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JASON CRANFORD TEAGUE AND WALT DIETRICH
San Francisco • London
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Associate Publisher: Dan Brodnitz
Acquisitions Editor: Bonnie Bills
Developmental Editor: Pete Gaughan
Editor: Pat Coleman
Production Editor: Lori Newman
Technical Editor: Stephen Burns
Compositor: Happenstance Type-O-Rama
Proofreaders: Laurie O’Connell, Nancy Riddiough
Indexer: Ted Laux
Cover Designer: Daniel Ziegler
Cover Illustrator/Photographer: Daniel Ziegler
Interior Designer: Franz Baumhackl
Copyright © 2004 SYBEX Inc., 1151 Marina VillageParkway, Alameda, CA 94501. World rights reserved. Nopart of this publication may be stored in a retrieval sys-tem, transmitted, or reproduced in any way, includingbut not limited to photocopy, photograph, magnetic, orother record, without the prior agreement and writtenpermission of the publisher.
Library of Congress Card Number: 2003115439
ISBN: 0-7821-4289-3
SYBEX and the SYBEX logo are either registered trade-marks or trademarks of SYBEX Inc. in the United Statesand/or other countries.
TRADEMARKS: SYBEX has attempted throughout thisbook to distinguish proprietary trademarks from descrip-tive terms by following the capitalization style used bythe manufacturer.
The author and publisher have made their best efforts toprepare this book, and the content is based upon finalrelease software whenever possible. Portions of the man-uscript may be based upon pre-release versions suppliedby software manufacturer(s). The author and the pub-lisher make no representation or warranties of any kindwith regard to the completeness or accuracy of the con-tents herein and accept no liability of any kind includingbut not limited to performance, merchantability, fitnessfor any particular purpose, or any losses or damages ofany kind caused or alleged to be caused directly or indi-rectly from this book.
The artwork throughout the pages of this book wereused with the permission of the following:
Teodoru Badiu; www.apocryph.net
Philip Baca; www.pixeldelic.org
Ian Rogers; www.greynotgrey.com
Maggie Taylor; www.maggietaylor.com
Michelle Kwajafa; www.soulsabyss.net
Manufactured in the United States of America
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Dear Reader,
Thank you for choosing Photoshop CS at Your Fingertips. This book is part of a
new wave of Sybex graphics books, all written by outstanding authors—artists and
teachers who really know their stuff and have a clear vision of the audience they’re
writing for.
Founded in 1976, Sybex is the oldest independent computer book publisher. More
than twenty-five years later, we’re committed to producing a full line of consistently
exceptional graphics books. With each title, we’re working hard to set a new stan-
dard for the industry. From the paper we print on, to the writers and photogra-
phers we work with, our goal is to bring you the best graphics books available.
I hope you see all that is reflected in these pages. I’d be very interested to hear your
comments and get your feedback on how we’re doing. To let us know what you
think about this, or any other Sybex book, please visit us at www.sybex.com. Once
there, go to the product page, click on Submit a Review, and fill out the question-
naire. Your input is greatly appreciated.
Please also visit www.sybex.com to learn more about the rest of our growing graph-
ics line.
Best regards,
Daniel A. Brodnitz
Associate Publisher
Sybex Inc.
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We are extremely thankful to the good folks at
Sybex. Thanks to Dan Brodnitz, who listened to us
with great patience. Thanks to Bonnie Bills, who
nurtured this project from infancy. Thanks to Pete
Gaughan, Lori Newman, and Pat Coleman, who
edited out our mistakes and helped direct us
toward a better book. We’re grateful to Stephen
Burns for his technical review. Thank you to com-
positors Maureen Forys and Kate Kaminski at Hap-
penstance Type-O-Rama and all the proofreaders:
Laurie O’Connell and Nancy Riddiough.
Thanks to the many talented artists who contributed
their work to the book: Maggie Taylor, Philip Baca,
Ian Rogers, Michelle Kwajafa, and Teodoru Badiu.
We also want to thank Adobe for making such great
software to write about. Specifically, we want to
thank Stacey Strehlow, who ran the beta program.
From Jason
First, I want to thank my family for their unwaver-
ing support. Thanks to my wife, Tara, who has put
up with my mad tantrums and my dashing around
taking photographs at odd times. Thanks to my
daughter, Jocelyn, and son, Dashiel, for lifting my
spirits and inspiring me with their smiles. Thanks to
my parents and parents-in-law for helping take care
of my family during the thick of writing this book.
A special thank you to Neil Salkind and Studio B,
for representing me and my better interests.
I am always thankful to Ms. Rhodes, Judy, Sue,
Boyd, Dr. G, and the Teachers of America.
Finally, I’d like to thank the people whose art,
film, music, theater, and writings inspire me daily:
The The, Gustav Klimt, Woody Guthrie, Tim
Burton, Charles Dodgson, Neil Gaiman, Miles
Davis, Cindy Sherman, Nine Inch Nails, ZBS
Studios (for the Ruby series), Bad Religion, H.P.
Lovecraft, Graham Greene, The Sisters of Mercy,
Frank Miller, The Hollies, Dashiell Hammett, New
Model Army, The Smiths, Marcel Duchamp, Mojo
Nixon, William Gibson, James, John William Water-
house, Phillip K. Dick, Siouxsie & the Banshees,
Carl Sagan, and, of course, Douglas Adams.
From Walt
Thanks to my family for their love and support
over the years. It has surely been a long and
bumpy road. Thanks to the many teachers who
have encouraged me in creative exploration, espe-
cially Rebecca, Pam, and Dotty, who were there for
me at the last fork in the road. I’ll be forever grate-
ful for the support and encouragement of the gang
at the office, without your help none of this would
have been possible.
