List of Figures | Photoshop CS Savvy

Introduction

Figure C1: A photograph altered to look like a painting using Photoshops brushes and filters [Chapter 1]
Figure C2: A raster image composed of pixels (left) and a vector version of the same image (right), composed of shapes constructed from Bezier curves [Chapter 3]
Figure C3: Paul Signac, The Port at Sunset [Chapter 1]
Figure C4: Detail of a four-color process image. The Pointillist movement influenced the development of the four- color process. [Chapter 1]
Figure C5: Layer Styles applied to the pipe [Chapter 7]
Figure C6: Examples of blending modes applied to an image [Chapter 7]
Figure C7: The Color Picker [Chapter 10]
Figure C8: The CIE Lab color model [Chapter 10]
Figure C9: A schematic comparison of the gamut of visible, RGB, and CMYK colors [Chapter 10]
Figure C10: The RGB (left) and CMYK (right) color models [Chapter 10]
Figure C11a: The original image from which a snapshot has been taken [Chapter 11]
Figure C11b: The image after a Hue/Saturation adjustment
Figure C11c: Portions of the image have been painted back to the original with the snapshot
Figure C12: An alpha channel can be displayed on the image as a mask by activating its visibility icon in the Channels palette. [Chapter 12]
Figure C13: Painting on the alpha channel (left) alters the selection when the channel is loaded. [Chapter 12]
Figure C14a: An image shot with a low-end digital camera in poor light [Chapter 14]
Figure C14b The blue channel is full of noise
Figure C14c A close-up of the noise on the image
Figure C15: The color gamuts of various working spaces [Chapter 15]
Figure C16: This Learjet airplane needs more contrast. [Chapter 16]
Figure C17: After Levels adjustment, the Learjets contrast is significantly improved. [Chapter 16]
Figure C18: The results of applying a Cooling Filter 80 to an image with a yellow color cast [Chapter 16]
Figure C19: The Shadow/Highlight command applied to a backlit image produces more detail in the shadow areas. [Chapter 16]
Figure C20: The color match workaround applies hue and saturation modifications to the yellow die, resulting in a perfect match. [Chapter 17]
Figure C21: A grayscale image can be colorized by first changing its mode to RGB and then applying hue, saturation, and lightness adjustments. [Chapter 17]
Figure C22: The new Match Color command enables you to sample color from one document, layer, or selection and to apply that color to another document, layer, or selection.[Chapter 17]
Figure C23: Before and after applying the Equalize command [Chapter 17]
Figure C24: The original image (top) remapped to threshold levels of 85, 128, and 200 (bottom, left to right) [Chapter 17]
Figure C25: The original image [Chapter 17]
Figure C26: The posterization workaround lets you control the number of colors in your posterized image. [Chapter 17]
Figure C27a: The original image [Chapter 17]
Figure C27b: The image with the gradient map applied [Chapter 17]
Figure C28: These four images illustrate how Duotones can affect the mood of a photograph. [Chapter 18]
Figure C29a: The spot color applied over a knockout [Chapter 18]
Figure C29b: The spot color has been applied directly over the image.
Figure C29c: The spot color with tonal variations applied over a knockout
Figure C30a: The original image [Chapter 20]
Figure C30b: Mezzotint, Grainy Dots
Figure C30c: Pointillize
Figure C30d: Crystallize
Figure C30e: Color Halftone
Figure C31a: The effect of the Trace Contour [Chapter 20]
Figure C31b: Glowing Edges
Figure C31c: Find Edges
Figure C32: The final Electric Telephone image with the lightning clipped and modeled with the layer mask [Chapter 22]
Figure C33: On the top is the original N.Y. poster image; on the bottom is the image after its colors have been edited using the Replace Color command [Chapter 17]
Figure C34a: The original image [Chapter 20]
Figure C34b: The Artistic Watercolor effect
Figure C34c: The Artistic Palette Knife effect
Figure C34d: The Sketch Crosshatch effect
Figure C34e: The Sketch Ink outlines effect
Figure C35: The shadowless cat [Chapter 22]
Figure C36: The cat with the cast shadow set to 40% opacity [Chapter 22]
Figure C37: The completed Uninvited Guest image [Chapter 22]
Figure C38a: The original image [Chapter 20]
Figure C38b: Light source from below
Figure C38c: RGB lights
Figure C39a: The original Apples image [Chapter 24]
Figure C39b: The broadly painted source
Figure C39c: Subtract mode at 50% opacity
Figure C39d: Multiply mode at 50% opacity
Figure C39e: Exclusion mode at 100% opacity
Figure C40: The beginning pieces for the Fred Photato Head project [Hands On 1]
Figure C41: The completed Fred Photato Head [Hands On 1]
Figure C42: The beginning Flying Women file showing the content of the poster [Hands On 2]
Figure C43: The completed Flying Women poster [Hands On 2]
Figure C44: The original seahorse starts with a piece of line art. [Hands On 3]
Figure C45 Our line-art character will develop a bit more personality after a Photoshop paint job. [Hands On 3]
Figure C46: The original chickens, standing around [Hands On 4]
Figure C47: If an area is predominantly red, it helps to change the color of the mask. [Hands On 4]
Figure C48: The chickens in motion [Hands On 4]
Figure C49: The beginning Big City Night image is in need of cropping, rotating, and color correction. [Hands On 5]
Figure C50: The completed Big City Night image shows remarkable improvement. [Hands On 5]
Figure C51: The beginning Sun God image [Hands On 6]
Figure C52: The completed Sun God image is a Tritone with a spot color graphic and type. [Hands On 6]
Figure C53: The original image lacks rich colors and appears flat. [Chapter 24]
Figure C54: Stacking layers with similar content and applying a blending mode and opacity and fill adjustments can greatly enhance an images contrast and color. [Chapter 24]
Figure C55: The beginning image needs restoration. [Hands On 7]
Figure C56 The completed image after restoration [Hands On 7]
Figure C57: The beginning Flamingo Hotel image with its Layers palette [Hands On 8]
Figure C58: The finished Flamingo Hotel showing all of its guests [Hands On 8]
Figure C59: The finished Ballet Bleu homepage [Hands On 9]

Chapter 1: The Foundations of Photoshop

Figure 1.1: A mosaic from first-century B.C.E. Pompeii, The Defeated Persians under Darius (detail)
Figure 1.2: A close-up of a digital image displaying its pixels
Figure 1.3: A photograph altered to look like apainting by using Photoshops brushes and filters
Figure 1.4: Paul Signac, The Port at Sunset, Saint-Tropez, Opus 236, 1892
Figure 1.5: Detail of a four-color process image
Figure 1.6: A woodcut from a Venetian edition of the fables of Aesop, published in 1491
Figure 1.7: Lady Clemintina Hawarden, photograph of a model, 1860
Figure 1.8: An Adobe Web page

Chapter 2: Whats New in Photoshop CS

Figure 2.1: The new File Browser contains many new features.
Figure 2.2: The context sensitive Histogram palette can display the changes to your images individual channel information.
Figure 2.3: The Shadow/Highlight adjustment feature can correct backlit or washed out images.
Figure 2.4: You can now insert text directly on or inside of a path .
Figure 2.5: The Picture package automation is fully customizable.
Figure 2.6: The filter gallery previews the effects of single or multiple filters.
Figure 2.7: Image Readys table palette enables you to easily define an HTML table.

