . . . . . . . . . 662 Editing the stuff inside the shape . . . . . . . . . . . . . . . . . . . . . 664 The Bold New Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667 The advantages of layer effects . . . . . . . . . . . . . . . . . . . . . . 673 Inside the Layer Style dialog box . . . . . . . . . . . . . . . . . . . . . 673 Modifying and Saving Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 680 Disabling effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 Duplicating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 Scattering effects to the four winds . . . . . . . . . . . . . . . . . . . 682 Saving effects as styles . . . . . . . . . . . . . . . . . . . . . . . . . . . 682 Chapter 15: Fully Editable Text. . . . . . . . . . . . . . . . . . . . . . . 685 The State of Type in Photoshop 6 . . . . . . . . . . . . . . . . . . . . . . . . 685 The five flavors of text . . . . . . . . . . . . . . . . . . . . . . . . . . . 686 Text as art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687 Using the Type Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689 Creating vertical type . . . . . . . . . . . . . . . . . . . . . . . . . . . 693 Creating and manipulating text in a frame. . . . . . . . . . . . . . . . 694 Selecting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695 Applying character formatting . . . . . . . . . . . . . . . . . . . . . . 696 Applying paragraph formatting . . . . . . . . . . . . . . . . . . . . . . 706 xxxv Contents Warping text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712 Editing text as shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Character Masks and Layer Effects . . . . . . . . . . . . . . . . . . . . . . . 715 Creating a text mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Converting type to a path . . . . . . . . . . . . . . . . . . . . . . . . . 716 Type masks on the march . . . . . . . . . . . . . . . . . . . . . . . . . 717 Layer effects bonanza . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Part V: Color for Print and the Web 725 Chapter 16: Essential Color Management . . . . . . . . . . . . . . . . 727 Plunging Headlong into Color . . . . . . . . . . . . . . . . . . . . . . . . . . 727 A Typical Color-Matching Scenario . . . . . . . . . . . . . . . . . . . . . . . 728 Setting up the source monitor. . . . . . . . . . . . . . . . . . . . . . . 729 Selecting the ideal working space. . . . . . . . . . . . . . . . . . . . . 732 Embedding the profile . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Setting up the destination space . . . . . . . . . . . . . . . . . . . . . 735 Defining color management policies . . . . . . . . . . . . . . . . . . . 736 Converting the color space . . . . . . . . . . . . . . . . . . . . . . . . 737 Color Conversion Central. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Working spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Color management policies . . . . . . . . . . . . . . . . . . . . . . . . 742 Advanced mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746 Custom CMYK Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Loading CMYK settings from a previous version of Photoshop. . . . 752 Chapter 17: Mapping and Adjusting Colors . . . . . . . . . . . . . . . 755 What Is Color Mapping? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755 Color effects and adjustments . . . . . . . . . . . . . . . . . . . . . . 755 The good, the bad, and the wacky . . . . . . . . . . . . . . . . . . . . 756 Quick Color Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Equalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759 Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761 Posterize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764 Quick Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Sucking saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 The Auto Levels commands . . . . . . . . . . . . . . . . . . . . . . . . 766 The Auto Contrast command . . . . . . . . . . . . . . . . . . . . . . . 767 Hue Shifting and Colorizing . . . . . . . . . . . . . . . . . . . . . . . . . . . 768 Using the Hue/Saturation command . . . . . . . . . . . . . . . . . . . 768 Adjusting hue and saturation . . . . . . . . . . . . . . . . . . . . . . . 773 Colorizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776 xxxvi Contents Shifting selected colors . . . . . . . . . . . . . . . . . . . . . . . . . . 777 Shifting predefined colors . . . . . . . . . . . . . . . . . . . . . . . . . 778 Using the Variations command . . . . . . . . . . . . . . . . . . . . . . 780 Enhancing colors in a compressed image . . . . . . . . . . . . . . . . 782 Making Custom Brightness Adjustments . . . . . . . . . . . . . . . . . . . . 784 The Levels command. . . . . . . . . . . . . . . . . . . . . . . . . . . . 785 The Curves command . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Gradient maps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796 Practical applications: continuous curves. . . . . . . . . . . . . . . . 797 Practical applications: arbitrary curves . . . . . . . . . . . . . . . . . 799 Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801 The advantages of layer-based corrections . . . . . . . . . . . . . . . 803 Correcting a flat image using layers . . . . . . . . . . . . . . . . . . . 805 Chapter 18: Printing Images . . . . . . . . . . . . . . . . . . . . . . . . 807 Welcome to Printing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807 Understanding Printing Terminology . . . . . . . . . . . . . . . . . . . . . . 808 Printing Composites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811 Choosing a printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Setting up the page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814 Specifying a transfer function . . . . . . . . . . . . . . . . . . . . . . . 826 Printing pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828 Creating Color Separations. . . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Outputting separations. . