Adobe InDesign 45

Unit 3: Adobe InDesign

Notes
Structure
3.1 Introduction
3.2 Working Environment of Adobe InDesign
3.2.1 Customizing the workspace
3.2.2 Opening a File in InDesign
3.3 Toolbox of Adobe InDesign
3.4 Structuring a multiple Page Document
3.5 Working with Text and Type Settings
3.6 Working with Graphic Elements
3.6.1 Paste an Object into a Frame
3.6.2 Remove a Frame’s Content
3.6.3 Fitting Objects to Frames
3.7 Character and Paragraph Formatting
3.8 Summary
3.9 Check Your Progress
3.10 Questions and Exercises
3.11 Key Terms
3.12 Further Readings

Objectives
After studying this unit, you should be able to:
z Describe what Adobe InDesign is and how it can be used
z Demonstrate how to create and view documents as well as navigating your
workspace
z Understand the page creation and working with type
z Discuss how to work with graphics and formatting objects
z Discuss how to work with color, points and paths

3.1 Introduction
Adobe InDesign is a desktop publishing software application produced by Adobe
Systems. It can be used to create works such as posters, flyers, brochures, magazines,
newspapers, and books. It can also publish content suitable for tablet devices in
conjunction with Adobe Digital Publishing Suite. Graphic designers and production
artists are the principal users, creating and laying out periodical publications, posters,
and print media. It also supports export to EPUB and SWF formats to create e-books
and digital publications, including digital magazines, and content suitable for
consumption on tablet computers. In addition, InDesign supports XML, style sheets, and
other coding markup, making it suitable for exporting tagged text content for use in
other digital and online formats. The Adobe In Copy word processor uses the same
formatting engine as InDesign.

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3.2 Working Environment of Adobe InDesign

Notes The InDesign workspace encompasses everything you see when you first open or
create a document: the Tools panel, document window, pasteboard, and other panels.
You can customize and save the work area to suit your work style.
For example, you can choose to display only those panels you frequently use, minimize
and rearrange panel groups, resize windows, and add additional document windows.

Figure 3.1: Adobe InDesign Workspace

The default workspace in InDesign (Figure 3.1) includes an Application bar at the
top of the screen. Within this Application bar are the InDesign application icon, main
menu, application controls, View controls, and the workspace switcher. Below this bar is
the Control panel, the Tools panel on the left, panels on the right, and one or more
document windows, which are opened separately.
1. The main menu organizes commands in individual menus.
2. The Control panel displays options for the currently selected tool.
3. The document window displays the file you’re working on. Each page or spread in a
document is surrounded by its own pasteboard, which can store objects for the
document as you create the layout.
4. The Tools panel contains tools for creating and editing images, artwork, page
elements, and so on. Related tools are grouped together.
5. Panels help you monitor and modify your work. An example is the Layers panel.
6. Certain panels are displayed by default, but you can add any panel by selecting it
from the Window menu. Many panels have menus with panel-specific options. You
can separate, group, stack, and dock panels into your preferred layout.

3.2.1 Customizing the Workspace

By saving the current size and position of panels as a named workspace, you can
restore that workspace even if you move or close a panel. The names of saved
workspaces appear in the workspace switcher.

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To create a custom workspace:
1. Move and manipulate the workspace layout in InDesign to suit your needs.
Notes

2. From the workspace switcher, select New Workspace.

The New Workspace dialog box appears.

3. Name your workspace and select the items to save in the workspace: your
placement of panels is saved if you select the Panel Locations option; any keyboard
shortcuts and menus you customized are saved if you select the Menu
Customization option.
4. Click OK. The name of your new workspace appears in the workspace switcher.

5. Choose Window > Workspace.

Notice that your new workspace now appears at the top of the Workspace menu.
Even if you make changes, you can return to the workspace you saved by selecting
it from the menu or from the workspace switcher.
You can restore the saved workspace at any time by choosing Reset [your named]
Workspace from the workspace switcher.

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3.2.2 Opening a File in InDesign

Notes In general, you open document and template files the same way you do in other
programs. When you open an InDesign template, it opens as a new, untitled document.
Document files use the extension .indd, template files use the extension .indt, library
files use the extension .indl, and book files use the extension .indb.
You can also use the File > Open command to open files from InDesign 1.x and
later (including Asian-language versions), InDesign Interchange (.inx) files, Adobe
PageMaker 6.0 and later, QuarkXPress 3.3 and 4.1, and QuarkXPress Passport 4.1.
In addition, other software vendors may make plug-in software with which you can open
other file formats.
To open an existing file:
1. Start InDesign.
2. Choose File > Open from the main menu.
You can also choose File > Open Recent to open an existing InDesign document.

3.3 Toolbox of Adobe InDesign

Some tools in the Tools panel (Figure 3.2) are for selecting, editing, and creating page
elements. Other tools are for choosing types, shapes, lines, and gradients. You can
change the overall layout of the Tools panel to fit your preferred window and panel
layout.
Click a tool to select it from the default Tools panel. The Tools panel also contains
several hidden tools related to the visible tools. Hidden tools are indicated by arrows to
the right of the tool icons. Select a hidden tool by clicking and holding the current tool in
the Tools panel and then selecting the tool you want.
The name of the tool and its keyboard shortcut appear when you hold the pointer
over the tool—this text is called a tool tip. You can turn off tool tips by choosing None
from the Tool Tips menu in General preferences (Windows) or Interface Preferences
(Mac OS).

Figure 3.2: Overview of the Tools Panel

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z Type tools: Create and format type in standard or customized blocks or paths.
z Drawing tools: Draw and style simple and complex objects, including rectangles,
ellipses, polygons, freeform shapes.
Notes
z Selection tools: Select (activate) objects, points, or lines.
z Transform tools: Reshape, reorient, and resize objects.
z Navigation tools: Move around in, control the view of, and measure distances in a
document.
z The Scissors tool: Splits paths and frames.

3.4 Structuring a Multiple Page Document

A master is like a background that you can quickly apply to many pages. Objects on a
master appear on all pages with that master applied. Master items that appear on
document pages are surrounded by a dotted border. Changes you make to a master
are automatically applied to associated pages. Masters commonly contain repeating
logos, page numbers, headers, and footers. They can also contain empty text or
graphic frames that serve as placeholders on document pages. A master item cannot
be selected on a document page unless the master item is overridden.
Masters can have multiple layers, just like pages in your document. Objects on a
single layer have their own stacking order within that layer. Objects on a master page
layer appear behind objects assigned to the same layer in the document page.
If you want a master item to appear in front of objects on the document page,
assign a higher layer to the object on the master. A master item on a higher layer
appears in front of all objects on lower layers. Merging all layers will move master items
behind document page objects.

Figure 3.3: Master items (top left) appear behind page objects on the same
layer (bottom left); moving a master item to a higher layer (top right) moves it in
front of all objects on lower layers (bottom right)

Create a Master from Scratch

1. Choose New Master in the Pages panel menu.
2. Specify the following options, and click OK:
™ For Prefix, type a prefix that identifies the applied master for each page in the
Pages panel. You can type as many as four characters.
™ For Name, type a name for the master spread.
™ For Based On Master, choose an existing master spread on which you’ll base
this master spread, or choose None.
™ For Number Of Pages, type a value for the number of pages you want in the
master spread (as many as ten).

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Create a Master from an Existing Page or Spread

1. Drag an entire spread from the Pages section of the Pages panel to the Masters
Notes section.
2. Select a spread in the Pages panel and choose Save As Master from the Pages
panel menu.
Any objects on the original page or spread become part of the new master. If the
original page used a master, the new master is based on the original page’s master.