Chapter 3: The Nature of the Beast

Figure 3.1: Bezier curves
Figure 3.2: A raster image composed of pixels (left) and a vector version of the same image, composed of shapes constructed from Bezier curves (right)
Figure 3.3: A close-up detail of an image composed of pixels
Figure 3.4: Tool labels
Figure 3.5: The Open dialog box
Figure 3.6: The Open dialogs Format list
Figure 3.7: The File Browser
Figure 3.8: The File Browser with the View Details option selected
Figure 3.9: The Metadata tab
Figure 3.10: The New dialog box
Figure 3.11: The New Document Preset dialog box
Figure 3.12: The Save As dialog box
Figure 3.13: The Save For Web dialog box

Chapter 4: Navigation: Know Where to Go

Figure 4.1: The Photoshop folder (Mac OS X version)
Figure 4.2: Photoshops splash screen
Figure 4.3: The Photoshop workspace in Mac OS X, showing default settings
Figure 4.4: The image window labeled
Figure 4.5: Click the Status bar to show the position of your image on the paper size that you designated in Page Setup.
Figure 4.6: Photoshops menus , with the Photoshop menu selected (in Mac OS X)
Figure 4.7: The Save Workspace dialog box
Figure 4.8: The tab remains visible when you collapse the palette.
Figure 4.9: The Tool palette showing the expanded tools
Figure 4.10: The Tool palette, bottom portion
Figure 4.11: The Options bar (with the Brush tool selected)
Figure 4.12: Photoshops Tool Preset menu
Figure 4.13: The New Tool Preset dialog box
Figure 4.14: A written notation
Figure 4.15: The Navigator palette
Figure 4.16: Guides on an image can be used for alignment.
Figure 4.17: The New Guide dialog box
Figure 4.18: The Photoshop grid

Chapter 5: Setting Up Photoshop

Figure 5.1: The Discard Photoshop Settings dialog box
Figure 5.2: The Memory & Image Cache preferences in Mac OS X
Figure 5.3: The General preferences
Figure 5.4: The File Handling preferences
Figure 5.5: The Display & Cursors preferences
Figure 5.6: The Transparency & Gamut preferences
Figure 5.7: The Units & Rulers preferences
Figure 5.8: The Guides, Grid, & Slices preferences
Figure 5.9: The Plug-Ins & Scratch Disks preferences
Figure 5.10: The Memory & Image Cache preferences
Figure 5.11: File Browser Preferences
Figure 5.12: The Preset Manager
Figure 5.13: The Mac OS X Display Calibrator Assistant
Figure 5.14: The Adobe Gamma utility
Figure 5.15: The Photoshop Color Settings dialog box

Chapter 6: Making Selections

Figure 6.1: Photoshops default selection tools
Figure 6.2: The Options bar showing the default options for the Rectangular Marquee tool
Figure 6.3: The Feather command softens the edge of a selection border. On the left, an image has been pasted into a selection. On the right, the same image has been pasted into a selection border with a 10-pixel feather radius.
Figure 6.4: The effects of modifying an image through the various types of selection edges: the avocado pit has been pasted into (left) anti-aliased, (center) aliased, and (right) feathered selections.
Figure 6.5: Tolerance determines the range of pixels that the Magic Wand selects.
Figure 6.6: After selecting the background (top), the Inverse command deselects that portion of the image and selects the masked portion (bottom).
Figure 6.7: The Border command selects only the outermost portion of your selection (here, the pixels immediately inward and outward from the edge of the plant).
Figure 6.8: The Smooth command rounds off jagged corners, such as the tip of this triangle.
Figure 6.9: Transform Selection techniques: Scale (left) and Rotate (right)

Hands On 1: Making Selections

Figure H1.1: The open Fred Photato Head file
Figure H1.2: This is what I made out of the virtual elements, but yours might look quite different.
Figure H1.3: Use the Navigator palette to bring the mannequin into view.
Figure H1.4: Drag a rectangle around the mannequin.
Figure H1.5: The mannequin positioned at the bottom of the background
Figure H1.6: The egg positioned on the mannequin
Figure H1.7: Choosing a fixed aspect ratio
Figure H1.8: The selection of a left eye
Figure H1.9: The eyes positioned on the egg, with a feathered transition
Figure H1.10: The selected nose
Figure H1.11: Sizing the mouth
Figure H1.12: Only a portion of the eyebrows is selected.
Figure H1.13: The wig selected with the Magnetic Lasso tool. Notice the areas where some of the edge was not precisely selected. You can later refine these imperfect areas by subtracting them from the selection with the Lasso tool.
Figure H1.14: The Contract Selection dialog box
Figure H1.15: The outline of the tie
Figure H1.16: The completed tie, with a shadow for depth
Figure H1.17: The Crop bounding box in place
Figure H1.18: The feathered selection border
Figure H1.19: Choosing a color in the Swatches palette

Chapter 7: Layering Your Image

Figure 7.1: Layers in a Photoshop document
Figure 7.2: The Layers palette
Figure 7.3: The Layers Palette menu
Figure 7.4: The New Layer dialog box showing the layer name Layer 0
Figure 7.5: The Layers Palette Options dialog box determines the size of the thumbnails that are displayed.
Figure 7.6: The Swan layer is targeted .
Figure 7.7: The swan at the left is displayed at 100% opacity; the swan at the right is displayed at 50% opacity.
Figure 7.8: You can change a layers position in the stacking order.
Figure 7.9: Linked layers are indicated by a chain icon.
Figure 7.10: The Swan and Reflection layers make up a layer set, which has been color-coded.
Figure 7.11: Creating a new layer set
Figure 7.12: Determining layer set properties
Figure 7.13: Four locking controls
Figure 7.14: The New Layer dialog box
Figure 7.15: Layer New Layer Via Copy
Figure 7.16: When the selection is made on the Background, the cut area fills with the background color (left). When the selection is made on a layer, the selected area creates a transparent hole (right).
Figure 7.17: You can drag a layer from the Layers palette and drop it on an image that is open on the desktop.
Figure 7.18: You can drag a selection from the image window and drop it on an image that is open on the desktop.
Figure 7.19: The Duplicate Layer dialog box
Figure 7.20: The Delete Layer confirmation D ialog box
Figure 7.21: Examples of blending modes applied to an image
Figure 7.22: The Layer Style dialog box with Blending Options displayed
Figure 7.23: Image with a Drop Shadow and a Bevel and Emboss effect
Figure 7.24: The Layer Style dialog box displaying Drop Shadow controls
Figure 7.25: Layer styles demonstrated
Figure 7.26: The Contour controls
Figure 7.27: The Contour Editor
Figure 7.28: A capital T identifies a Type layer
Figure 7.29: The hidden layer caution dialog box