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Color trapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Printing Duotones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Creating a duotone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833 Reproducing a duotone . . . . . . . . . . . . . . . . . . . . . . . . . . 835 Editing individual duotone plates. . . . . . . . . . . . . . . . . . . . . 836 Spot-Color Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837 Printing Contact Sheets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838 Chapter 19: Creating Graphics for the Web . . . . . . . . . . . . . . . 841 The World of Web Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841 Photoshop and ImageReady . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Rules of Web Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 The smaller, the speedier . . . . . . . . . . . . . . . . . . . . . . . . . 843 Mac and PC monitor brightness . . . . . . . . . . . . . . . . . . . . . 843 More rules of Web imagery . . . . . . . . . . . . . . . . . . . . . . . . 845 Saving JPEG Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846 Preparing and Saving GIF Images . . . . . . . . . . . . . . . . . . . . . . . . 849 Using the Indexed Color command . . . . . . . . . . . . . . . . . . . . 850 Specifying the palette . . . . . . . . . . . . . . . . . . . . . . . . . . . 851 Editing indexed colors . . . . . . . . . . . . . . . . . . . . . . . . . . . 857 Making colors transparent. . . . . . . . . . . . . . . . . . . . . . . . . 859 Saving (and opening) GIF with transparency . . . . . . . . . . . . . . 859 xxxvii Contents Optimizing JPEG and GIF Images . . . . . . . . . . . . . . . . . . . . . . . . 861 GIF optimization settings . . . . . . . . . . . . . . . . . . . . . . . . . 864 JPEG optimization settings . . . . . . . . . . . . . . . . . . . . . . . . 867 The Optimization menu . . . . . . . . . . . . . . . . . . . . . . . . . . 869 The Preview menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870 Output settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871 Saving PNG Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873 Slicing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874 Creating slices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874 Editing slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876 Setting slice options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878 Saving slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879 Doing More in ImageReady . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880 Creating an image map . . . . . . . . . . . . . . . . . . . . . . . . . . . 880 JavaScript rollovers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882 Creating Web animations . . . . . . . . . . . . . . . . . . . . . . . . . 885 Animations and rollovers . . . . . . . . . . . . . . . . . . . . . . . . . 890 Appendix: Using the CD-ROM . . . . . . . . . . . . . . . . . . . . . . . 893 Bonus Chapters On the CD-ROM Chapter A: Constructing Homemade Effects Chapter B: Actions and Other Automations Chapter C: Macintosh Shortcuts Chapter D: Windows Shortcuts Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899 End-User License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . 940 CD-ROM Installation Instructions. . . . . . . . . . . . . . . . . . . . . . . 946 Inside Photoshop A First Look at Photoshop 6 These days, most computer applications speak a common graphical language, and Photoshop is no exception. It sub- scribes to the basic structure of on-screen nouns and verbs proposed and first spoken by the operating system. As a result, Photoshop may seem tolerably comprehensible the first time you meet it. Without any prior knowledge of its ori- gins or behavior, you should be able to pick up a paintbrush and specify a color in a matter of a few seconds, simply based on the rudimentary vocabulary that you’ve picked up from other programs. After years of staring into cathode ray tubes, you can’t help but get the picture. But Photoshop has its own special dialect, one that differs from every other program out there. The dialect is so distinct that it’s only peripherally understood by other applications, including those from Adobe, the very siblings that Photoshop grew up with. Photoshop has its own way of turning a phrase, it speaks its words in a different order than you might expect, and yes, it uses a lot of strange and sometimes unsettling jar- gon that it has picked up on the street. Photoshop is always and will forever be a foreigner unnaturally introduced to your hard drive. For all you may think you share in common, it doesn’t know you and you don’t know it. Even you experienced users — you hearty few who have car- ried on more conversations with Photoshop than you have with most of your friends and family — may find yourselves stumbling when negotiating with Version 6. The program speaks differently every time it upgrades. In fact, it’s wrong to think of Photoshop 6 as an older, wiser version of its former self. This is a completely new beast, bearing about as much resemblance to Photoshop 1.0 as you bear to a fellow human located on the exact opposite end of the earth. 