Creating a New Master Spread based on Another Page or Spread

1. Drag an entire spread from the Pages section of the Pages panel to the Masters
section.
2. Select a spread in the Pages panel and choose Save As Master from the Pages
panel menu.
Any objects on the original page or spread become part of the new master. If the
original page used a master, the new master is based on the original page’s master.
Base One Master on Another
You can create a master variation that is based on and updates with another master
(called the parent master) within the same document. The master spreads based on the
parent master are called child masters. For example, if your document has ten chapters
that use master spreads that vary only slightly, base all of them on a master spread that
contains the layout and objects common to all ten. This way, a change to the basic
design requires editing just the parent master instead of editing all ten separately. Vary
the formatting on your child masters. You can override parent master items on a child
master to create variations on a master, just as you can override master items on
document pages. This is a powerful way to keep a consistent yet varied design up to
date.

Figure 3.4: Original parent and child masters (left); when the parent master is
modified, the child masters are automatically updated (right)
To base one master on another, in the Masters section of the Pages panel, do
either of the following:
1. Select a master spread, and choose Master Options for [master spread name] in
the Pages panel menu. For Based On Master, choose a different master, and click
OK.
2. Select the name of the master spread you want to use as the base and drag it onto
the name of another master to apply it.

Figure 3.5: B-Master based on A-Master

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Edit the Layout of a Master
You can edit the layout of master pages at any time; changes you make are Notes
automatically reflected on all pages with that master applied. For example, any text or
graphic you add to a master will appear on document pages to which the master is
applied.
1. In the Pages panel, double-click the icon for the master you want to edit, or select
the master page from the text box list at the bottom of the document window. The
master spread appears in the document window.
2. Make changes to the master.
InDesign automatically updates any pages using that master.
3. To change the size of the master page, select it using the Page tool, and then use
the options in the Control panel to change the dimension.

Change Master Page Options

You can edit master page options to change the name or prefix of the master, base the
master on another master, or change the number of pages in the master spread.
1. In the Pages panel, click the name of a master spread to select the master spread.
2. Choose Master Options For [master name] in the Pages panel menu.
3. Change any option, and then click OK.

Apply Master Pages

If your document contains custom spreads (such as a 3- or 4-page foldout in a
magazine), any master you apply should contain the same number of pages.
If your master page has a different page size than the layout page, applying the
master page changes the size of the layout page. If the layout page has a custom page
size, you can specify whether to keep the custom layout page size or apply the size of
the master page.

Apply a Master to a Document Page or Spread

To apply a master to one page, drag the master page icon to a page icon in the Pages
panel. When a black rectangle surrounds the desired page, release the mouse button.
To apply a master to a spread, drag the master page icon to a corner of the spread
in the Pages panel. When a black rectangle surrounds all pages in the desired spread,
release the mouse button.

Figure 3.6: Applying a master to a page (left) and applying a

master to a spread (right)

Apply a Master to Multiple Pages

Do one of the following:
1. In the Pages panel, select the pages to which you want to apply a new master.
Then press Alt (Windows) or Option (Mac OS) as you click a master.

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2. Choose Apply Master To Pages from the Pages panel menu, select a master for
Apply Master, make sure that the page ranges in the Two Pages option are the
Notes ones you want, and click OK. You can apply a master to multiple pages at once. For
example, you can type 5, 7-9, 13-16 to apply the same master to pages 5, 7-9, and
13-16.

Unassign Masters from Document Pages

Apply the None master from the Masters section of the Pages panel.
When you unassign a master from a page, its layout and items no longer apply to
the page. If a master contains most of the elements you want, but you need to
customize the appearance of a few pages, you can override master items and edit or
modify them on those document pages, instead of unassigning the master.

Copy Masters
You can copy masters within the same document or from one document to another to
use as the starting point for a new master. You can also copy masters to other
documents when you synchronize documents in a book or import master pages from
another document.

Copy a Master within a Document

In the Pages panel, do one of the following:
1. Drag the page name of a master spread to the New Page button at the bottom of
the panel.
2. Select the page name of a master spread, and choose Duplicate Master Spread
[spread name] in the panel menu.
When you copy a master, the page prefix of the copied master becomes the next
letter in the alphabet.

Copy or move a Master to another Document

1. Open the document you want to add the master to. Then open the document with
the master you want to copy.
2. In the Pages panel of the source document, do either of the following:
™ Click and drag the master spread to the destination document’s window to copy
it.
™ Select the master you want to move or copy. Choose Layout > Pages > Move
Master, and choose the destination document name from the Move To menu. If
you want to remove the page or pages from the source document, select Delete
Pages After Moving, and then click OK.
If the target document already has a master with the same prefix, the moved master
is assigned the next available letter in the alphabet.

Delete a Master from a Document

1. In the Pages panel, select one or more master page icons.
2. Do one of the following:
™ Drag a selected master page or spread icon to the Delete icon at the bottom of
the panel.
™ Click the Delete icon at the bottom of the panel.
™ Choose Delete Master Spread [spread name] in the panel menu.
When you delete a master, the [None] master is applied to any document page to
which the deleted master was applied.

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3.5 Working with Text and Type Settings
Create Text Frames Notes
Text in InDesign resides inside containers called text frames. (A text frame is similar to
a text box in QuarkXPress and a text block in Adobe PageMaker.)
There are two types of text frames: frame grids and plain text frames. Frame grids
are the kind of text frames specific to Asian-language composition in which character
emboxes and spacing are displayed as grids. Empty text frames in which no grid is
displayed are plain text frames.
Like graphics frames, text frames can be moved, resized, and changed. The tool
with which you select a text frame determines the kind of changes you can make:
1. Use the Type tool to enter or edit text in a frame.
2. Use the Selection tool for general layout tasks such as positioning and sizing a
frame.
3. Use the Direct Selection tool to alter a frame’s shape.
4. Use the Horizontal Grid tool or the Vertical Grid tool to create a frame grid.

5. Use the Type tool to create a plain text frame for horizontal text, and the
Vertical Type tool to create a plain text frame for vertical text. Use the same
tools to edit existing text in a frame.
Text frames can also be connected to other text frames so that the text in one frame
can flow into another frame. Frames that are connected in this way are threaded. Text
that flows through one or more threaded frames is called a story. When you place
(import) a word-processing file, it comes into your document as a single story,
regardless of the number of frames it may occupy.
Text frames can have multiple columns. Text frames can be based on, yet
independent of, page columns. In other words, a two-column text frame can sit on a
four-column page. Text frames can also be placed on master pages and still receive
text on document pages.
When you place or paste text, you don’t need to create a text frame; InDesign
automatically adds frames based on the page’s column settings.
When text is pasted, a plain text frame is automatically created. You can also create
an empty plain text frame manually and input text.
Do any of the following:
1. Select the Type tool , and then drag to define the width and height of a new text
frame. Hold down Shift as you drag to constrain the frame to a square. When you
release the mouse button, a text insertion point appears in the frame.

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2. Using the Selection tool, click the in port or out port of another text frame, and then
click or drag to create another frame.
Notes 3. Use the Place command to place a text file.
4. Using the Type tool , click inside any empty frame. If the Type Tool Converts
Frames To Text Frames option is selected in Type preferences, the empty frame is
converted to a text frame.

Move and Resize Text Frames

1. Use the Selection tool to move or resize text frames.
2. If you want to move or resize a text frame without switching from the Type tool
to a selection tool, hold down Ctrl (Windows) or Command (Mac OS), and then drag
the frame.