Chapter 8: Working with Type

Figure 8.1: Anatomy of type characters
Figure 8.2: The five main categories of fonts
Figure 8.3: The characters in the top row are set by using Photoshops default tracking. They seem to isolate the capital T. The text in the bottom row has been manually kerned to accommodate the optical spacing and to connect the capital T with the rest of the word.
Figure 8.4: Horizontal and vertical scale
Figure 8.5: The effect of baseline shift on a single character
Figure 8.6: The Type Tool cluster
Figure 8.7: Text generated with the Vertical Type tool
Figure 8.8: An image pasted into a type mask
Figure 8.9: The Type tool Options bar
Figure 8.10: A bounding box around paragraph text
Figure 8.11: Type on a curved path
Figure 8.12: Moving type into a shape
Figure 8.13: The Character palette
Figure 8.14: The Paragraph palette
Figure 8.15: Use this dialog box to set justification options.
Figure 8.16: The Hyphenation dialog box
Figure 8.17: Specify a character width in the Tsume field.
Figure 8.18: The Warp Text dialog box
Figure 8.19: The 15 Warp Text styles
Figure 8.20: Crisp, vector-based type (top), and jagged, rasterized type (bottom)
Figure 8.21: The spell checker
Figure 8.22: Spell checker prompt
Figure 8.23: The Find And Replace feature

Hands On 2: Layers and Type

Figure H2.2: The completed Flying Women poster
Figure H2.1: The beginning Flying Women file showing the content of the poster
Figure H2.3: The image window and the Layers palette of the Flying Women document
Figure H2.4: The image and Layers palette with the Purple and Blue layer sets, Layer 1, and Layer 2 no longer visible
Figure H2.5: Targeting the Mars layer
Figure H2.6: Aligning Mars on the ruler marks
Figure H2.7: The planets have been moved. Two layers (Saturn and Rings) are linked so that they can be moved as a unit. The bounding box surrounds the content of these two layers.
Figure H2.8: The two layers are part of the color-coded layer set.
Figure H2.9: The contents of the Uranus layer appear against the transparent checkerboard.
Figure H2.10: The new Mercury layer appears with the others.
Figure H2.11: The bounding box
Figure H2.12: The Gaussian Blur filter applied to the Galaxy layer
Figure H2.13: The Galaxy selected with the Rectangular Marquee tool
Figure H2.14: The Twirl filter applied to the Galaxy
Figure H2.15: Drop Shadow controls
Figure H2.16: The Red Woman flying through the rings, and the drop shadow cast on the planet
Figure H2.17: The basic headline for the poster
Figure H2.18: The subheading type placed on a curved path
Figure H2.19: Setting values for the warped text
Figure H2.20: The text warped into an arc
Figure H2.21: The Layer Style dialog box with Bevel and Emboss controls displayed
Figure H2.22: The styles applied to the type
Figure H2.23: You can merge the contents of all three layer sets into one layer.

Chapter 9: Drawing Paths

Figure 9.1: Components of Bezier curves
Figure 9.2: The Pen tool Options bar
Figure 9.3: A curved segment with another anchor point and direction line
Figure 9.4: Placing the cursor on the last anchor point and pressing Option/Alt
Figure 9.5: Dragging the direction handle up
Figure 9.6: Drag and adjust to the desired position.
Figure 9.7: Repeat to draw more curves.
Figure 9.8: Adding a curved segment to a straight segment
Figure 9.9: The Freeform Pen tool draws an unrestricted path.
Figure 9.10: A path made with the Magnetic Pen snaps to a line of contrasting pixels.
Figure 9.11: Option/Alt-drag with the Path Selection tool to duplicate a path.
Figure 9.12: Alignment features of the Path Selection tool
Figure 9.13: In the first row, the top edges are aligned. In the second row, the top edges are distributed.
Figure 9.14: Reshaping a path
Figure 9.15: Converting (top) a corner to a smooth point and (bottom) a smooth to a corner point
Figure 9.16: The Paths palette and its menu
Figure 9.17: The Fill Path dialog box
Figure 9.18: The Stroke Path dialog box
Figure 9.19: A stroked path
Figure 9.20: The Paste dialog box
Figure 9.21: Selecting the area with the free form Pen tool with the Magnetic option
Figure 9.22: Applying a drop shadow layer style
Figure 9.23: The finished image with the vector masks thumbnails in the layers palette.
Figure 9.24: The Clipping Path dialog box
Figure 9.25: EPS file options
Figure 9.26: The Options bar of the Shape tools
Figure 9.27: Polygon examples
Figure 9.28: Arrowhead characteristics
Figure 9.29: Examples of lines, with and without arrowheads
Figure 9.30: The Shape list
Figure 9.31: El Jefe adorned with custom shapes

Chapter 10: Creating and Applying Color

Figure 10.1: A grayscale and a bitmap image
Figure 10.2: The Color Picker
Figure 10.3: When the Only Web Colors option is selected, the Color Picker restricts itself to browser-safe possibilities.
Figure 10.4: Choosing custom colors
Figure 10.5: The Color palette
Figure 10.6: The Swatches palette
Figure 10.7: The Options bar Brush Preset Picker and menu
Figure 10.8: Naming a new brush
Figure 10.9: The Brushes palette
Figure 10.10: Naming a custom brush
Figure 10.11: The Brush Tip Shape settings
Figure 10.12: The star shape on the left is painted without shape dynamics, and the one on the right includes shape dynamics.
Figure 10.13: Examples of no scattering (left) and scattering (right)
Figure 10.14: Examples of a nontextured (left) and a textured (right) brush stroke
Figure 10.15: Examples of a single tip and a dual tip brush stroke
Figure 10.16: Examples of a brush stroke with (right) and without (left) color dynamics
Figure 10.17: Examples of a brush stroke with (right) and without (left) other dynamics
Figure 10.18: Brush stroke with (right) and without (left) noise
Figure 10.19: Brush stroke with (right) and without (left) the Wet Edges option
Figure 10.20: An original image (top), with aligned (middle) and non-aligned (bottom) clones
Figure 10.21: After initially sampling a portion of smooth skin texture, it takes only a few dabs with the Healing Brush to miraculously eliminate the wrinkles from around the eye in this photo.
Figure 10.22: The version on the right has been altered with the Art History Brush, giving it an Impressionist look.
Figure 10.23: The gradient types
Figure 10.24: The Gradient Editor
Figure 10.25: Choosing the Noise type in the Gradient Editor
Figure 10.26: Applying a gradient includes choosing its direction.
Figure 10.27: The Fill dialog box
Figure 10.28: Solid Color, Gradient, and Pattern Fill layers (top to bottom-left to bottom-right)
Figure 10.29: The Gradient Fill dialog box
Figure 10.30: The Pattern Fill dialog
Figure 10.31: You can position your stroke in different places relative to the selection.
Figure 10.32: The Stroke dialog box

Chapter 11: Altered States: History

Figure 11.1: The opening History palette and menu: no changes have been applied to the image yet.
Figure 11.2: The History palette after a few operations
Figure 11.3: Use this dialog box to change the behavior of the history.
Figure 11.4: The History palette with a snapshot