To Bonnie and Jason especially: thanks, this has
been an amazing experience. To the folks at
Adobe: wow, what a thrill you have provided me
through this product. Last, but not least, my
thanks go out to my online community for their
support, just for being there; without you all, none
of this would have come to pass. To all my online
collaborators and friends, from unmondo to the
Battle Domes—much love and respect.
For Johnny, who sparked my love of the arts at an early age.
—Jason Cranford Teague
For Rebecca, who gave me my first set of keys to Photoshop.
—Walt Dietrich
Acknowledgments
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Jason Cranford Teague
has been working in digital
media design since 1994. Over
the years, his clients have
included Bank of America,
Coca-Cola, Virgin, CNN, Kodak,
Siemens, The European
Space Agency, and WebMD. A graduate of Rensse-
laer Polytechnic Institute, where he spent a very
cold year getting his M.S. in Technical Communi-
cation, Jason is regularly asked to speak at confer-
ences about design for Web, print, and video. An
internationally recognized writer and columnist,
Jason is the author of numerous books and articles
including the best selling DHTML and CSS for the
World Wide Web, Final Cut Pro 4 and the Art of
Filmmaking, SVG for Web Designers, and Final
Cut Express Solutions. In addition, he has written
for the Apple Developers Connection, Computer
Arts Magazine, Macworld Magazine, and C|Net
as well as appearing on TechTV’s “The Screen
Savers.” Jason is currently running Bright Eye
Media (www.brighteyemedia.com), which special-
izes in Web sites for education and entertainment.
Walt Dietrich is a graphic
designer, digital artist, and
Photoshop enthusiast. He
admits he’s hooked on the
experience of online digital
imaging and collaboration,
sometimes called Photoshop
Tennis. He has been a part-time Photoshop
instructor for the past several years and has been
an active member of several online design commu-
nities supporting digital collaboration. Walt is also
among the artists featured in Photoshop Secrets of
the Pros: 20 Top Artists and Designers Face Off
by Mark Clarkson.
About the Authors
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INTRODUCTION xv
CHAPTER 1 Interface Overview 3
1.1 The Macintosh Interface 4
1.2 The Windows Interface 5
1.3 The Document Window 6
1.4 Interface Objects 7
CHAPTER 2 Menus 13
2.1 Menu Overview 14
2.2 Photoshop Menu (Mac Only) 15
2.3 File Menu 16
2.4 Edit Menu 18
2.5 Image Menu 19
2.6 Layer Menu 20
2.7 Select Menu 22
2.8 Filter Menu 23
2.9 View Menu 24
2.10 Window Menu 25
2.11 Help Menu 26
CHAPTER 3 The Tools 27
3.1 The Toolbox 28
3.2 The Tool Options Bar 29
3.3 Marquee Tools 31
3.4 Move Tool 32
3.5 Lasso Tools 33
3.6 Magic Wand Tool 34
3.7 Crop Tool 35
3.8 Slice Tools 37
3.9 Restoration Tools 38
3.10 Paint Tools 40
3.11 Stamp Tools 41
3.12 History Brushes 42
3.13 Eraser Tools 43
3.14 Fill Tools 45
3.15 Distortion Tools 47
3.16 Exposure Tools 48
3.17 Path Selection Tools 49
3.18 Type Tools 50
3.19 Pen Tools 51
3.20 Shape Tools 52
3.21 Annotation Tools 53
3.22 Eyedropper and Measure Tools 54
3.23 Hand Tool 55
3.24 Zoom Tool 56
3.25 Beyond the Tools 57
CHAPTER 4 Palettes 59
4.1 Organizing Palettes 60
4.2 Customizing Your Workspace 63
4.3 Actions Palette 67
4.4 Brushes Palette 68
4.5 Channels Palette 69
4.6 Character Palette 70
4.7 Color Palette 71
4.8 File Browser 72
4.9 Histogram Palette 74
4.10 History Palette 75
4.11 Info Palette 76
4.12 Layer Comps Palette 77
4.13 Layers Palette 78
4.14 Navigator Palette 80
4.15 Paragraph Palette 81
4.17 Paths Palette 82
4.17 Styles Palette 83
4.18 Swatches Palette 84
4.19 Tool Presets Palette 85
PHOTOSHOP
WORKSPACE
1
Contents
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CHAPTER 5 Presets and Preferences 87
5.1 Preset Manager Overview 88
5.2 Setting Keyboard Shortcuts 90
5.3 Setting Photoshop Preferences 92
5.4 General Preferences 93
5.5 File Handling Preferences 95
5.6 Display & Cursors Preferences 96
5.7 Transparency & Gamut Preferences 97
5.8 Units & Rulers Preferences 98
5.9 Guides, Grid & Slices Preferences 99
5.10 Plug-Ins & Scratch Disks Preferences 100
5.11 Memory & Image Cache Preferences 101
5.12 File Browser Preferences 102
CHAPTER 6 Starting and Savings Images 105
6.1 Image Basics 106
6.2 File Formats 107
6.3 Creating a Blank Document 108
6.4 Opening an Existing Image 109
6.5 Managing Images with the File Browser 111
6.6 Importing Images 114
6.7 Placing Vector Images 115
6.8 Importing Images Using a Scanner 116
6.9 Downloading from a Digital Camera 118
6.10 Saving Images 120
CHAPTER 7 Working with the Image, Canvas, and View 121
7.1 Canvas Basics 122
7.2 Changing the Canvas Size 123
7.3 Setting the Image Size 124
7.4 Changing Your Document View 128
7.5 Using Rulers, Guides, Grids, and Snap 130
7.6 Straightening and Cropping Images 132
7.7 Changing Your Mind 134
7.8 Setting Up the Printed Page 135
7.9 Printing to a Desktop Printer 139
CHAPTER 8 Managing Color and Image Mode 141