Move a text frame

1. Using the Selection tool, drag the frame.
2. Using the Type tool, hold down Ctrl (Windows) or Command (Mac OS) and drag the
frame. When you release the key, the Type tool is still selected.

Resize a Text Frame

Do any of the following:

1. To resize using the Type tool , hold down Ctrl (Windows) or Command (Mac
OS), and drag any frame handle. If you hold down the mouse button for one second
before you begin dragging, the text will recompose while you resize the frame.

2. To resize using the Selection tool , drag any of the frame handles on the frame’s
border. Hold down Ctrl (Windows) or Command (Mac OS) to scale the text within
the frame.
3. To quickly fit the frame to its content, use the Selection tool to select the text frame,
and double-click any handle. For example, if you double-click the center bottom
handle, the bottom of the frame snaps to the bottom of the text. If you double-click
the center right handle, the height is preserved while the width narrows to fill the
frame.

Figure 3.7: Double-click Handle to resize Text Frame

4. To fit the text frame to the content, select the frame using the Selection tool, and
choose Object > Fitting > Fit Frame to Content. The bottom of the text frame fits the
contents of the text. If a text frame includes more overset text than can reasonably
fit on the page, the text frame isn’t resized.
5. To resize using the Scale tool , drag to resize the frame.

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Using Text Frames on Master Pages
When you start a new document, you can select the Master Text Frame option so that Notes
an empty text frame is placed on the document’s default master page. This frame has
the column and margin attributes specified in the New Document dialog box.
Follow these guidelines for using text frames on master pages:
1. Set master text frames when you want each page in your document to contain a
page-sized text frame into which you can flow or type your text. If your document
requires more variation, such as pages with different numbers of frames or frames
of different lengths, leave the Master Text Frame option deselected, and use the
Type tool to create text frames on masters.
2. Whether or not you select the Master Text Frame option, you can add text frames to
a master page to act as placeholders. You can thread these empty placeholder
frames together to establish a flow.
3. Flow text into master text frames using the same procedures you would use with
frames created on document pages.
4. If you need to type text in a master text frame on a document page, hold down
Ctrl+Shift (Windows) or Command+Shift (Mac OS) as you click the text frame on
the document page. Then click in the frame using the Type tool and begin typing.
5. You can use Smart Text Reflow to add or remove pages automatically as you type
and edit text. By default, when you type text at the end of a threaded text frame
based on a master page, a new page is added, allowing you to continue typing in
the new text frame. You can edit Smart Text Reflow settings.
6. If you change the page margins, text frames adjust to the new margins only if the
Enable Layout Adjustment option is selected.
7. Selecting the Master Text Frame option does not affect whether new pages are
added when you auto flow text.

Change Text Frame Properties

Use Text Frame Options to change settings such as the number of columns in the
frame, the vertical alignment of text within the frame, or the inset spacing, which is the
distance of the margins between the text and the frame.

Figure 3.8: Before (left) and after (right) setting inset and
creating two columns in a text frame

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If you need to use the same text frame properties for multiple text frames, create an
object style that you can apply to your text frames.
Notes
1. Using the Selection tool , select a frame, or using the Type tool , click inside
the text frame or select text.
2. Choose Object > Text Frame Options, or hold down Alt (Windows) or Option (Mac
OS) and then double-click the text frame using a selection tool.
3. Change text frame options, and then click OK.
These text frame options are available when you’re defining an object style for text
boxes.

Add Columns to a Text Frame

1. Using the Selection tool, select a frame, or using the Type tool, click inside the text
frame or select text.
2. Choose Object > Text Frame Options.
3. Specify the number of columns, the width of each column, and the spacing between
each column (gutter) for the text frame.
4. (Optional) Select Fixed Column Width to maintain column width when you resize
the frame. If this option is selected, resizing the frame can change the number of
columns, but not their width.

Figure 3.9: Fixed Column Width A. Original 2-column text frame B. Resized with
Fixed Column Width deselected (still 2 columns) [Link] with Fixed Column
Width selected (4 columns)
5. (Optional) Select Balanced Columns to make text even at the bottom of a multi-
column text frame.

Figure 3.10: Before and After Balancing Columns

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Change Text Frame inset Spacing (Margins)
1. Using the Selection tool, select a frame, or using the Type tool, click inside the text
frame or select text.
Notes
2. Choose Object > Text Frame Options.
3. In the Inset Spacing section on the General tab, type the offset distances you want
for Top, Left, Bottom, and Right. (Click the Make All Settings The Same icon to
use the same spacing on all sides.)
If the frame you’ve selected has a non-rectangular shape, the Top, Left, Bottom,
and Right options are dimmed, and an Inset option is available instead.

Determine Word and Character Counts

1. Place the insertion point in a text frame to view counts for the entire thread of
frames (the story), or select text to view counts only for the selected text.
2. Choose Window > Info to display the Info panel.
The Info panel displays the number of characters, words, lines, and paragraphs in a
text frame. The position of the insertion point within the text frame also appears.

3.6 Working with Graphic Elements

To complete the magazine layout, you’ll reposition some graphics at the same time you
practice using the selection tools, try out layers, and crop an image. Graphics used in
an InDesign CS4 document are placed inside frames. When working with placed
graphics, you should become familiar with the three selection tools.
1. The Selection tool ( ) is used for general layout tasks, such as positioning and
moving objects on a page.
2. The Direct Selection tool ( ) is used for tasks involving the content of a graphics
frame, or drawing and editing paths; for example, to select frame contents or to
move an anchor point on a path. The Direct Selection tool is also used for selecting
objects within groups.
3. The Position tool ( ), hidden under the Direct Selection tool, works in conjunction
with the Selection tool to help control the placement of content within a frame, as
well as to change the size of the frame. You can use this tool to move a graphic
within its frame, or change the visible area of a graphic by adjusting its crop.

3.6.1 Paste an Object into a Frame

Use the Paste Into command to nest graphics within container frames. You can even
nest graphics into nested frames.

Figure 3.11: Background image Pasted into a Frame

Do one of the following:
1. To paste one object inside a frame, select the object.
2. To paste two or more objects inside a frame, group them first, because a frame can
contain only one object.

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3. To paste a text frame inside another frame and preserve its current appearance,
select the entire text frame using the Selection tool or Direct Selection tool , not
Notes the Type tool.
4. Choose Edit > Copy (or Edit > Cut, if you don’t want to keep the original).
5. Select a path or frame, and then choose Edit > Paste Into.

3.6.2 Remove a Frame’s Content

Do one of the following:
1. If you’re removing a graphic or a text frame, select the object with the Direct
Selection tool . Or, use the Selection tool to click the content grabber of the
image.
2. If you’re removing text characters, select them with the Type tool .
Do one of the following:
1. To permanently remove the content, press Delete or Backspace.
2. To place the content elsewhere on the layout, choose Edit > Cut, deselect the
frame, and then choose Edit > Paste.

3.6.3 Fitting Objects to Frames

If the frame and its content are different sizes, you can use the Fitting commands to
achieve a perfect fit.
Frame alignment options apply to frames that contain either a graphic or another
text frame (text frames nested within another frame), but they do not affect paragraphs
inside a text frame—you control alignment and positioning of text itself using the Text
Frame Options command and the Paragraph, Paragraph Styles, and Story panels.

Fit an Object to its Frame

1. Select the frame of the object.
2. Choose Object > Fitting and one of the following options:

Fit Content to Frame:

Resizes content to fit a frame and allows the content proportions to be changed. The
frame will not change, but the content may appear to be stretched if the content and the
frame have different proportions.