Hands On 3: Painting, Paths, and History

Figure H3.1: The Text File option in the General Preferences dialog box
Figure H3.2: The project begins with a simple line-art image.
Figure H3.3: Our line-art character will develop a bit more personality after a Photoshop paint job.
Figure H3.4: The coloring process begins by filling the selected area in the Painting layer with a base color.
Figure H3.5: The Burn (left) and Dodge (right) tools make easy work of shading and highlighting.
Figure H3.6: The Custom Pattern Picker menu contains several categories of useful patterns.
Figure H3.7: The skin-texturing procedure begins by filling with a texture pattern.
Figure H3.8: Targeting the Smooth Skin snapshot
Figure H3.9: By using the History Brush to apply the texture from a snapshot, you can be choosy about which areas to texturize.
Figure H3.10: The seahorse outline takes on a softer, blended appearance after a session with the Smudge tool.
Figure H3.11: The eye is formed with the Ellipse tool in Path mode and then manipulated to the desired shape before filling with color.
Figure H3.12: Setting the Ellipse tool to Paths
Figure H3.13: Setting the rotation area
Figure H3.14: Highlighting the eye shape with the Pen and Brush tools
Figure H3.15: Choosing the Foreground To Background option
Figure H3.16: The water pattern fill over the gradient
Figure H3.17: Choosing from the nature shapes
Figure H3.18: By using Photoshops built-in custom shapes, you add plant life to the waterscape instantly.
Figure H3.19: Use the New Layer dialog box to set the waters blending mode and opacity.
Figure H3.20: Use the Pattern Fill dialog box to scale the pattern to a different size.
Figure H3.21: A Pattern Fill layer intensifies the water effect.
Figure H3.22: Choosing the Foreground To Transparent option
Figure H3.23: The bubble creation procedure adds the finishing touches to the project.
Figure H3.24: A portion of the History log as a text document generated with Photoshops new History Log preference

Chapter 12: Using Channels and Quick Mask

Figure 12.1: The Channels palette with the alpha channel visible on the image
Figure 12.2: The Save Selection dialog box
Figure 12.3: Saving a selection
Figure 12.4: An alpha channel displayed in the image window
Figure 12.5: The Channel Options dialog box
Figure 12.6: Painting on the alpha channel (left) alters the selection when the channel is loaded (right).
Figure 12.7: Quick Mask Options dialog box
Figure 12.8: The Quick Mask left) and the selection that results when you click on the Standard Mode icon (right).

Hands On 4: Channels

Figure H4.1: The original chickens, motionless
Figure H4.2: The chickens in motion
Figure H4.3: Select the chicken parts by selecting the lightest areas of the chickens first.
Figure H4.4: Selecting the wall
Figure H4.5: The flaws in the alpha channel
Figure H4.6: The inverted alpha channel
Figure H4.7: Drag the gradient on the inverted alpha channel.
Figure H4.8: The completed Gradient Mask channel
Figure H4.9: The loaded selection

Chapter 13: Sizing and Transforming Images

Figure 13.1: Identical images at different resolutions : the image at 30 ppi (left) and the image at 300 ppi (right)
Figure 13.2: A halftone screen, enlarged to show tonal density
Figure 13.3: A stochastic screen, enlarged to show tonal density
Figure 13.4: The small monkey was dragged and dropped from a 72 ppi file that was 6 wide by 7.2 high onto a file that was the same physical size but with a resolution four times greater, or 288 ppi.
Figure 13.5: The Image Size dialog box
Figure 13.6: A comparison of an image scanned at 288 ppi (left) and one scanned at 72 ppi and resampled up to 288 ppi (right) by using the standard Bilinear interpolation algorithm. Note the loss of detail and the softening of edges.
Figure 13.7: A close-up of the same image scanned at 72 ppi and resampled up to 288 ppi by using the Bilinear Smoother (left) and Bilinear Sharper (right) algorithms
Figure 13.8: The Auto Resolution dialog box
Figure 13.9: Resize Image Assistant
Figure 13.10: After you define the initial cropped area, the borders outside the Crop bounding box will darken . Use the handles to fine-tune the bounding box.
Figure 13.11: Applying a crop removes all areas outside the bounding box.
Figure 13.12: With the Crop tool, you can rotate the bounding box to encompass a diagonal area.
Figure 13.13: The resulting crop, after rotation and cropping
Figure 13.14: The Crop Options bar
Figure 13.15: The Perspective crop option lets you crop an irregular shape into a rectangle.
Figure 13.16: The image after perspective cropping
Figure 13.17: The Trim dialog box
Figure 13.18: The Canvas Size dialog box
Figure 13.19: Expanding the canvas produces new areas around the image. On the left is the original image. The middle image was anchored in the center and canvas added evenly around it. On the right, the image was anchored at the bottom-left corner.
Figure 13.20: The Rotate Canvas dialog box
Figure 13.21: The Transform submenu
Figure 13.22: When you choose a transformation function from the Edit Transform submenu, the Options bar enables you to specify numerical values.
Figure 13.23: You can apply a variety of scaling operations in an interactive bounding box.
Figure 13.24: The result of dragging the Scaling bounding box inward while pressing the Shift key to constrain proportions
Figure 13.25: The image rotated manually around a center point within the box (left), and the point of origin moved to the lower left outside the box and the image rotated (right)
Figure 13.26: Slant an image with the Skew command.
Figure 13.27: Distort the image by adjusting the handles on the bounding box.
Figure 13.28: Applying perspective to the image creates diagonal lines that intersect at a horizon point.
Figure 13.29: The Move tool Options bar before and after a transformation.

Chapter 14: Image Capture and Digital Photography

Figure 14.1: The picture on the left shows a still image captured from digital video over a FireWire connection. The one on the right shows the same image after applying the De- interlace filter in Photoshop.
Figure 14.2: (left) A scan from a 35mm transparency shows many flaws. (right) The same transparency scanned with Digital ICE enabled removes most of the problems.
Figure 14.3: (left) This photograph has faded to a nearly unintelligible condition. (right) Applying Digital GEM and ROC improves the image immensely.
Figure 14.4: Scanned directly from a printed magazine page, this image contains heavy moir patterns caused by the interference of the original halftone screens and the scanners sensor.
Figure 14.5: In Photoshop CS, the available Image Adjustments have been expanded to include all of those available to 8-bit images, allowing color correction, selective color, and others to be applied to these high-bit-depth images.
Figure 14.6: This old photo has faded over time; its histogram shows it needs some work in the shadows.
Figure 14.7: The same photo, after tonal adjustmentsthe histogram shows that gaps now exist in the tone scale of the image.
Figure 14.8: By converting the image from 8-bit to 16-bit in advance of tonal correction, the resulting histogram shows no gaps in the tone scale of the photograph. This image will be slightly better looking than its 8-bit counterpart .
Figure 14.9: An underexposed digital photograph can be adjusted to open up the shadows without harm to the highlights in the image.
Figure 14.10: After applying a gradient mask (left to right), the shadows are improved to make the photo look normally exposed. The highlights in the image are left untouched.
Figure 14.11: An overexposed digital image has absolutely no data in the highlights (255-255-255 values), which cannot be repaired.
Figure 14.12: A panoramic photo taken during the San Francisco earthquake and fire, April 18, 1906. This image was made with a rotating Kodak Cirkut camera; the film was 10 inches tall by more than 40 inches long.
Figure 14.13: A modern panoramic photo, taken with a Nikon professional digital camera as 12 vertical frames on a special camera bracket , then stitched with Apple QuickTime VR Authoring Studio.
Figure 14.14: The Photomerge command calls up a dialog box where you identify the pieces of the panorama, in the order they need to be included.
Figure 14.15: The contributing images of a merged panoramic image. Each has an overlap of about 20 percent.
Figure 14.16: The Photomerge control palette, showing the overlaps in images it stitches together. demarcation Notice the visible between the frame edges, each of which need to be retouched.
Figure 14.17: The final file, after retouching, is quite handsome and represents the combined image area of four frames.
Figure 14.18: The Camera Raw image function enables images in proprietary and high-bit-depth formats to be opened directly from Photoshop.
Figure 14.19: Check to see a preview of the selected image.
Figure 14.20: You can define the size, color space, and other characteristics of the Camera Raw image as it is opened.