8.1 Image Color Basics 142
8.2 Understanding Image Modes 144
8.3 Editing in 8-bit or 16-bit Modes 146
8.4 Choosing a Color Working Space 147
8.5 Choosing Color Management Options 148
8.6 Converting between Color Profiles and Devices 150
8.7 Using Color in Channels 152
8.8 Converting between Image Modes 154
8.9 Converting to Bitmap Mode 155
8.10 Converting to Duotone Mode 156
8.11 Converting to Indexed Color Mode 158
8.12 Changing the Indexed Color Table 159
8.13 Converting Images to Gray 160
CHAPTER 9 Selecting and Moving Image Content 161
9.1 Selection Basics 162
9.2 Selecting a Layer or Its Contents 164
9.3 Selecting Rectangular or Elliptical Areas 165
9.4 Creating Free-Form Selections 166
9.5 Making Color-Based Selections 169
9.6 Increasing or Reducing Selection Areas 171
9.7 Modifying Selection Edges 173
9.8 Moving the Selection Marquee 176
9.9 Transforming the Selection Marquee 177
9.10 Saving and Loading Selections 178
9.11 Transforming Layer Content 180
9.12 Moving Selected Content 184
9.13 Copying and Cutting Selected Content 186
9.14 Pasting Selected Content 187
UNIVERSAL
TASKS
103
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CHAPTER 10 Layering Images 189
10.1 Layer Basics 190
10.2 The Background Layer 191
10.3 Creating Layers 192
10.4 Merging Layers 194
10.5 Adding Adjustment and Fill Layers 195
10.6 Creating Layer Sets 196
10.7 Managing Layers and Layer Sets 197
10.7 Managing Layers and Layer Sets 198
10.8 Linking and Locking Layers and Layer Sets 199
10.9 Deleting Layers or Layer Sets 200
10.10 Rasterizing Vector Layers 202
10.11 Aligning and Distributing Layers 203
10.12 Storing Versions with Layer Comps 205
CHAPTER 11 Masking Layers 207
11.1 Mask Basics 208
11.2 Adding Layer Masks 209
11.3 Editing Layer Masks 212
11.4 Hiding, Applying, or Removing Layer Masks 214
11.5 Turning Masks into Selections 215
11.6 Adding Vector Masks 216
11.7 Editing Vector Masks 218
11.8 Applying or Removing Vector Masks 221
11.9 Saving Vector Masks as Clipping Paths 222
CHAPTER 12 Working with Colors, Gradients, and Patterns 225
12.1 Color, Gradient, and Pattern Basics 226
12.2 Selecting Colors with the Eyedropper 227
12.3 Selecting Colors with the Color Palette 228
12.4 Selecting Colors with the Color Picker 229
12.5 Selecting Custom Spot Colors 231
12.6 Organizing Color Swatch Presets 232
12.7 Applying Color Fills 234
12.8 Creating and Editing Gradients 237
12.9 Organizing Gradient Presets 239
12.10 Applying Gradient Color Fills 241
12.11 Creating Patterns 243
12.12 Organizing Pattern Presets 244
12.13 Applying Patterns 246
12.14 Using the Pattern Maker 248
CHAPTER 13 Painting in Images 251
13.1 Brush Basics 252
13.2 Selecting and Adjusting Brushes 254
13.3 Creating and Saving Brushes 259
13.4 Organizing Brush Presets 260
13.5 Painting with a Brush or Pencil 262
13.6 Painting with Patterns 263
13.7 Painting with History Brushes 264
13.8 Painting with Shapes 265
13.9 Erasing 266
13.10 Distorting Images 269
CHAPTER 14 Filtering Images 273
14.1 Filter Basics 274
14.2 Applying Filters 276
14.3 Applying Multiple Filters with the Filter Gallery 278
14.4 Adding a Motion or Depth-of-Field Effect 279
14.5 Finding Online Filter Resources 281
CHAPTER 15 Adding Layer Styles 283
15.1 Style Basics 284
15.2 Applying Effects and Styles 287
15.3 Duplicating or Removing Styles 289
15.4 Creating and Applying Style Presets 290
15.5 Organizing Style Presets 292
15.6 Working with Effects 294
15.7 Applying Advanced Blending Options 296
15.8 Applying the Shadow Effects 297
15.9 Applying the Glow Effects 298
15.10 Applying the Bevel and Emboss Effects 300
15.11 Applying the Satin Effect 303
15.12 Applying the Overlay Effects 304
15.13 Applying the Stroke Effect 306
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CHAPTER 16 Drawing Paths and Shapes 307
16.1 Path Basics 308
16.2 Setting Pen Tool Options 311
16.3 Setting Freeform Pen and Magnetic Pen Tool Options 312
16.4 Setting Shape Tool Options 313
16.5 Preparing to Draw Vector Paths 316
16.6 Preparing to Draw Shape Layers 317
16.7 Drawing with Pen Tools 318
16.8 Selecting Paths and Path Components 321
16.9 Editing Paths and Path Components 322
16.10 Editing Path Segments 324
16.11 Reshaping Curves 326
16.12 Managing Paths 327
16.13 Converting between Paths and Selections 328
16.14 Stroking and Filling Paths 329
16.14 Stroking and Filling Paths 330
CHAPTER 17 Typography 331
17.1 Type Basics 332
17.2 Adding Text to Images 335
17.3 Formatting Characters 337
17.4 Formatting Paragraphs 339
17.5 Editing Type 341
17.6 Warping Type 343
17.7 Converting Type to Other Formats 344
17.8 Spell-Checking and Searching Text 345
17.9 Creating Text on a Path 347
CHAPTER 18 Automation and Workgroups 349
18.1 Applying Actions 350
18.2 Recording Actions 351
18.3 Performing Batch Actions 354
18.4 Creating Droplets 356
18.5 Resizing a Folder of Images 357
18.6 Creating PDF Presentations 359
18.7 Setting Up Workgroups 360
18.8 Checking Documents In and Out of Workgroups 362
18.9 Adding Notes 364
18.10 Using Version Cue 365