2 2 CHAPTER ✦✦✦✦ In This Chapter Getting comfortable with a brand-new Photoshop desktop Finding your favorite tools and meeting a few new ones Working with the Photoshop 6 Options bar Zooming in 0.01- percent increments Scrolling from the keyboard Using the Navigator palette Expanded coverage of Photoshop’s preference settings ✦✦✦✦ 16 Part I ✦ Welcome to Photoshop 6 So in this chapter, I introduce to you the Sixth Beast, insubordinate child of its ances- tors, spoiler of photographic traditions, and speaker of the new language that you now have to learn. These pages represent a low-level primer you need to ingest before you can utter so much as a coherent “gack!” Granted, it comes to you second hand— I am a non-native myself, with my own peculiar dialect as you’ll discover— but given that Photoshop 6 itself is the only native speaker on the planet, this foreigner’s perspective will have to do. See Photoshop Run Shortly after you launch Photoshop, the splash screen appears. Shown at the top of Figure 2-1, the splash screen explains the launching process by flashing the names of plug-in modules as they load and listing the various initialization procedures. You can access the splash screen by choosing Help ➪ About Photoshop. To make the splash screen go away, just click it. Splash screen tricks In a typical program, there isn’t much reason to revisit the splash screen. But Photoshop 6 offers a few splash screen–related tips and tricks: ✦ Press Alt while choosing the About Photoshop command to display Photoshop team member Mike Shaw’s highly disciplined secret Venus In Furs screen, pic- tured at the bottom of Figure 2-1. ✦ After a few seconds, the list of programmers and copyright statements at the bottom of the screen starts to scroll. Press the Alt key to make the list scroll more quickly. ✦ Photoshop 3 introduced us to Adobe Transient Witticisms— a series of arbi- trary gags invented by Photoshop’s sleep-deprived, espresso-swilling program- mers —and they’ve been a staple ever since. To see the Witticisms, wait for the credit messages to scroll by one complete cycle. Then Ctrl-click the eye in the standard splash screen or the Venus In Furs screen. Tip Tip [...]... keep the links current You can instruct Photoshop to update the links automatically in the Preferences dialog box, but I for one am not crazy about Photoshop using my modem without my permission Chapter 2 ✦ Inside Photoshop The Photoshop Desktop After the launch process is complete, the Photoshop desktop consumes the foreground Figure 2-3 shows the Photoshop 6 desktop as it appears when an image is... CrossReference For complete information on the magnification box, read the “Navigating in Photoshop section later in this chapter The very next section explains the preview box Photoshop ✦ Toolbox: The toolbox icons provide one-click access to the various Photoshop tools To select a tool, click its icon Then use the tool by clicking or dragging with it inside the image window 6 Photoshop 6 not only offers... separately according to your tastes 6 Two palettes found in earlier versions of Photoshop, the Options palette and Brushes palette, take on a new look in Version 6 Controls formerly contained in the palettes now appear on the Options bar, labeled in Figure 2-3 Photoshop For more information on the Options bar and other palettes, see the upcoming section “The floating palettes.” 6 ✦ Docking well: The gray bar... than peak performance 23 24 Part I ✦ Welcome to Photoshop 6 Photoshop operations timing If you select Timing, the preview box tells how long Photoshop took to perform the last operation (including background tasks, such as transferring an image to the system Clipboard) Adobe may have added this option to help testing facilities run their Photoshop tests But built-in timing helps you as well For example,... memory to Photoshop or purchase more RAM for your computer The Efficiency option is a reality check If it seems Photoshop is dragging its feet, and you hear it writing a little too often, you can refer to the Efficiency rating to see if performance is as bad as you suspect Keep in mind, hearing Photoshop occasionally write to disk is not, in and of itself, cause for concern All versions of Photoshop. .. 2-3: The Photoshop 6 desktop as it looks on a 17-inch screen Many of the elements that make up the Photoshop desktop are well known to folks familiar with the Windows environment For example, the menu bar provides access to menus and commands You can drag the title bar to move the image window And the scroll bars let you look at hidden portions of the image 19 20 Part I ✦ Welcome to Photoshop 6 Other... point without interrupting the outline of the path Photoshop automatically draws a new segment between the neighboring points Photoshop 6 Rectangle (Chapter 14): One of the five new vector drawing tools provided by Photoshop 6, this tool draws rectangles filled with the foreground color Just drag to create a rectangle; Shift-drag to draw a square Photoshop Convert point (Chapter 8): Points in a path... menu 31 32 Part I ✦ Welcome to Photoshop 6 The toolbox controls Well, that pretty much wraps it up for the Photoshop 6 tools It was a breathtakingly dull tale, but one that had to be told But the excitement isn’t over yet Gather the kittens and hold onto your mittens as we explore the ten controls that grace the lower portion of the toolbox: Foreground color: Click the foreground color icon to bring... more tip for good measure: Shift-click the icon for absolute full screen to switch the display mode for all open images Then press Ctrl+Tab to cycle through the open images This same trick works for the standard and full screen with menu bar modes The new Options bar 6 Spanning the width of the Photoshop window, the new Options bar (labeled back in Figure 2-3) contains the major tool controls formerly... gray bar at the end of the Options bar is the docking well, another window item new to Photoshop 6 You can drag palettes to the well to save screen space but still keep the palettes easily accessible For more information, see “Rearranging and docking palettes” later in this chapter Chapter 2 ✦ Inside Photoshop Note Unfortunately, the docking well is only visible if you use a screen resolution with a . “Rearranging and docking palettes” later in this chapter. 6 Photoshop 6 6 Photoshop 6 6 Photoshop 6 Cross- Reference 21 Chapter 2 ✦ Inside Photoshop Unfortunately, the docking well is only visible if. Chapter 18 for details on using this tool. 6 Photoshop 6 Note 22 Part I ✦ Welcome to Photoshop 6 To get a rough idea of the current image position, however, click and hold on the preview box. Photoshop. Online 19 Chapter 2 ✦ Inside Photoshop The Photoshop Desktop After the launch process is complete, the Photoshop desktop consumes the fore- ground. Figure 2-3 shows the Photoshop 6 desktop as it appears