Fit Frame to Content:

Resizes a frame to fit its content. The frame’s proportions are altered to match the
content proportions, if necessary. This is useful for resetting a graphics frame that you
accidentally altered.

Figure 3.12: Aligning an Object within a Graphics Frame

A. Original B. Frame resized to fit content C. Content resized to fit frame

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Center Content
Centers content within a frame. The proportions of the frame and its content are Notes
preserved. The size of the content and frame are unaltered.

Fit Content Proportionally

Resizes content to fit a frame while preserving the content proportions. The frame’s
dimensions are not changed. If the content and the frame have different proportions,
some empty space will result.

Fill Frame Proportionally

Resizes content to fill the entire frame while preserving the content’s proportions. The
frame’s dimensions are not changed. If the content and the frame have different
proportions, some of the content will be cropped by the bounding box of the frame.

Using Auto Fit

If you resize an image frame when Auto-Fit is not selected, the frame resizes while the
image size remains the same. If you select Auto-Fit, the image resizes with the frame. If
you decide to crop or transform the image, use the Direct Selection tool to transform the
image itself. Or, deselect Auto-Fit, transform the image, and select Auto-Fit again.
You can select the Auto-Fit option in the Control bar and in the Frame Fitting
Options dialog box.

Set Frame Fitting Options

You can associate a fitting option to a placeholder frame so that whenever new content
is placed in that frame, the fitting command is applied.
z Select a frame.
z Choose Object > Fitting > Frame Fitting Options.
z Specify the following options, and then click OK:

Auto-Fit
Select this option if you want the image to resize automatically when you resize the
frame.

Reference Point
Specify a reference point for the cropping and fitting actions. For example, if you select
the upper-right corner for a reference point and choose Fit Content Proportionally, the
image may be cropped on either the left or bottom side (away from the reference point).

Crop Amount
Specify the location of the image’s bounding box in relation to the frame. Use positive
values to crop the image. For example, you may want to exclude a border that
surrounds the placed image. Use negative values to add space between the image’s
bounding box and the frame. For example, you may want white space to appear
between the image and the frame.
If you enter crop values that cause the image not to be visible, those values are
ignored, but the fitting option is still implemented.

Fitting on Empty Frame

Specify whether you want to fit the content to the frame (which may cause the image to
be skewed), fit the content proportionally (some empty space may result), or fill the
frame proportionally (one or more sides may be cropped).
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The fitting action is applied only when content is placed into a frame. If you resize
the frame, the fitting option is automatically reapplied only if Auto-Fit is selected.
Notes
Move a Graphics Frame or its Content
When you use the Selection tool to select a graphics frame, you can select either the
frame or the image within the frame. If you click outside the content grabber and drag
the selection, the frame’s content moves with the frame. If you drag the content
grabber, the image moves within the frame.
The following techniques include ways to move a frame or its content independent
of each other. These techniques are useful for adjusting a graphic when cropped or
masked in its frame.
Do any of the following:
z To move a frame together with its content, use the Selection tool to click the
image outside the content grabber.
z To move imported content without moving the frame (that is, to pan content behind
its frame), drag the content grabber. You can also use the Direct Selection tool to
select and drag the image.

Figure 3.13: Moving the content, but not its frame

z To move a frame without moving its content, click the frame using the Selection
tool, switch to the Direct Selection tool, and then drag the center point.

Figure 3.14: Moving the frame, but not its content

To move multiple frames, use the Selection tool to select the objects, and then drag
them. If you use the Direct Selection tool to select multiple objects, only the item you
drag is affected.

Create a Border or Background

A graphics frame is ideally suited for use as a border or background for its content,
because you can change the frame’s stroke and fill independent of the content.

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Notes

Figure 3.15: Adding borders to graphics frames. A. Photo in graphics frame

B. Frame with stroke applied C. Frame enlarged with both stroke and fill applied

1. Using the Selection tool , click an imported graphic outside the content grabber to
select its frame.
2. To enlarge the frame without resizing the graphic, drag any bounding box handle
outward. To maintain frame proportions, hold down Shift as you drag.
3. Use the Swatches panel and the toolbox to apply a stroke and fill color.
4. Use the Stroke panel to adjust the frame’s stroke weight, style, or alignment.
5. You can quickly enlarge a frame equally around all sides by using the Transform or
Control panel. Select the frame with the Direct Selection tool , set the panel
reference point locator to the center point, and enter new values for the width
and height.

Crop or Mask Objects

Cropping and masking are both terms that describe hiding part of an object. In general,
the difference is that cropping uses a rectangle to trim the edges of an image, and
masking uses an arbitrary shape to make an object’s background transparent. A
common example of a mask is a clipping path, which is a mask made for a specific
image.
Use graphics frames to crop or mask objects. Because an imported graphic is
automatically contained within a frame, you can crop or mask it immediately without
having to create a frame for it. If you haven’t created a frame for an imported graphic
manually, the frame is automatically created at the same size as the graphic, so it is not
obvious that the frame is there.
z To crop an imported image or any other graphic already inside a rectangular frame,
click the object using the Selection tool and drag any handle on the bounding box
that appears. Press Shift as you drag to preserve the frame’s original proportions.

Figure 3.16: Cropping an image using a graphics frame

z To crop or mask any object, use the Selection or Direct Selection tool to select
one object you want to mask. Choose Edit > Copy, select an empty path or frame
smaller than the object, and choose Edit > Paste Into.

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z To crop frame content precisely, select the frame with the Direct Selection tool, and
use the Transform or Control panel to change the size of the frame.
Notes z To specify crop settings for an empty placeholder frame, choose Object > Fitting >
Frame Fitting Options, and then specify the crop amount.

3.7 Character and Paragraph Formatting

A character style is a collection of character formatting attributes that can be applied to
text in a single step. A paragraph style includes both character and paragraph
formatting attributes, and can be applied to a paragraph or range of paragraphs.
Paragraph styles and character styles are found on separate panels. Paragraph and
characters styles are sometimes called text styles.

[Basic Paragraph] Styles

By default, each new document contains a [Basic Paragraph] style that is applied to text
you type. You can edit this style, but you can’t rename or delete it. You can rename and
delete styles that you create. You can also select a different default style to apply to
text.

Character Style Attributes

Unlike paragraph styles, character styles do not include all the formatting attributes of
selected text. Instead, when you create a character style, InDesign makes only those
attributes that are different from the formatting of the selected text part of the style. That
way, you can create a character style that, when applied to text, changes only some
attributes, such as the font family and size, ignoring all other character attributes. If you
want other attributes to be part of the style, add them when editing the style.

Styles Panel Overview

Use the Character Styles panel to create, name, and apply character styles to text
within a paragraph; use the Paragraph Styles panel to create, name, and apply
paragraph styles to entire paragraphs. Styles are saved with a document and display in
the panel each time you open that document.
When you select text or position the insertion point, any style that has been applied
to that text is highlighted in either of the Styles panels, unless the style is in a collapsed
style group. If you select a range of text that contains multiple styles, no style is
highlighted in the Styles panel. If you select a range of text to which multiple styles are
applied, the Styles panel displays “(Mixed).”

Open the Paragraph Styles Panel

Choose Type > Paragraph Styles, or click the Paragraph Styles tab, which appears by
default on the right side of the application window.

Open the Character Styles Panel

Choose Type > Character Styles, or click the Character Styles tab on the right side of
the application window.

Add Paragraph and Character Styles

If the styles you want already exist in another InDesign, InCopy, or word-processing
document, you can import those styles for use in your current document. If you are
working with a stand-alone story, you can also define character and paragraph styles in
InCopy.