CHAPTER 19 Working with Digital Photos 369
19.1 Digital Photo Basics 370
19.2 Working with Camera Raw Photos 372
19.3 Cloning One Area to Another 374
19.4 Repairing from Sampled Pixels 376
19.5 Repairing Selected Areas 378
19.6 Repairing Using a Previous History State 380
19.7 Replacing a Color 381
19.8 Sharpening and Blurring Images 382
19.9 Creating Panoramic Views 384
19.10 Adding Lighting Effects 386
19.11 Transforming Images in 3-D 388
19.12 Dodging and Burning Images 390
19.13 Adjusting Saturation with the Sponge Tool 392
CHAPTER 20 Working with Digital Video 393
21.1 Digital Video Basics 394
21.2 Starting a New Image for Video 396
21.3 Viewing for Video 397
21.4 Saving and Exporting Images for Video 398
21.5 De-interlacing Video Stills 400
CHAPTER 21 Image Compositing 401
21.1 Compositing Basics 402
21.2 Blending Modes and Opacity 403
21.3 Creating Knockouts 405
21.4 Conditional Blending 406
21.5 Applying One Image to Another 408
21.6 Combining Images through Calculations 409
21.7 Compositing with Clipping Masks 411
21.8 Extracting Part of an Image 413
PHOTO AND
VIDEO TASKS
367
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CHAPTER 22 Making Image Adjustments 415
22.1 Adjustment Basics 416
22.2 Adjusting Tonal Range Using Levels 417
22.3 Adjusting Color Levels Using Curves 419
22.4 Setting the Auto Color Correction Options 421
22.5 Adjusting Color Balance 422
22.6 Adjusting Brightness and Contrast 423
22.7 Adjusting Hue, Saturation, and Lightness 424
22.8 Matching Color Palettes between Images 427
22.9 Using Replace Color 429
22.10 Adjusting Selective Colors 430
22.11 Colorizing Images with Photo Filter 431
22.12 Quickly Correcting Shadows and Highlights 432
22.13 Mixing Channels 434
22.14 Mapping a Gradient to the Image Colors 435
22.15 Setting Posterize and Threshold Levels 436
22.16 Using Color Variations 437
22.17 Other Adjustments: Brightness, Desaturation, and Inversion 438
CHAPTER 23 Designing for Print 441
23.1 Print Basics 442
23.2 Understanding Resolution and Document Size 444
23.3 Managing Color for Print 446
23.4 Creating Spot Channels for Print 448
CHAPTER 24 Preparing Images for Print 451
24.1 Preparing to Print 452
24.2 Preparing to Print to Inkjet Printers 454
24.3 Preparing to Print to PostScript Printers 456
24.4 Preparing Spot Color and Duotone Images 457
24.5 Preparing for Four-Color Printing 458
24.6 Creating Color Traps and Knockouts 460
CHAPTER 25 Saving, Proofing, and Sending to Print 461
25.1 File-Saving Basics for Print 462
25.2 Saving in TIFF Format 464
25.3 Saving in EPS Format 465
25.4 Saving as Photoshop PDF 466
25.5 Creating Color Proofs 468
25.6 Creating Picture Packages 470
25.7 Editing Picture Package Layouts 472
25.8 Printing Contact Sheets 473
25.9 Printing and Online Services 474
CHAPTER 26 Working With ImageReady 477
26.1 ImageReady Document Windows 478
26.2 ImageReady Menus 479
26.3 ImageReady Tools 481
26.4 ImageReady Palettes 483
26.5 ImageReady Preferences 484
26.6 ImageReady with Photoshop, GoLive, and Other Applications 486
CHAPTER 27 Designing for the Web 487
27.1 Web Design Basics 488
27.2 Web Color Basics 490
27.3 Creating Table-Based Layouts 493
27.4 Creating Data-Driven Graphics 495
27.5 Previewing Your Design 498
WEB
TASKS
475
TASKS
439
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27.6 Creating Web Photo Galleries 501
27.7 Customizing Web Photo Gallery Templates 504
CHAPTER 28 Designing Web Elements 505
28.1 Creating Image Maps 506
28.2 Creating Animations 510
28.3 Editing Animations 513
28.4 Creating Rollovers 515
28.5 Editing Rollovers 518
28.6 Editing Layers for Animations and Rollovers 520
28.7 Creating Seamless Backgrounds 522
CHAPTER 29 Outputting for the Web 523
29.1 Slicing Your Interface 524
29.2 Working with Slices 528
29.3 Optimizing Images 530
29.4 Optimizing Images in ImageReady 532
29.5 Optimizing Images in Photoshop 533
29.6 Setting Optimization Options 535
29.7 Optimizing with GIF or PNG-8 Compression 536
29.8 Optimizing with JPEG Compression 538
29.9 Optimizing with PNG-24 or WBMP Compression 539
29.10 Specifying Output Options 540
29.11 Saving Your Website 544
APPENDIX What’s New in Photoshop CS and ImageReady CS 545
GLOSSARY 547
INDEX 555
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xv
More than a decade ago, Photoshop revolutionized
the way images are edited using the computer.
Image-editing programs were around before Photo-
shop, and many more programs have come after it,
but Photoshop reigns supreme as the workhorse
image-editing tool of choice for photographers,
designers, and artists around the world. The reason
for Photoshop’s success is easily explained: versa-
tility. Despite its name, Photoshop does much more
than simply allow you to edit photographs. Over the
years, Adobe has added functionality and tools to
Photoshop for print, art, web, and video design.
Now, with the release of Photoshop CS, the toolset
is yet further refined and expanded to meet the
needs of today’s designers.
Who Is This Book For?