Chapter 15: Color Management and Printing

Figure 15.1: A cross-section of a cathode ray tube showing the separate high-voltage amplifiers for the red, green, and blue signals.
Figure 15.2: The ColorSync RGB option
Figure 15.3: The Color Settings dialog box, where color profiles and color management policies are set. These settings are a critical part of getting color right in Photoshop.
Figure 15.4: The pull-down options show most profiles available on your computer, allowing for custom configurations of the color settings.
Figure 15.5: Photoshop can alert you that the image youre opening or pasting from doesnt use your current color profile.
Figure 15.6: The Missing Profile dialog box
Figure 15.7: The Engine conversion options
Figure 15.8: The Intent conversion options
Figure 15.9: The Proof Setup menu enables you to preview any profile and rendering intent as the proof destination.
Figure 15.10: The Custom Proof Setup dialog box enables you to select an ICC profile, rendering intent, and whether to simulate Paper White or Ink Black.
Figure 15.11: An image with considerable out-of-gamut color will surprise you. Choose Gamut Warning to show those colors that are in the original image but that cannot be reproduced by the current CMYK working space profile or Proof Setup profile. The out-of-gamut color is set in Photoshops Preferences palette.
Figure 15.12: The Convert To Profile dialog box
Figure 15.13: The Assign Profile dialog box
Figure 15.14: The Custom Dot Gain menu item is located in the pull-down menu for assigning a profile to grayscale and spot colors in the Color Settings dialog box.
Figure 15.15: The secondary palette in Custom Dot Gain allows the creation of curves that control how the image appears on the computer display.
Figure 15.16: The Print With Preview dialog box
Figure 15.17: A printed image showing various Output options selected
Figure 15.18: The Print dialog box

Chapter 16: Adjusting Tonality and Color

Figure 16.1: The new Histogram palette representing an 11-step grayscale image. Notice that there are 11 lines. Their position on the graph indicates their relative brightness. Their length represents the relative quantity
Figure 16.2: The Histogram palette with the All Channels View displayed
Figure 16.3: Selecting a range of tonal values within the Histogram window. Note the data now listed in the left column.
Figure 16.4: A histogram representing a dark, or low key, image
Figure 16.5: A histogram representing a light, or high key, image
Figure 16.6: A histogram representing an image with poor contrast
Figure 16.7: A histogram representing an image with insufficient detail
Figure 16.8: The Info palette displaying the RGB values of the sample pixel
Figure 16.9: The Info Options dialog box
Figure 16.10: The Eyedropper tool can sample the average color value of a 3 — 3 or a 5 — 5 pixel area.
Figure 16.11: An image with Color Sampler markers and the expanded Info palette
Figure 16.12: The number to the left of the slash is the value before the adjustment, and number to the right is the value after.
Figure 16.13: The Brightness/ Contrast dialog box
Figure 16.14: The Variations dialog box
Figure 16.15: This picture definitely needs more contrast.
Figure 16.16: The image, the Levels dialog box, and the Histogram palette, before the adjustment
Figure 16.17: The image, the Levels dialog box, and the Histogram palette after the adjustment
Figure 16.18: The jet before (left) and after (right) determining the white and black points with the eyedroppers in the Levels dialog box.
Figure 16.19: The default Curves dialog box shows a 16-cell graph (left); Option/Alt-clicking the grid changes it to a 100- cell graph (right).
Figure 16.20: Examples of curve adjustments
Figure 16.21: A lock-down curve
Figure 16.22: Adjusting the curve
Figure 16.23: The new Photo Filter dialog box
Figure 16.24: The Shadow/Highlight dialog box
Figure 16.25: The Shadow/Highlight command applied to a backlit image
Figure 16.26: The Color Balance dialog box
Figure 16.27: The Selective Color dialog box
Figure 16.28: An Adjustment layer, with thumbnails for a Levels adjustment and for a layer mask
Figure 16.29: The adjustment Layer, the Levels dialog box, and the image.
Figure 16.30: An image being sharpened with the Unsharp Mask filter dialog box

Chapter 17: Modifying and Mapping Color

Figure 17.1: The Hue/Saturation dialog box
Figure 17.2: The ramps in the Hue/Saturation dialog box enable you to affect a targeted range of colors.
Figure 17.3: The Hue/Saturation adjustment will add a much needed splash of color to the grayscale flowers image.
Figure 17.4: Sampling the color from the red die
Figure 17.5: The Hue/Saturation dialog box
Figure 17.6: The Match Color dialog box
Figure 17.7: Youll match the sky of the target image (right) to contents of the selection on the source image (left).
Figure 17.8: The Replace Color dialog box
Figure 17.9: You can recolor all the red areas in the selection with the Replace Color command.
Figure 17.10: Before and after applying the Equalize command
Figure 17.11: Before and after applying the Invert command
Figure 17.12: The original image (top) remapped to threshold levels of 85, 128, and 200
Figure 17.13: The Posterize dialog box
Figure 17.14: The original image
Figure 17.15: The posterization workaround lets you control the number of colors in your posterized image.
Figure 17.16: The Gradient Map dialog box
Figure 17.17: The Bitmap dialog box
Figure 17.18: The Halftone Screen dialog box
Figure 17.19: The results of converting an image to Bitmap mode by using different methods

Hands On 5: Image Size, Transformation, and Color Adjustment

Figure H5.1: The original Big City Night image
Figure H5.2: The finished Big City Night image
Figure H5.3: U.S. Prepress Defaults color setting
Figure H5.4: In the Missing Profile dialog box, youll assign the Adobe RGB color working space to the image.
Figure H5.5: The Image Size dialog box
Figure H5.6: RGB levels
Figure H5.7: Adjusting the Red channel curve
Figure H5.8: Adjusting the Blue channel curve
Figure H5.9: The Shadow/Highlight dialog box
Figure H5.10: The Photo Filter dialog box
Figure H5.11: The Gaussian Blur filter applied to the Blue channel to help diminish noise
Figure H5.12: Selecting the 8 on the target image
Figure H5.13: The Match Color dialog box
Figure H5.14: Applying the Unsharp Mask filter to the image is the final step in enhancing the contrast.