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Define Paragraph or Character Styles
1. If you want to base a new style on the formatting of existing text, select that text or
place the insertion point in it.
Notes
If a group is selected in the Styles panel, the new style will be part of that group.
Choose New Paragraph Style from the Paragraph Styles panel menu, or choose
New Character Style from the Character Styles panel menu.
2. For Style Name, type a name for your new style.
3. For Based On, select which style the current style is based on.
Note: The Based On option lets you link styles to each other, so that changes in
one style ripple through the styles that are based on it. By default, new styles are
based on [No Paragraph Style] for paragraph styles or [None] for character styles,
or on the style of any currently selected text.
4. For Next Style (Paragraph Styles panel only), specify which style is applied after the
current style when you press Enter or Return.
5. To add a keyboard shortcut, position the insertion point in the Shortcut box, and
make sure Num Lock is turned on. Then hold down any combination of Shift, Alt,
and Ctrl (Windows), or Shift, Option, and Command (Mac OS), and press a number
on the numeric keypad. You cannot use letters or non-keypad numbers for defining
style shortcuts. If your keyboard does not have a Num Lock key, you cannot add
keyboard shortcuts to styles.
6. If you want the new style to be applied to the selected text, select Apply Style To
Selection.
7. To specify the formatting attributes, click a category (such as Basic Character
Formats) on the left, and specify the attributes you want to add to your style.
When specifying a Character Color in the Style Options dialog box, you can create
a new color by double-clicking the fill or stroke box.
8. For character styles, attributes you do not specify are ignored; when the style is
applied, text will retain the paragraph style formatting for that attribute. To remove
an attribute setting from a character style:
™ From a setting’s menu, choose (Ignore).
™ In a text box, delete the option text.
™ In a check box, click until you see a small box (Windows) or a hyphen (-) (Mac
OS).
™ For a character color, hold down Ctrl (Windows) or Command (Mac OS) and
click the color swatch.
™ When you’ve finished specifying the formatting attributes, click OK.
Styles you create appear only in the current document. If no document is open, the
styles you create will appear in all new documents.

3.8 Summary
InDesign is the successor to PageMaker, the original desktop publishing software
program. It is a page layout software program available as a standalone package or in
some of the editions of the Adobe Creative Suite.
InDesign can also publish content suitable for tablet devices in conjunction with
Adobe Digital Publishing Suite. Graphic designers and production artists are the
principal users, creating and laying out periodical publications, posters, and print media.
It also supports export to EPUB and SWF formats to create e-books and digital
publications, including digital magazines, and content suitable for consumption on tablet
computers. In addition, InDesign supports XML, style sheets, and other coding markup,
making it suitable for exporting tagged text content for use in other digital and online
formats.

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Unit 8: Introduction to Adobe

Notes
Photoshop and Interface
Structure
8.1 Introduction
8.2 Workspace of Adobe Photoshop
8.3 Toolbox of Adobe Photoshop
8.4 Working with the Layer Palette
8.5 Working with Selections
8.5.1 Making Pixel Selections
8.6 Understanding Image Transformations and Layer masking
8.6.1 Understanding Image Transformations
8.6.2 Layer Masking
8.7 Working with Fills and Strokes, Gradients
8.8 Applying Layer Styles and Blending Options
8.9 Applying Filters
8.10 Preparing Graphics for the Web
8.11 Summary
8.12 Check Your Progress
8.13 Questions and Exercises
8.14 Key Terms
8.15 Further Readings

Objectives
After studying this unit, you should be able to:
z Familiarise with the Photoshop environment
z Understand how to use the Photoshop Toolbox tools
z Use the various work area Palettes
z Know about Color correction and enhance digital photographs
z Work with fills, strokes and gradients
z Prepare Graphics for the web

8.1 Introduction
Photoshop is in contrast to alternative common software system interfaces that emulate
virtual typewriters or graphing paper. Adobe Photoshop is a raster graphics editor
developed and published by Adobe Systems for Windows and OS X. Photoshop was
created in 1888 by Thomas and John hammock. It edits and compose formation
pictures in multiple layers and supports masks, alpha compositing and several other
color models together with RGB, CMYK, science laboratory color area (with capital L),
spot color and duotone.

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Photoshop has large support for graphic file formats however additionally uses its
own PSD and PSB file formats that support all the same options. additionally to
Notes formation graphics, it's restricted skills to edit or render text, vector graphics, 3D
graphics and video. Photoshop's feature set are often expanded by Photoshop plug-ins,
programs developed and distributed severally of Photoshop that may run within it and
provide new or increased options.
In this unit, we shall be discussing about the basics of Photoshop software.
We will also learn about working with layer palette and selections.

8.2 Workspace of Adobe Photoshop

Workspace Overview
You create and manipulate your documents and files using various elements, such as
panels, bars, and windows. Any arrangement of these elements is called a workspace.

Figure 8.1: A first look at the Photoshop workspace

1. The Application bar across the top contains a workspace switcher, menus
(Windows only), and other application controls. On the Mac for certain products,
you can show or hide it using the Window menu.
2. The Tools panel contains tools for creating and editing images, artwork, page
elements, and so on. Related tools are grouped.
3. The Options bar Control panel displays options for the currently selected tool.
4. The Document window displays the file you’re working on. Document windows can
be tabbed and, in certain cases, grouped and docked.
5. Panels help you monitor and modify your work. Panels can be grouped, stacked, or
docked.
6. The Application frame groups all the workspace elements in a single, integrated
window that lets you treat the application as a single unit. When you move or resize
the Application frame or any of its elements, all the elements within it respond to
each other so none overlap. Panels don’t disappear when you switch applications
or when you accidentally click out of the application. If you work with two or more
applications, you can position each application side by side on the screen or on
multiple monitors.
If you are using a Mac and prefer the traditional, free-form user interface, you can
turn off the Application frame.

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Usability Features
The Photoshop workspace is easy to use and includes a number of usability features: Notes
1. Different brightness levels: Choose Edit > Preference (Windows) or Photoshop >
Preferences (Mac OS) and select a Color Theme swatch in the Interface section.
2. To quickly decrease brightness, press Shift + 1; to increase brightness, press
Shift + 2. (On Mac OS, it’s necessary to also press the FN key.)
3. On-image displays: Stay informed as you use your favorite tools. On-image
displays show selection dimensions, transformation angles, and more. To change
the placement of the displays, choose an option from the Show Transformation
Values in the Interface preferences.
4. Maximized screen space: Click the button at the bottom of the toolbar to switch
between Standard and Full screen display modes.
Hide or Show all Panels
1. To hide or show all panels, including the Tools panel and Control panel, press Tab.
2. To hide or show all panels except the Tools panel and Control panel, press
Shift+Tab.
You can temporarily display hidden panels if Auto-Show Hidden Panels is selected
in Interface preferences. Move the pointer to the edge of the application window
(Windows) or to the edge of the monitor (Mac OS) and hover over the strip that
appears.
Display Panel Options
1. Click the panel menu icon in the upper-right corner of the panel.
2. You can open a panel menu even when the panel is minimized.
In Photoshop, you can change the font size of the text in panels and tool tips. In the
Interface preferences, choose a size from the UI Font Size menu.
Reconfigure the Tools Panel
You can display the tools in the Tools panel in a single column, or side by side in two
columns.

Click the double arrow at the top of the Tools panel.