If you are reading this, most likely you are standing
in a bookstore or a library, surrounded by dozens
of other books about Photoshop, trying to select
the one that will best suit your needs. If you are
looking for a complete resource for Photoshop, one
that will help you learn new skills and improve
existing ones, you have picked up the right book.
When you’re faced with a particular job, would you
like to be able to find out quickly how to accom-
plish just that task? Would you like to know the
shortcuts and secrets that help you work faster
and better in Photoshop? If you are a photogra-
pher, a graphic artist, a print designer, or a web
designer looking for a complete resource for Pho-
toshop, you need this book.
The concept behind writing Photoshop CS at Your
Fingertips was to give Photoshop users a well-
organized, comprehensive, and visual resource.
Regardless of your skill level, this book provides
immediate access to the program.
Beginning If you are new to Photoshop, use
this book to get acquainted with the Photoshop
interface and get step-by-step instruction in funda-
mental tasks so you can get right to work on your
images.
Intermediate Once you master the basic Photo-
shop skills, you can use this book to discover short-
cuts and more efficient ways of doing routine
tasks. You can use it as a springboard to specialize
your skills for particular uses such as print, web,
photography, and video.
Advanced Photoshop has undergone a lot of
changes in the last several years, and staying
ahead of the curve is never easy. This book is a
comprehensive reference manual, with thorough
cross-referencing to help you find the detailed
information you need to stay up-to-date.
How This Book Is Organized:
A Task-Based Reference
When you’re working in Photoshop, you’re trying
to do something. That’s why Photoshop CS at
Your Fingertips is organized around the many
tasks you perform and breaks these down to
explain the various ways to perform them.
Photoshop is a complex piece of software. It has
dozens of commands, hundreds of features, and
thousands of options. Yet most experienced Photo-
shop users tend to stick with what they know. That
is, once they learn how to do a particular task in
Photoshop, they rarely think to try it a different
way. This is unfortunate, because they often over-
look not only easier ways to do the same thing, but
Introduction
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ways that might produce slightly different results
for them to play with.
One of the great strengths of Photoshop is its abil-
ity to conform to your needs, providing functional-
ity as you need it, rather than trying to force you to
follow some set process. Although this flexibility
gives you maximum creative freedom, it makes it
meaningless to organize information around the
program’s interface. This book does have sections
covering the options and features of each and
every tool, preference setting, and dialog box. But
the majority of the book is divided into the broad
tasks users call upon Photoshop to accomplish,
with one major section devoted to the universal
tasks that all Photoshop users need to know.
Photoshop Workspace Chapters 1–5 introduce
you to the Photoshop interface and detail all the
different parts you will be using. Here is general
information about menus, tools, palettes, and pref-
erences, with references to where in the book you
can find more information for using them.
Universal Tasks Chapters 6–18 provide the skills
that every Photoshop user needs to master,
regardless of how they use the program.
Photo and Video Tasks Chapters 19–22 deal
with the specific issues involved in producing high-
quality photographic and video images.
Print Tasks Chapters 23–25 deal with specific
skills for those using Photoshop to create high-
end printed pieces.
Web Tasks Chapters 26–29 deal not only with using
Photoshop for creating web output but also include
extensive information about ImageReady, the stand-
alone application that can be used with Photoshop
to provide further web design capabilities.
A Book for All Users
Although this book includes information about all
the most recent Photoshop features in version CS,
we will always specify that a feature is new when
explaining it so that those of you with older versions
of Photoshop should be able to follow along with no
difficulty. (The Appendix lists the new CS features
and where they can be found in the book.) In addi-
tion, you can use this book with any of the operating
systems on which Photoshop CS is available:
Windows Photoshop CS runs on Windows 2000
(Service Pack 3) and Windows XP and works the
same in both versions, although the appearance of
certain interface objects (such as the title bar)
varies from version to version.
Mac OS X Photoshop CS runs natively in Apple’s
next-generation operating system starting with
version 10.2.4. If you are using version 10.2.4, how-
ever, it’s recommended that you upgrade to ver-
sion 10.3, which offers a significant speed boost.
We’ve illustrated the book with screens from both
Windows and Mac operating systems. When there’s
a significant difference in the options or function
between Windows and Macintosh, you’ll see both
interfaces represented.
Photoshop CS at Your Fingertips also supplies
keyboard shortcuts using both operating systems’
conventions. In the margins, you’ll see both the
Macintosh and the Windows versions, on separate
lines in that order. In text, we’ve run them together
a bit, but still provide you with both: Command-
Option/Ctrl-Alt means the Command and Option
keys on a Mac, the Ctrl and Alt keys in Windows.
Using This Book
Each section in this book is organized around the
idea of letting you quickly scan the information to
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find if a page has what you need or sending you to
another section in the book to look there. Rather
than burying cross-references and keyboard short-
cuts in the text, we placed these in their own col-
umn, along with general tips and warnings relevant
to the topic at hand.
In addition, this book makes extensive use of let-
tered “callout” labels on the figures to help you iden-
tify the various parts of the Photoshop interface and
how they work. These are generally integrated with
step-by-step instructions or bulleted lists, which
refer to particular dialogs or palettes, with the call-
outs explaining how to set the various options.
Numbered section head Each new section in a
chapter starts at the top of a page and is numbered
for quick reference.
Quick cross-references Each topic points you to
other sections that relate to the subject or offer
alternative or more detailed information.
Keyboard shortcuts We provide the keyboard
commands relevant to the section’s subject.
Tips Additional notes and warnings are
included about the task or tool presented in
the section.
Callouts Hundreds of images in the book
provide detailed labeling to eliminate the
guesswork of figuring out how the Photoshop
interface works.
Sidebars You’ll find additional information that
can be applied to the tasks presented in the
chapter.
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12.2 Selecting Colors with the Eyedropper
The Eyedropper is an integral tool used throughout Photoshop for color selection. It can
be used both on its own as it appears in the Toolbox and as a part of several more
sophisticated color-based processes such as using the Color Picker and the color palette
and making color range selections and various color adjustments.