Chapter 18: Duotones and Spot Color

Figure 18.1: The Duotone Options dialog box
Figure 18.2: Choosing the color of Duotone ink
Figure 18.3: The Duotone Curve dialog box
Figure 18.4: Duotone curves for (a) shadow, (b) midtone, and (c) highlight inks. Figure (d) shows all the curves and color combinations.
Figure 18.5: The Rancho Linda Vista image
Figure 18.6: The Channels palette of the same Tritone image, in Duotone mode (left) and Multichannel mode (right)
Figure 18.7: The frying pan image
Figure 18.8: The frying pan with the spot color channel in the Channels palette
Figure 18.9: The New Spot Channel dialog box showing the name of the selected ink
Figure 18.10: Contract Selection dialog box
Figure 18.11: The frog with the knockout
Figure 18.12: The selection showing the trap

Hands On 6: Duotones and Spot Color

Figure H6.1: The beginning image
Figure H6.2: The Duotone Options dialog box after the colors have been chosen
Figure H6.3: Duotone curves for (a) PANTONE 289, (b) PANTONE 436, and (c) PANTONE 467
Figure H6.4: The Duotone Options dialog box after setting the Duotone curves
Figure H6.5: The sun selected
Figure H6.6: The Channels palette showing the spot color channel
Figure H6.7: The type entered on the spot color channel displays a type mask.
Figure H6.8: The type selection
Figure H6.9: A close-up of the text with the knockout and the trap
Figure H6.10: The final version of the image with the type
Figure H6.11: The Channels palette after conversion to Multichannel mode

Chapter 19: Photo Retouching

Figure 19.1: This photograph is not worth the effort that it would take to restore it. Critical parts of the image are missing. There is hardly any detail in the highlight areas, and it is blurred, faded, stained, and covered with scratches and dust.
Figure 19.2: The area selected (left), and the filter applied (right)
Figure 19.3: Cloning a selected area
Figure 19.4: First sample the area to be copied .
Figure 19.5: The healed image
Figure 19.6: Select the image first.
Figure 19.7: Move the selection to the area that you want to sample.
Figure 19.8: The sampled area is patched.
Figure 19.9: Areas of an image that are missing or damaged can be replaced .
Figure 19.10: The selected area
Figure 19.11: The eye, flipped and in position
Figure 19.12: The completed image
Figure 19.13: An image whose contrast fades from right to left
Figure 19.14: The same image with a levels adjustment applied through the gradient layer mask
Figure 19.15: The same image with a levels adjustment applied through the reversed gradient layer mask.
Figure 19.16: The completed image with a global levels adjustment applied
Figure 19.17: The new File Browser window

Hands On 7: Restoring a Color Photograph

Figure H7.1: The scanned photograph before restoration
Figure H7.2: The All Channels View of the Histogram palette before (left) and after (right) the adjustment
Figure H7.3: The Levels dialog boxes, showing red (a), green (b), and blue (c) levels
Figure H7.4: The Color Balance dialog boxes, showing highlights (a), midtones (b), and shadows (c)
Figure H7.5: Selecting the area around the artifact
Figure H7.6: The artifacts cloned from Violettas hair
Figure H7.7: Selecting the area around the artifact
Figure H7.8: The area selected with the Patch tool
Figure H7.9: The scratched area before and after the repair made with the Patch tool
Figure H7.10: Select the area of similar texture first.
Figure H7.11: The Dust & Scratches dialog box
Figure H7.12: Using the selection on the opposite shoulder
Figure H7.13: The replacement shoulder in place
Figure H7.14: The finished shoulder
Figure H7.15: The Match Color dialog box

Chapter 20: Using Filters

Figure 20.1: The initial Filter Gallery dialog box
Figure 20.2: The Filter Gallery dialog box after choosing a filter from the Filter list
Figure 20.3: You can preview a second pass of the same filter or multiple filters.
Figure 20.4: The Fade dialog box
Figure 20.5: The Average filter replaces pixels with a solid fill of their average color
Figure 20.6: The Gaussian Blur dialog box
Figure 20.7: The original image (left), and the image with the Gaussian Blur filter applied (right)
Figure 20.8: Gaussian Blur applied (left) within a selection and (right) to the unselected image
Figure 20.9: The Mode option in the Smart Blur dialog box protects edges while blurring.
Figure 20.10: The original image (left), and the effect of the Smart Blur filter (right)
Figure 20.11: The Motion Blur dialog box
Figure 20.12: Click in the Blur Center box to position the Spin or Zoom starting point.
Figure 20.13: The hanging bulb: the original image (left); with Motion Blur (Angle: 9, Distance: 50) applied to a 300 ppi image (center); with Radial Blur (Amount: 18, Method: Spin centered at top-left corner, Quality: Good) applied (right)
Figure 20.14: The Lens Blur filter dialog box
Figure 20.15: The results of the application of the lens blur filter.
Figure 20.16: The Add Noise dialog box
Figure 20.17: The original image (left); and the image with the Add Noise, Gaussian filter, Amount: 64, applied (right)
Figure 20.18: The Median filters dialog box
Figure 20.19: The original image (left), and the image with the Median filter applied with a Radius of 22 (right)
Figure 20.20: The Unsharp Mask dialog box includes options that are common to many filters.
Figure 20.21: Unsharp Mask applied with various Radius settings. The original image (upper left); Radius of 2 (upper right); Radius of 100 (lower left); Radius of 250 (lower right).
Figure 20.22: The Offset dialog box
Figure 20.23: The High Pass filter is applied to a 300 ppi image. Step 1: High Pass, Radius 7 (top). Step 2: Threshold, Level 120 (center). Step 3: The Opacity slider in the Layers palette adjusted to 50% (bottom).
Figure 20.24: Compare the Zig Zag (left) and Wave (right) dialog boxes.
Figure 20.25: Comparison of filter applications, left to right: Ripple, Ocean Ripple, Zig Zag, (Around Center), Wave
Figure 20.26: The Spherize dialog box is similar to Pinch, except for the extra Mode (axis) option at the bottom.
Figure 20.27: Pinched and Spherized images: (top left) Spherize, +100%; (top right) Spherize, 100%; (center) the original image; (bottom left) Pinch, +100%; and (bottom right) Pinch, 100%
Figure 20.28: The Polar Coordinates filter applied to the prickly pear
Figure 20.29: The Shear dialog box
Figure 20.30: You can Twirl from 999 to 999.
Figure 20.31: The Extrude filter set with different options: (top) Blocks, Random, Solid Front Faces, and (bottom) Pyramids, Level-based
Figure 20.32: The Emboss filter dialog box
Figure 20.33: Examples of the Artistic filters
Figure 20.34: The Texturizer dialog box in the Filter Gallery
Figure 20.35: The Fibers filter dialog box
Figure 20.36: The Lighting Effects dialog box
Figure 20.37: Examples of the Lighting Effects filter: The original image (left); default light expanded and rotated so that the source is from below (middle); RGB lights moved to various locations (right).
Figure 20.38: You can Liquify extensively within this subinterface.
Figure 20.39: These three images show the application of the Liquify filter and how it can be used to distort facial characteristics to produce wild caricatures.
Figure 20.40: The Pattern Maker interface
Figure 20.41: The original image (left) and two of the many possible patterns generated from it (center; right)