Manage Windows and Panels
You can create a custom workspace by moving and manipulating Document windows
and panels. You can also save workspaces and switch among them.
Rearrange, dock, or float document windows
When you open more than one file, the Document windows are tabbed.
1. To rearrange the order of tabbed Document windows, drag a window’s tab to a new
location in the group.
2. To undock (float or untab) a Document window from a group of windows, drag the
window’s tab out of the group.
Note: You can also choose Window > Arrange > Float in Window to float a single
Document window, or Window > Arrange > Float All In Windows to float all of the
Document windows at once.
3. To dock a Document window to a separate group of Document windows, drag the
window into the group.
4. To create groups of stacked or tiled documents, drag the window to one of the drop
zones along the top, bottom, or sides of another window. You can also select a
layout for the group by using the Layout button on the Application bar.

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5. To switch to another document in a tabbed group when dragging a selection, drag

the selection over the document’s tab for a moment.
Notes
Dock and Undock Panels
A dock is a collection of panels or panel groups displayed together, generally in a
vertical orientation. You dock and undock panels by moving them into and out of a
dock.
1. To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between
other panels.
2. To dock a panel group, drag it by its title bar (the solid empty bar above the tabs)
into the dock.
3. To remove a panel or panel group, drag it out of the dock by its tab or title bar. You
can drag it into another dock or make it free-floating.

Move Panels
As you move panels, you see blue highlighted drop zones, areas where you can move
the panel. For example, you can move a panel up or down in a dock by dragging it to
the narrow blue drop zone above or below another panel. If you drag to an area that is
not a drop zone, the panel floats freely in the workspace.
Note: The position of the mouse (rather than the position of the panel) activates the
drop zone, so if you can’t see the drop zone, try dragging the mouse to the place where
the drop zone should be.

Add and Remove Panels

If you remove all panels from a dock, the dock disappears. You can create a dock by
moving panels to the right edge of the workspace until a drop zone appears.
1. To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then
select Close, or deselect it from the Window menu.
2. To add a panel, select it from the Window menu and dock it wherever you want.

Manipulate Panel Groups

1. To move a panel into a group, drag the panel’s tab to the highlighted drop zone in
the group.
2. To rearrange panels in a group, drag a panel’s tab to a new location in the group.
3. To remove a panel from a group so that it floats freely, drag the panel by its tab
outside the group.
4. To move a group, drag the title bar (the area above the tabs).

Stack Floating Panels

When you drag a panel out of its dock but not into a drop zone, the panel floats freely.
The floating panel allows you to position it anywhere in the workspace. You can stack
floating panels or panel groups so that they move as a unit when you drag the topmost
title bar.
1. To stack floating panels, drag a panel by its tab to the drop zone at the bottom of
another panel.
2. To change the stacking order, drag a panel up or down by its tab.
Note: Be sure to release the tab over the narrow drop zone between panels, rather
than the broad drop zone in a title bar.
3. To remove a panel or panel group from the stack, so that it floats by itself, drag it
out by its tab or title bar.

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Resize Panels
1. To minimize or maximize a panel, panel group, or stack of panels, double-click a
tab. You can also double-click the tab area (the empty space next to the tabs).
Notes
2. To resize a panel, drag any side of the panel. Some panels, such as the Color
panel cannot be resized by dragging.

Collapse and Expand Panel Icons

You can collapse panels to icons to reduce clutter on the workspace. In some cases,
panels are collapsed to icons in the default workspace.

Figure 8.2: Panels collapsed to icons

Figure 8.3: Panels expanded from icons

1. To collapse or expand all panel icons in a column, click the double arrow at the top
of the dock.
2. To expand a single panel icon, click it.
3. To resize panel icons so that you see only the icons (and not the labels), adjust the
width of the dock until the text disappears. To display the icon text again, make the
dock wider.
4. To collapse an expanded panel back to its icon, click its tab, its icon, or the double
arrow in the panel’s title bar.
5. To add a floating panel or panel group to an icon dock, drag it in by its tab or title
bar. (Panels are automatically collapsed to icons when added to an icon dock.)
6. To move a panel icon (or panel icon group), drag the icon. You can drag panel
icons up and down in the dock, into other docks (where they appear in the panel
style of that dock), or outside the dock (where they appear as floating icons).

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Save and Switch Workspaces

Notes By saving the current size and position of panels as a named workspace, you can
restore that workspace even if you move or close a panel. The names of saved
workspaces appear in the workspace switcher in the Application bar.

Save a Custom Workspace

1. With the workspace in the configuration you want to save, choose Window >
Workspace > New Workspace.
2. Type a name for the workspace.
3. Under Capture, select one or more options:
™ Keyboard shortcuts: Saves the current set of keyboard shortcuts (Photoshop
only).
™ Menus or Menu Customization: Saves the current set of menus.

Display or Switch Workspaces

z Select a workspace from the workspace switcher in the Application bar.
z In Photoshop, you can assign keyboard shortcuts to each workspace to navigate
among them quickly.

Delete a Custom Workspace

z Select Manage Workspaces from the workspace switcher in the Application bar,
select the workspace, and then click Delete.
z Select Delete Workspace from the workspace switcher.
z Choose Window > Workspace > Delete Workspace, select the workspace, and then
click Delete.

Restore the Default Workspace

z Select the Default or Essentials workspace from the workspace switcher in the
application bar.
z Select Window > Workspace > Reset [Workspace Name].

Restore a Saved Workspace Arrangement

z In Photoshop, workspaces automatically appear as you last arranged them, but you
can restore the original, saved arrangement of panels.
z To restore an individual workspace, choose Window > Workspace > Reset
[Workspace Name].
z To restore all the workspaces installed with Photoshop, click Restore Default
Workspaces in the Interface preferences.
z To rearrange the order of workspaces in the application bar, drag them.

Hide Tool Tips

z When you position the pointer over most tools and options, descriptions appear in
tool tips by default. If you find tool tips visually distracting, you can hide them.
z In the Interface preferences, deselect Show Tool Tips.

8.3 Toolbox of Adobe Photoshop

The Photoshop toolbox is the most important user interface with this complex program,
and includes the primary tools to work with graphics. These include the tools that let you
use type, and select, paint, draw, sample, edit, move, annotate, and view images. Other
tools in the toolbox allow you to change foreground/background colors, go to Adobe

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Online by either clicking the feather Adobe logo at the top of the pallet or by going to
File > Adobe Online.
Notes

Figure 8.4: Basic Tools of Adobe Photoshop

Overview of the Tools

To view the name of a tool button, hold your mouse pointer over the tool you want to
see, and the name will appear as a tool tip. Some tool buttons have multiple tools
combined into one button. Tool buttons with multiple tools have a small triangle in the
lower right hand corner of the button. Right click and hold this button to view the
alternate tools.
This is a quick summary of Photoshop’s Tools palette with a description of each
tool’s functions and shortcuts.

Rectangular Marquee Tool (M)

Use this tool to make selections on your image, in a rectangular shape. This changes
the area of your image that is affected by other tools or actions to be within the defined
shape. Holding the [Shift] key while dragging your selection, restricts the shape to a
perfect square. Holding the [Alt] key while dragging sets the center of the rectangle to
where your cursor started.

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Notes
Move Tool (V)
Use this tool to, well, move things. Usually you use it to move a Layer around after it
has been placed. Hold the [Shift] key to limit the movements to vertical/horizontal.

Polygon Lasso Tool (L)

Ok, this should be the Lasso Tool, but I use the Polygon Lasso a lot more often. Use
this to draw selections in whatever shape you would like. To close the selection, either
click on the beginning point (you’ll see the cursor change when you’re on it), or just
double-click. When holding the [Ctrl] key, you’ll see the cursor change, and the next
time you click, it will close your selection.

Magic Wand Tool (W)

Use this to select a color range. It will select the block of color, or transparency, based
on wherever you click. In the Options Bar at the top, you can change the Tolerance to
make your selections more/less precise.