You use the Eyedropper to select or sample the color of pixelsdisplayed in any open image or dialog. You can use it to selectcolor from individual pixels, or through the Options menu,you can set it to average information from several pixels.
To use the Eyedropper, follow these steps:
1 Choose the Eyedropper tool from the Toolbox.
2 Choose your intended sample size in the Options bar.
3 Select a color by doing one of the following:
■ Click a pixel in the canvas of any open document; the document does not have to
be in the front.
■ Click and drag over the canvas of any open document. The color of the pixel the
cursor is currently over is previewed with its color value in the Color palette. Release
to select the current color.
■ Click any visible color square or color swatch.
A color is selected from the canvaswith the eyedropper. Notice that theInfo palette and the Color palette onthe right both display the selectedcolor’s values.
➠ 3.10 Paint Tools
➠ 3.14 Fill Tools
➠ 3.22 Eyedropperand MeasureTools
➠ 3.25 Beyond theTools
➠ 4.7 Color Palette
➠ 4.11 Info Palette
➠ 4.18 SwatchesPalette
Temporarily switch tothe Eyedropper tool to sample a new color, while using any selected shapetool or painting tool.oa
Toggle foreground andbackground swatches.X
(with Eyedropper)Switch selection offoreground or back-ground as color(reverts after release)oa
You can choose theforeground or back-ground color square inthe Color palette; how-ever, If the color squareis already selected, donot click again unlessyou want to open the
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xviii
Photoshop CS at Your Fingertips on the Web
Sybex strives to keep you supplied with the latest
tools and information you need for your work.
Please check our website at www.sybex.com for
additional content and updates that supplement
this book. Enter the book’s ISBN (4289) in the
Search box, or type “photoshop and fingertips,”
and click “Go” to get to the book’s update page.
Contacting the Authors
Jason and Walt are always happy to answer any
questions that you have about Photoshop that you
can’t find answers for in this book. E-mail them
with your questions at
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C H A P T E R 1
Interface Overview 3
C H A P T E R 2
Menus 1 3
C H A P T E R 3
The Tools 2 7
C H A P T E R 4
Palettes 5 9
C H A P T E R 5
Presetsand Preferences 8 7
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PHOTOSHOP WORKSPACE
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Interface Overview
PHOTOSHOP CS IS AVAILABLE FOR Windows (2000 and XP) and for Mac OS X (version 10.2.4).
Regardless of which operating system you happen to be using, Photoshop works much the
same. There may be a few operating system–specific buttons, controls (especially with print-
ing), shortcut keys (of course), and even the occasional additional menu; but understanding
Photoshop in Windows is the same as understanding Photoshop on the Mac.
The first thing you notice when you open Photoshop are the controls. They are everywhere,
allowing you to adjust just about anything you can possibly imagine in the images you edit. There
are thousands of buttons,
controls, menu options, and
other objects, and each has a
specific purpose. Learning all
these may seem a Herculean
task, and mastering them
nigh impossible. Yet all the
controls in Photoshop follow
a similar logic, and once you
get the hang of a few controls,
understanding the entire
interface will quickly follow.
■ 1.1 The Macintosh interface
■ 1.2 The Windows interface
■ 1.3 The document window
■ 1.4 Interface objects
C H A P T E R 1
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1.1 The Macintosh Interface
To run Photoshop CS on a Macintosh, your system will need to meet the following minimum
requirements: Mac OS 10.2.4 or later; G3 or higher processor; 192 MB RAM, although 256
MB is recommended; 320 MB of available hard disk space; 1024×768 resolution monitor
with 16-bit or better color; CD-ROM drive (for installation).
� Menu bar Click any of the menu headings to view a list of menu options.
� Application menu (Photoshop) This menu is available in Mac OS X to provide access to appli-cation-specific options such as About Photoshop and Preferences. Use can also use this menu tohide Photoshop or other applications.
� Tool Options bar This part of the interface provides options for the currently selected tool.
� Toolbox Click an icon to select a particular tool to use in the canvas.
� Palettes Through the Window menu, you can access 17 floating palettes that contain controlsand options for the various tools and the canvas. A palette is distinguished by a tab with itsname.
� Palette group You can group palettes and then bring an individual palette to the front of agroup by clicking its tab.
� Palette Well This space holds palettes for quick access. Simply drag and drop a palette’s tabinto the area to add it to the well.
� Document window The document window displays the image currently being edited (alsocalled the image window). Multiple document windows can be open at a given time, but onlyone is on top and can be edited.
��
�
��
�
�
�
➠ 1.3 The DocumentWindow
➠ 1.4 InterfaceObjects
➠ 2 Menus
➠ 3 Tools
➠ 4 Palettes
Hide all controlst
Hide all controlsexcept Toolbox andtool options baro t
Since standard Macmice do not have aright button (as do PCmice), use Control-clickwhenever right- clickingis indicated. If yourmouse does have aright mouse button,you can use eithermethod.
Photoshop CS is the firstversion of Photoshopthat is not available forthe “classic” versions of the Macintosh oper-ating system. In fact,Photoshop CS is notcompatible with earlyversions of the Mac OS Xoperating system. If youare using any version ofthe Mac operating sys-tem before 10.2.4, youwill need to upgrade.
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1.2 The Windows Interface
To run Photoshop CS on a Windows machine, you will need the following: Windows 2000
(Service Pack 3), Windows XP, or a later version of Windows; Pentium III or 4 processor
(or equivalent) or higher; 192 MB RAM, although 256 MB is recommended; 280 MB of
available hard disk space; 1024×768 resolution monitor with 16-bit or better color; CD-
ROM drive (for installation)
� Menu bar Click a menu heading to view a list of menu options.