Chapter 21: Making Difficult Selections

Figure 21.1: Its close to impossible to select this tree with traditional selection tools, but you can use color channels to do it.
Figure 21.2: The copy of the Red channel in the Channels palette.
Figure 21.3: The Levels adjustment adds more contrast to the channel.
Figure 21.4: The Red Copy alpha channel with the areas around the tree selected
Figure 21.5: The Red Copy alpha channel with the areas around the tree filled with white
Figure 21.6: The Inverted Red Copy alpha channel
Figure 21.7: The Hue/Saturation dialog box
Figure 21.8: The finished image
Figure 21.9: The Color Range dialog box
Figure 21.10: The Color Range dialog box with a mask of the shower of sparks
Figure 21.11: The final selection
Figure 21.12: Use the Proof Setup dialog box to choose the current CMYK working space.
Figure 21.13: The Gamut warning displays the out-of-gamut colors as gray shapes.
Figure 21.14: Selecting out-of-gamut colors with the Color Range dialog box
Figure 21.15: The out-of-gamut colors selected
Figure 21.16: Make adjustments in the Hue/Saturation dialog box so that the CMYK image matches the RGB original as closely as possible.
Figure 21.17: The Extract dialog box
Figure 21.18: The highlighted and filled flower
Figure 21.19: Previewing the completed flower

Chapter 22: Advanced Layer Techniques

Figure 22.1: The coffee_time image and its Layers palette
Figure 22.2: Defringe dialog box
Figure 22.3: The two images combined
Figure 22.4: The transparency effect created by the layer mask
Figure 22.5: The layer mask
Figure 22.6: The completed image
Figure 22.7: The hand grenade on the top is surrounded by light-colored edge pixels. On the bottom, the edge pixels were removed by defringing.
Figure 22.8: The beginning electric telephone image is composed of three layers.
Figure 22.9: After Option/Alt-clicking between layers, the Lightning layer is shown as a clipping group to the Telephone layer.
Figure 22.10: The final image altered with a layer mask
Figure 22.11: The shadowless cat
Figure 22.12: The stacking order of the layers in the Layers palette
Figure 22.13: The Edit Transform Distort option
Figure 22.14: Distort the cast shadow so that it appears to lie on the ground.
Figure 22.15: The Gaussian Blur dialog box
Figure 22.16: The cat with the cast shadow set to 40% opacity
Figure 22.17: The Layer Comps palette
Figure 22.18: The Layer Comps alert

Hands On 8: Advanced Layers

Figure H8.1: The beginning image (left) with its Layers palette (right)
Figure H8.2: The finished Hotel Flamingo image
Figure H8.3: The parrot aligned on the window
Figure H8.4: With the layer mask targeted, paint out the background to give the appearance that the parrot is partially inside the building.
Figure H8.5: The crane in the window and the Layers palette displaying the layer mask
Figure H8.6: Layers palette with Lock Transparency icon
Figure H8.7: Distorting the penguins shadows
Figure H8.8: Gaussian Blur dialog box
Figure H8.9: Selecting the flamingo with the Magnetic Lasso
Figure H8.10: Width and Height fields
Figure H8.11: Defringe dialog box
Figure H8.12: The flamingo and the cast shadow
Figure H8.13: Creating the vector mask
Figure H8.14: The Layers palette of the Flamingo Hotel image
Figure H8.15: The default Layer Comps palette
Figure H8.16: Creating a new layer comp
Figure H8.17: The Layer Comps palette with the addition of three new layer comps
Figure H8.18: Layers Comps to Files dialog box.

Chapter 23: Automating the Process

Figure 23.1: The Actions palette with its pull-down menu
Figure 23.2: The toddler, selected
Figure 23.3: The Vignette Action and its operations
Figure 23.4: New Set dialog box
Figure 23.5: New Set dialog box
Figure 23.6: New Action dialog box
Figure 23.7: The Actions palette with the Yearbook Photos Actions set and the Becky Actions
Figure 23.8: The Becky 1964 yearbook image before (left) and after (right) the Yearbook Photos set was applied
Figure 23.9: The Becky 1965 image, before (left) and after (right) the Becky Actions have been applied
Figure 23.10: Record Stop dialog box
Figure 23.11: Playback Options dialog box
Figure 23.12: The Batch dialog box
Figure 23.13: The Create Droplet dialog box
Figure 23.14: Vicky before (left) and after (right) being dragged to the Droplet
Figure 23.15: The new PDF Presentation dialog box
Figure 23.16: The PDF Options dialog box
Figure 23.17: The Contact Sheet II dialog box
Figure 23.18: The contact sheet
Figure 23.19: The enhanced Picture Package dialog box
Figure 23.20: The Picture Package Edit Layout dialog box enables you to interactively build a custom layout for your picture package.
Figure 23.21: The Web Photo Gallery dialog box
Figure 23.22: The 9 images on the desktop that will be stitched together.
Figure 23.23: The Photomerge dialog box enables you to choose open images, individual files or folders
Figure 23.24: You can manually align the images in the Photomerge interface.
Figure 23.25: Often, additional editing will be required to seamlessly blend the images together.
Figure 23.26: The Keyboard Shortcut dialog box
Figure 23.27: The Save Shortcut dialog box

Chapter 24: Overlay Techniques

Figure 24.1: The original image (left) lacks rich colors and appears flat. Stacking layers with similar content and applying a blending mode and opacity and fill adjustments can greatly enhance an images contrast and color (right).
Figure 24.2: The Advanced Blending controls in the Layer Style dialog box
Figure 24.3: The Heavenly Roses image
Figure 24.4: Setting the channel options to Gray and the This Layer black exclusion slider to 90
Figure 24.5: You can achieve softer transitions by pressing the Option or Alt key while dragging half of a slider.
Figure 24.6: You can use the Apply Image dialog box for channel-based compositing.
Figure 24.7: Use this sepia-toned watercolor to experiment with the Apply Image command.
Figure 24.8: The posterized image (a), the halftone (b), and the halftone superimposed on the posterized image by using the Apply Image feature (c)
Figure 24.9: The Calculations dialog box
Figure 24.10: The cowpoke image and its Channels palette
Figure 24.11: The new combined alpha channel
Figure 24.12: This image was created by using Calculations to combine the Gray channel of the cowpoke with the Blue channel of the cowboy sky.