Crop Tool (C)

The Crop Tool works similarly to the Rectangular Marquee tool (see above if you have
no short-term memory). The difference is when you press the [Enter/Return] key, it
crops your image to the size of the box. Any information that was on the outside of the
box is now gone. Not permanently, you can still undo.

Slice Tool (K)

This is used mostly for building websites, or splitting up one image into smaller ones
when saving out. It’s kind of an advanced tool, and since you’re in here for the basics,

Healing Brush Tool (J)

This is a really useful tool. Mildly advanced. You can use this tool to repair scratches
and specs and stuff like that on images. It works like the Brush tool (see below). You
choose your cursor size, then holding the [Alt] key, you select a nice/clean area of your
image. Let go of the [Alt] key and paint over the bad area. It basically copies the info
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from the first area to the second, in the form of the Brush tool. Only, at the end, it
averages the information, so it blends.
Notes

Brush Tool (B)

This is one of the first tools ever. It’s what Photoshop is based off of. Well, not really,
but it’s pretty basic. It paints one your image, in whatever color you have selected, and
whatever size you have selected. There’s a lot of options for it, but this is basic, so you
don’t get to learn them.

Clone Stamp Tool (S)

This is very similar to the Healing Brush Tool (see above). You use it the exact same
way, except this tool doesn’t blend at the end. It’s a direct copy of the information from
the first selected area to the second. When you learn to use both of these tools together
in perfect harmony, you will be a Photoshop MASTA! Not really, it’s just less irritating.

History Brush Tool (H)

This tool works just like the Brush Tool (see above) except the information that it paints
with is from the original state of your image. If you go Window>History, you can see the
History Palette. The History Brush tool paints with the information from whatever History
state is selected.

Eraser Tool (E)

This is the anti-Brush tool. It works like an eraser (duh) and erases whatever
information wherever you click and drag it. If you’re on a Layer, it will erase the
information transparent. If you are on the background layer, it erases with whatever
secondary color you have selected.

Gradient Tool (G)

You can use this to make a gradiation of colors. Gradiation doesn’t appear to be a word,
but it makes sense anyway. It creates a blending of your foreground color and
background color when you click and drag it. Like a gradient.

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Blur Tool (R)

Notes The Blur tool is cool. It makes things blurry. Click and drag to make things blurry. The
more you click and drag, the blurrier things get.

Dodge Tool (O)

This tool isn’t as crappy as the car brand. It’s actually used to lighten whatever area you
use it on. As long as it is not absolute black. Absolute black won’t lighten.

Path Selection Tool (A)

You use this tool when working with paths. Since this is all about the basics, It’s related
to the Pen Tool (see below) though.

Horizontal Type Tool (T)

It makes type. Or text. Or whatever you want to call it. You can click a single point, and
start typing right away. Or you can click and drag to make a bounding box of where your
text/type goes. There’s a lot of options for the Type Tool. Just play around, it’s fairly
straight-forward.

Pen Tool (P)

It’s for creating paths, in which you would use the Path Selection Tool to select the path.
Paths can be used in a few different ways, mostly to create clipping paths, or to create
selections. You use the tool by clicking to add a point. If you click and drag, it will
change the shape of your path, allowing you to bend and shape the path for accurate
selections and such.

Rectangle Tool (U)

By default it draws a Shape Layer in the form of a rectangle. It fills the rectangle with
whatever foreground color you have selected. It’s pretty complicated, don’t hurt yourself
with this one.

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Notes Tool (N)
Like post-it notes, but digital. You can use this tool to add small little note boxes to your Notes
image. These are useful if you’re very forgetful or if you’re sharing your Photoshop file
with someone else. I’m pretty sure it only works with .PSDfiles.

Eyedropper Tool (I)

This tool works by changing your foreground color to whatever color you click on.
Holding the [Alt] key will change your background color.

Hand Tool (T)

You can really make short work of your job with the Hand Tool. It’s for moving your
entire image within a window. So if you’re zoomed in and your image area is larger than
the window, you can use the Hand Tool to navigate around your image. Just click and
drag. You can get to this tool at any time when using any other tool by pressing and
holding the [Spacebar].

Zoom Tool (Z)

It allows you to zoom into your image. Don’t be dumb, it doesn’t actually change the
size of your image. Hold the [Alt] key to zoom out. Holding the [Shift] key will zoom all of
the windows you have open at the same time. Double-click on the Zoom Tool in the
palette to go back to 100% view.

These are your color boxes. Foreground (in the front) and Background (in the back).
Click on either one to bring up the color select dialog box.

8.4 Working with the Layer Palette

In Photoshop, layers are used to work on individual parts of an image while not affecting
other parts. You might say that layers are like transparency papers stacked on top of
one another which can be repositioned and separately drawn on without disturbing each
other.
Explaining Layers
Consider the following Graphic created in Adobe Photoshop:

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To the viewer, this is simply one flat graphic. However, in Photoshop, it is actually 4
separate layers (graphics if you will) stacked on top of one another. There is a Blue
Notes Background layer, two separate layers with a T8 Cloud, and a top layer with the
“Tutorial8″ text.

As you can see, layers are more like transparencies stacked on top of one another,
each with something different sketched onto them.
How to use Layers in Photoshop
You may have an easier time understanding how to use layers if we take on a simple
task in Photoshop that allows you to play with them yourself. Go ahead and Create a
New Document (File > New). Set it up to be 400 x 400px, with a resolution
of 72px/inch.
We’re going to create the following graphic using layers:

Filling the Background

Select a Dull Green Foreground Color. To do this, click your foreground color, and
use the color sliders to find a suitable color. Alternatively, you can enter the HEX
value 36442a next to the “#” symbol on the lower right side.

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Notes

Click OK to confirm the color value you’ve picked. Now grab the Fill Tool from the
Toolbox, and click anywhere in your working image area. Upon clicking the mouse
button, your entire background layer should be filled with the foreground color.
Create a New Layer
Let’s take a quick peek at the Layers Palette, and examine some of it’s more basic
functions:

To create a new layer, Click the “New Layer” icon shown above.

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As you can see, a new layer “Layer 1” has been created. You can rename this layer
by clicking the name of it twice, and entering whatever name you desire. While this
Notes layer is selected (highlighted) you will be working on this layer alone in the photoshop
document!

Drawing the Grass

Select the Brush Tool from the toolbox. Adobe Photoshop already has a preset brush
called “Dune Grass” which we are going to use to create the grass in our graphic.
In the brush tool’s Option Bar, open the Brush Preset Picker (Small down arrow
to the right of the currently selected “Brush”). Scroll a ways down the list, and select
the Dune Grass Brush.

We’re not going to go over brushes in great detail in the tutorial, but you do need to
know that this brush is setup to alternate between foreground and background colors.
Because of this, we need to select a background color with a similar green
value (Such as #18250f).
Once you have a good foreground and background color selected, start painting
with your brush in the working image area on your new layer. Hold down the Mouse
Button to use the brush tool.

Let’s add some text now!

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The Type Tool
Select the Horizontal Type Tool from the toolbox. Set your Foreground Color to Notes
White. Click anywhere in your working image area to begin typing.

Once you’ve typed something, select all of the text with your cursor (hold down
the mouse button, and drag over the text to select). We’re going to adjust some of the
type attributes in the Type Options Bar.
Set the Font to Arial, the font weight to Bold, the text size to 60 pt, and the anti-
aliasing to Crisp.

As you can see, the Type Tool has created a new Type Layer in your layers
palette for the text. To apply the text, click this new layer (Or click Ctrl + Enter).