� Tool Options bar This part of the interface provides options for the currently selected tool.
� Toolbox Click to select a particular tool to use in the canvas.
� Palettes Through the Window menu, you can access 17 floating palettes that contain controls andoptions for the various tools and the canvas. A tab with the palette name distinguishes a palette.
� Palette group You can group palettes, and then you can bring an individual palette to the frontof a group by clicking its tab.
� Palette Well This space holds palettes for quick access. To add a palette to the well, drag anddrop its tab into this area.
� Document window This window displays the image currently being edited (also called theimage window). Multiple document windows can be open at a given time, but only one is on topand able to be edited.
� Image magnification This space displays the current magnification of the canvas. Click andenter a new magnification.
Document information This space displays document information as chosen in the drop-downimmediately to the right. Option/Alt-click to view width, height, channels, and resolution.
Document information selection Click to select the information displayed.
� Action Much like the Tool Tip, this area displays the action possible with the current tool.
��
� �
� �
�
�
�
➠ 1.3 The DocumentWindow
➠ 1.4 InterfaceObjects
➠ 2 Menus
➠ 3 Tools
➠ 4 Palettes
Hide all controlst
Hide all controlsexcept Toolbox andtool options bars t
The primary differencesbetween Photoshop onthe Mac and Photoshopin Windows are theplacement of the menubar, the ability toenlarge the applicationto fill the entire windowusing the applicationbuttons in the top-rightcorner of the screen,and the placement ofthe status bar at thebottom of the applica-tion window (ratherthan in the documentwindow).
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1.3 The Document Window
When you open an image or start a new image, it is placed in its own document window.
The document window not only displays the image, allowing you to edit it in a variety of
ways in the canvas, but also displays important information about the document and
some controls for the image file.
� Title bar Displays the filename, the magnification, and the color mode of the document in thewindow. Mac users can # -click the title to view the saving path.
� Image Mat Surrounds the area around the canvas with a gray frame to the edge of the window. Shift-click in the image mat with the Paint Bucket to change the color to the selectedforeground color.
� Rulers Displays the measurement of the image in selected units. Click and drag to set a guide-line. Double-click to open Rulers & Units preferences.
� Adjust Ruler Origin Click and drag to adjust the origin point for the ruler in the display area.Double-click to reset the origin to the top-left corner of the image.
� Canvas Edit the image in this work area. The canvas area in the document window depends on the dimensions, resolution, and magnification of the image. If the canvas is too large for thedisplay area of the document window, scroll bars are added so that you can “move” the imagearound.
� Image Magnification (Mac only) Displays the current magnification of the canvas. Click andenter a new magnification.
� Document Information (Mac only) Displays document information as chosen in the drop-down. Option/Alt-click to view width, height, channels, and resolution.
� Document Information Selection (Mac only) Click to select the document information displayed in G.
�
�
�
� �
� � �
➠ 6.3 Creating a Blank Document
➠ 6.10 SavingImages
➠ 7.2 Changing theCanvas Size
Minimize window(Windows only)# M
Close front documentwindow# Wc W
Close all documentwindowso# Wsc W
New document# Nc N
Open document# Oc O
Browse for documents# O
sc O
Open document as(Windows only)ac O
You can have multipledocument windowsopen at the same time and juggle thesedocuments using theWindow > Documentssubmenu. You can tilethe open documentwindows in a variety of ways, or you canchoose the documentyou want to work withand bring it to thefront.
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1.4 Interface Objects
Regardless of which operating system you are using to run Photoshop, several “widgets”
are used in the interface. Although they look slightly different in the two operating
systems, for the most part, they behave identically.
The various controls are context specific. That is, when you use them to control some-
thing (color, percentage, size), you have to look at surrounding labels to see what the
control is specifically affecting. Many controls (although not all) will have a brief text
label in the general vicinity of the control, or you can use Tool Tips for a more detailed
explanation.
One other important, but often overlooked, fact about the Photoshop interface has to do
with text labels. Many interface objects will have a text label in close proximity to identify
what the object is for. Often, clicking the text label will either select the object or, in the
case of form fields, select the content of the field, allowing you to start typing to replace it.
A text label is used to identify the datafield to its right (in this case width andheight). Click the text label to quicklyselect the text in the field.
Tool Tip
Although not technically a control, a Tool Tip is available with almost all controls in the
Photoshop interface. Simply place your cursor over any control or control label in the
interface and wait less than a second. A small yellow box appears, displaying a brief
description of the control.
Place the mouse pointer over an objectto display a Tool Tip describing theobject.
If you do not see the Tool Tip, open the Photoshop General preferences (Command/
Ctrl-K) and check the Show Tool Tips option. If you still do not see the Tool Tip, this
object may not have one. Try a different object.
➠ 2 Menus
➠ 3 Tools
➠ 4 Palettes
Hide all controlst
Hide all controlsexcept Toolbox andtool options baro ts t
Toggle between fields (when cursor is in field)t
Contextual menuc one-buttonmouse clickLeft-click
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1.4 Interface Objects (Continued)
Interface Menus
Although Photoshop comes well equipped with the menu bar across the top of the screen
(Mac) or window (Windows), additional menus are available throughout the interface
that fall into four basic categories: palette menus, footer menus, contextual menus, and
dialog menus.
Palette Menu Click the circular arrowhead button inthe top-right corner of the palette or (when in thePalette Well) the arrowhead on the left side of thetab to open the Palette menu. This menu containspalette-specific options as well as the Dock ToPalette Well option. For example, the Color paletteincludes various options that you can use to choosehow colors are set.
Footer Menu Click to view a list of options. Theicons for footer menus come in all shapes and sizesand can be found at the bottoms of palettes in theinterface. They are identified by a small arrowheadnext to the icon pointing down. For example, theLayers palette includes a Footer menu that you canuse to quickly add adjustment layers.