Chapter 25: Web Design with Photoshop and ImageReady

Figure 25.1: The text layers are grouped together.
Figure 25.2: These alignment options are available with the Move tool.
Figure 25.3: Centering a group does not center individual layers within that group.
Figure 25.4: Smart Guides appear when elements are aligned with each other.
Figure 25.5: Choosing margin-style background settings in the New dialog box
Figure 25.6: Choosing the marquee size
Figure 25.7: Choosing a color from the Swatches palette
Figure 25.8: The margin-style background as a Photoshop document
Figure 25.9: The margin-style background as it repeats vertically in the browser
Figure 25.10: Canvas Size dialog box
Figure 25.11: The seamless background tile
Figure 25.12: The seamless background on a browser
Figure 25.13: The Tile Maker dialog box
Figure 25.14: The original image (left), and the image after the Tile Maker has been applied (right)
Figure 25.15: A kaleidoscopic tile
Figure 25.16: The kaleidoscopic background tile on a browser
Figure 25.17: JPEG compression-quality comparisons: (left) Low and (right) Maximum
Figure 25.18: JPEG Options dialog box
Figure 25.19: The Save For Web dialog subinterface
Figure 25.20: Baud rates
Figure 25.21: Options in the Save for Web sub-interface .
Figure 25.22: The Image Size palette
Figure 25.23: Save For Web with the GIF option selected, displaying the color table
Figure 25.24: Gif image and HTML saved using Default Settings (left) and a Gif image and HTML saved using Background Image (right).
Figure 25.25: The Output Settings dialog box
Figure 25.26: ImageReadys live preview enables you to see changes in a file as you make them. The Optimize palette enables you to format the image to your chosen specifications.
Figure 25.27: The original mallard is at the upper left at 558 KB. The second image, at the upper right, displays the 128-color GIF at 36.63 KB. The image at the lower left is a 32-color GIF and is only 20.85 KB, and at the lower right is a 256-color PNG-8 with a file size of 41.74 KB.
Figure 25.28: The extremes of JPEG settings. Notice the deterioration and artifacts in the image on the right, which is set to JPEG Low to produce a file size of only 12.85 KB, but at the expense of image quality.
Figure 25.29: Choosing Save For Web and GIF with transparency
Figure 25.30: The transparent GIF displayed on the browser with the clouds background tile
Figure 25.31: The New dialog box
Figure 25.32: The Emerald Forest text with the Bevel and Emboss layer style applied
Figure 25.33: The Save For Web settings
Figure 25.34: The Emerald Forest text displayed without matting (above). The Emerald Forest text displayed with matting on a patterned background (below).
Figure 25.35: The image before slicing, with the guides in place
Figure 25.36: After slicing, Photoshop and ImageReady number the slices.
Figure 25.37: Converting an image slice into a table
Figure 25.38: Using the pop-up list from the Web Content palette to divide a slice
Figure 25.39: Dividing the slice into four equal subslices
Figure 25.40: Use tables and subslices where your document has multiple individual images, closely grouped.

Chapter 26: Creating Dynamic Web Elements

Figure 26.1: An image map defined by the Polygon Image Map tool and the Web Content palette
Figure 26.2: The Heart image separated from the Background
Figure 26.3: Settings on the Actions palette
Figure 26.4: The Layers palette after the animation action has been applied
Figure 26.5: The image, the Layers, and the Animation palette displaying the visible portion of the image
Figure 26.6: The Animation palette with the first half of the animation
Figure 26.7: The Animation palette with the completed animation
Figure 26.8: The SWF export dialog box in ImageReady
Figure 26.9: The Background and the Legs layer are visible.
Figure 26.10: The document showing the beetle slice
Figure 26.11: The Layers palette and the Rollovers palette
Figure 26.12: Rollover State Options
Figure 26.13: Each layer contains a photo.
Figure 26.14: The Variables dialog box
Figure 26.15: Creating a Visibility variable for a layer
Figure 26.16: Your first data set
Figure 26.17: Variable2 set to Invisible
Figure 26.18: Only one layer is visible in the finished data set.
Figure 26.19: Creating a second data set
Figure 26.20: Reviewing the data sets
Figure 26.21: The badges.psd file
Figure 26.22: The data set contains 10 variables.
Figure 26.23: Pixel replacement replaces the current layer with an image loaded from disk.
Figure 26.24: The Import Variable Data Sets dialog box
Figure 26.25: Scrolling through the data sets
Figure 26.26: Data set file naming
Figure 26.27: Data Set Export settings
Figure 26.28: Each data set exported as a JPEG
Figure 26.29: Add some metadata to the file.
Figure 26.30: Enable the saving of metadata from the Optimize palette.
Figure 26.31: Metadata output settings
Figure 26.32: By default, ImageReady saves only the description and copyright notice.

Hands On 9: Web Design and ImageReady

Figure H9.1: The finished home page
Figure H9.2: Settings for the new document
Figure H9.3: Choosing Web-safe colors
Figure H9.4: The image with the ballerina and black area filled
Figure H9.5: The Color palette
Figure H9.6: The styled text
Figure H9.7: The logo in position
Figure H9.8: The Hue/Saturation dialog box
Figure H9.9: The Web page with the ballet images
Figure H9.10: The sliced image
Figure H9.11: The Animation palette displaying the eight frames
Figure H9.12: Identifying the image map
Figure H9.13: The Image Map palette
Figure H9.14: The Web Content palette
Figure H9.15: Rollover states
Figure H9.16: Group Slices Into Table
Figure H9.17: Divide Slice dialog box
Figure H9.18: Position the Enter text beneath the logo.
Figure H9.19: Divide the subslices between the logo and the text.
Figure H9.20: Selecting a slice to be remotely controlled by the rollover
Figure H9.21: The Ballet Bleu Web page previewed in Internet Explorer
Figure H9.22: Optimize palette showing a JPEG setting
Figure H9.23: Optimize palette showing a GIF setting

Chapter 27: Photoshop and Digital Video

Figure 27.1: (left) A noninterlaced image, and (right) an example of interlaced technology
Figure 27.2: Image at square pixel dimensions
Figure 27.3: The Pixel Aspect Ratio submenu
Figure 27.4: The image at rectangular pixel dimensions
Figure 27.5: The smaller box has a 4:3 aspect ratio; the larger one is 16:9.
Figure 27.6: The image before De-interlacing
Figure 27.7: The Filter Video De-Interlace dialog box
Figure 27.8: The image after De-interlacing
Figure 27.9: Choosing the NTSC Colors filter
Figure 27.10: My 3-D spaceship
Figure 27.11: Saving a selection adds an alpha channel to the file.
Figure 27.12: Format dialog box
Figure 27.13: Video format with guides
Figure 27.14: Creating a new folder for your project
Figure 27.15: Creating a new composition
Figure 27.16: Tell After Effects how to interpret the alpha channel.
Figure 27.17: Drag the project files into their folder.
Figure 27.18: Composition settings
Figure 27.19: Drag both files into the Comp window.
Figure 27.20: Setting a Scale keyframe
Figure 27.21: Resize the starship and move it up.
Figure 27.22: The starship grows large but in the same place.
Figure 27.23: Place the ship in the upper left when the Scale is small
Figure 27.24: and then place it in the lower right when the Scale is large.
Figure 27.25: After Effects Directional Blur options
Figure 27.26: Directional Blur applied to the ships starting position
Figure 27.27: Directional Blur applied to the ships ending position
Figure 27.28: Exporting your composited movie
Figure 27.29: Choosing video settings on export

Appendix A: Plug-Ins

Figure A.1: The Eye Candy submenu
Figure A.2: Well use this base image to apply the various filters.
Figure A.3: The Image Doctor submenu
Figure A.4: (left) Before and (right) after the application of JPEG Repair
Figure A.5: (left) Before and (right) after the application of Smart Fill
Figure A.6: The Impressionist submenu
Figure A.7: Using the Impressionist filter
Figure A.8: The Impressionist filter can produce a fine pencil version of your art.