Text labels next to datafields can prove veryuseful. Double-click toselect the value, clickand slide to increase ordecrease the value, andShift-click and slide toincrease or decreasethe value by 10.
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1.4 Interface Objects (Continued)
Contextual Menu Control/right-click anywhere inthe document window, a palette, or a dialog windowto open a contextual menu that contains optionswhich affect the object being clicked. These optionsdepend on what was clicked, where it was clicked,and the currently selected tool. For example, if youselect the Zoom tool, clicking in the canvas displays a contextual menu that contains zooming options.
Dialog Menu Many dialog windows in Photoshophave one or more menus embedded in them. Thesemenus generally provide window-specific options.Most of these menus are distinguished by an arrow-head in a circular button. For example, in the PresetManager dialog, the menu provides ways to save andload gradient presets into the current list or toreplace gradient presets in the current list.
Selection Controls
Photoshop uses check boxes, radio buttons, menus, and palettes to let you make choices.
Check boxes represent on/off decisions; radio buttons let you choose between two or more
mutually exclusive options. Generally, a select menu is used for three or more options.
Check Box You use check boxes to select or deselect aparticular option. A text label always immediately fol-lows the check box. Click the check box or text label totoggle the option on and off. For example, you can turnAuto-Select Layer on and off for the Move tool.
Radio Button Click the radio button or its text label toselect that option. All radio buttons for related options aregrouped together. For example, you can choose betweenusing Sampled and Pattern for the Healing Brush tool.Choosing Pattern activates the Pattern menu.
If you are looking for a quicker way to getsomething done, checkto see if an option inthe contextual menuwill save you time.
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1.4 Interface Objects (Continued)
Select Menu Like the radio button, the select menuallows you to choose between two or more mutuallyexclusive options. Click the menu and then click thedesired option again or use the Up and Down arrowkeys to navigate the list, and then press Enter tochoose an option. For example, you can select theblending mode used by a Brush tool.
Drop-Down Some menus are not truly menus but aset of controls used to set additional options. Click thedrop-down control, make adjustments, and then clickanywhere outside the control or press Enter to closeit. For example, some brushes allow you to set variousoptions to define the brush.
Data Fields
You use data fields to enter numbers in control options. Data fields, located in the tool
options bar or in palettes, allow you to click in the field and then type the number directly
from the keyboard, click in the field and use the arrow keys to increase or decrease values,
or click the text label and slide left or right to increase or decrease the value.
Data fields can be combined with select menus so that you can either enter a value
directly or click the menu arrow (on the right side) to select an option.
In addition, some data fields are accompanied by a slider control, which is helpful when
a wide range of values is possible or when you need to quickly change the value for com-
parison purposes.
Data Field Click in the field to edit its content; doubleclick in the field or click the field's label to select itscontent; click on the label and move left or right toadjust the value, using a conceptual slider as shown inthe image. For example, you can enter the number ofpixels to feather a selection.
Often, selecting anoption in one controlchanges the optionsavailable in anothercontrol.
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1.4 Interface Objects (Continued)
Data Field with Drop-Down Click in the data field to enter avalue directly, click the drop-down arrow (on the right) tochoose a value from the list, or use the slider. For example, youcan use the slider to set the opacity, or you can select a fontsize directly from a list in the drop-down.
Slider Click and drag the slider to the left or right to change thevalue in the data field. You can also click the slider line to movethe slider to that point. Sliders are sometimes next to the datafield but can also be included as a drop–down. For example, theNavigator palette has a slider at the bottom of the window thatcontrols the magnification of the image. (The field is to the left.)
Buttons
A wide variety of buttons are used in the Photoshop interface.
Action Button Click to perform a specific action. Click again torepeat the action. For example, every time you click the CreateA New Layer button in the Layers palette, a new blank layer isadded to the image.
Text Button Click to perform a specific action. Click again torepeat the action. These buttons are similar to the action buttons,but do not use an icon to represent functionality. For example, in the Zoom tool options bar, three text buttons allow you tomagnify the image for a variety of purposes.
Select Button Click to select a single option from a group ofrelated options, much like a radio button. However, rather thanusing a text label, select buttons use icons to indicate what they do.The various options are usually touching each other. For example,text allows you to select one of three justifications: left, center, or right.
Most data fields haveunits associated withthem (such as pixels,points, or a percentage).Photoshop usuallyinserts the unit or per-cent sign if you do notinclude it. However,some fields have selectmenus next to them tospecify the unit used inthe data field.
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1.4 Interface Objects (Continued)
Select Button with Drop-Down Click the drop-down menu onthe right side of a select button group to view additional con-trols or a menu of options. The menu is context sensitive to thebutton selected in the group. For example, if you select the LineDraw tool, the drop-down provides additional options for usingthat tool.
Toggle Button Click to turn an option on (highlighted) or off,much like a check box. However, rather than using text labels,toggle buttons use icons to indicate what they do. For example,the Airbrush button allows you to turn Airbrush mode on or offfor the selected brush.
Color Squares
You can select two general colors for use while working: foreground and background.
However, any time you see a color square in the interface (a small rectangle or a square
of color), you can double-click it to open the Color Picker. This is true virtually anywhere
you see color, not only in the Toolbox and Color palette, but also in the Text Options bar
and the Gradient Editor.
Double-click to open the Color Picker. For example, click theannotation color square to select the highlight color for a note.
Toggles
Several palettes, most notably the Layers palette, include one or more columns on the
left side of a list of elements (layers, history states, channels) that allow you to toggle a
specific option about that list element.
Click in the square next to the list item to toggle an option on oroff for that item. Some toggles work like radio buttons, meaningthat only one list item can have that option at a time. For exam-ple, you can select only one history state at a time to be used forthe History Brush tool.
Generally, sliders workin “real time,” meaningthat as you make achange, you see theeffect of the change.
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