Great! Now let’s position our new type tool so that it appears to be emerging from
the grass.

Moving Layers
The first thing we need to do is position our Type Layer below the Grass Layer so that
the Grass will appear in front of it. In your layers palette, click and drag your Type
Layer below the Grass layer.

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Notes

Now we can use the Move Tool to reposition our layer in the working image area.
While the Type Layer is selected, get the Move Tool from the toolbox, and drag the text
in the working image area to where the grass starts to end.

Now, let’s create a few more and play with some of their options.

Opacity, Blending Modes & Filling Selections

Create a New Layer just above the background (below the type and grass layers), and
drag out an elliptical selection using the Elliptical Marquee Tool.

Using the Fill Tool, fill this selection (on your new layer) with White. Once
filled, Deselect everything (Select > Deselect, or Ctrl + D).
You should have a large, white circle in your document now. Set this
layers Blending Mode to Overlay in the layers palette:

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Setting the blending mode is that easy!
Now set the Opacity to something like 15-20%. Notes

Simple! Now right click this new layer, and select Duplicate Layer. This will create
an exact copy of this layer (retaining layer opacity and blending mode). Using the Move
Tool reposition this layer so that you can clearly see the two different circle edges.

See how you can see through the top circle to see the circle behind it? This is
because our circle layers are somewhat transparent, otherwise known as less opaque.
By setting the opacity to something below 100%, we are able to see through objects.

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Finally, let’s take a look at one more useful feature in the layers palette. Click
the New Group icon at the bottom of the layers palette (the one shaped like a folder).
Notes
Groups function in a similar manner to a folder. You can put multiple layers inside of
a group, and then when you select the group (versus an individual layer), you’re able to
adjust the opacity, blending mode, and position of all those layers at the same time (as
well as several other things).

8.5 Working with Selections

Since there are two different types of data in your image - bitmap and vector -you need
to use separate sets of tools to make selections of each type. You can use selection
borders to select pixels. When you select pixels, you are selecting resolution dependent
information. You can also create selections using the pen or shape tools, which produce
precise outlines called paths. A path is a vector shape that contains no pixels in the
image.
In Photoshop, you can use the Extract command to isolate an object from its
background and erase the background to transparency. You can also make
sophisticated selections using masks.

8.5.1 Making Pixel Selections

You can select pixels in an image by dragging with the marquee tools or lasso tools, or
by targeting color areas with the magic wand tool. In Photoshop, you can also use the
Color Range command. Making a new selection replaces the existing one. Additionally,
you can create selections that add to a selection, subtract from a selection, select an
area intersected by other selections, or select the union of a new selection and the
current selection.

Using the Select menu

You can use commands in the Select menu to select all pixels, to deselect, or to
reselect.
To select all pixels on a layer within the canvas boundaries:
1. Select the layer in the Layers palette.
2. Choose Select > All.
To deselect selections:
Do one of the following:
1. Choose Select > Deselect.
2. If you are using the rectangle marquee, rounded rectangle marquee (Image
Ready),elliptical marquee, or lasso tool, click anywhere in the image outside the
selected area.

To reselect the most recent selection:

Choose Select > Reselect.

8.6 Understanding Image Transformations and Layer masking

8.6.1 Understanding Image Transformations
Transforming scales, rotates, skews, stretches, or warps an image. You can apply
transformations to a selection, an entire layer, multiple layers, or a layer mask. You can
also apply transformations to a path, a vector shape, a vector mask, a selection border,
or an alpha channel. Transforming affects image quality when you manipulate the
pixels. To apply non-destructive transformations to raster images, use Smart Objects.
(See About Smart Objects.) Transforming a vector shape or path is always non-

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destructive because you’re only changing the mathematical calculations producing the
object.
Notes
To make a transformation, first select an item to transform and then choose a
transformation command. If necessary, adjust the reference point before manipulating
the transformation. You can perform several manipulations in succession before
applying the cumulative transformation. For example, you can choose Scale and drag a
handle to scale, and then choose Distort and drag a handle to distort. Then press Enter
or Return to apply both transformations.
Photoshop uses the interpolation method selected in the General area of the
Preferences dialog box to calculate the color values of pixels that are added or deleted
during transformations. This interpolation setting directly affects the speed and quality of
the transformation. Bicubic interpolation, the default, is slowest but yields the best
results.

Figure 8.5: Transforming an image

A. Original image B. Layer flipped C. Selection border rotated
D. Part of object scaled
Transform Submenu Commands
Scale: Enlarges or reduces an item relative to its reference point, the fixed point around
which transformations are performed. You can scale horizontally, vertically, or both
horizontally and vertically.
Rotate: Turns an item around a reference point. By default, this point is at the
center of the object; however, you can move it to another location.
Skew: Slants an item vertically and horizontally.
Distort: Stretches an item in all directions.
Perspective: Applies one-point perspective to an item.

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Warp: Manipulates the shape of an item.

Notes Rotate 180, Rotate 90 CW, Rotate 90 CCW: Rotates the item by the specified
number of degrees, either clockwise or counter clockwise.
Flip: Flips the item vertically or horizontally.

Select an item to transform

Do one of the following:
z To transform an entire layer, make the layer active, and make sure nothing is
selected.
Note: You cannot transform the background layer. To transform it, first convert it to
a regular layer.
z To transform part of a layer, select the layer in the Layers panel, and then select
part of the image on that layer.
z To transform multiple layers, do either of the following in the Layers panel: Link the
layers together, or select multiple layers by Ctrl-clicking (Windows) or Command-
clicking (Mac OS) more than one layer. In the Layers panel, you can also Shift-click
to select continguous layers.
z To transform a layer mask or a vector mask, unlink the mask and select the mask
thumbnail in the Layers panel.
z To transform a path or vector shape, use the Path Selection tool to select the
entire path or the Direct Selection tool to select part of the path. If you select one
or more points on a path, only those path segments connected to the points are
transformed.
z To transform a selection border, make or load a selection. Then choose Select >
Transform Selection.
z To transform an alpha channel, select the channel in the Channels panel.

Set or move the reference point for a transformation

All transformations are performed around a fixed point called the reference point. By
default, this point is at the center of the item you are transforming. However, you can
change the reference point or move the center point to a different location using the
reference point locator in the options bar.
1. Choose a transformation command. A bounding box appears in the image.
2. Do one of the following:

™ In the options bar, click a square on the reference point locator . Each
square represents a point on the bounding box. For example, to move the
reference point to the upper-left corner of the bounding box, click the top left
square on the reference point locator.
™ In the transform bounding box that appears in the image, drag the reference
point . The reference point can be outside the item you want to transform.

Scale, rotate, skew, distort, apply perspective, or warp

1. Select what you want to transform.
2. Choose Edit > Transform > Scale, Rotate, Skew, Distort, Perspective, or Warp.
Note: If you are transforming a shape or entire path, the Transform menu becomes
the Transform Path menu. If you are transforming multiple path segments (but not
the entire path), the Transform menu becomes the Transform Points menu.

3. (Optional) In the options bar, click a square on the reference point locator .

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4. Do one or more of the following:
™ If you chose Scale, drag a handle on the bounding box. Press Shift as you drag
a corner handle to scale proportionately. When positioned over a handle, the
Notes
pointer becomes a double arrow.
™ If you chose Rotate, move the pointer outside the bounding border (it becomes
a curved, two-sided arrow), and then drag. Press Shift to constrain the rotation
to 15° increments.
™ If you chose Skew, drag a side handle to slant the bounding box.
™ If you chose Distort, drag a corner handle to stretch the bounding box.
™ If you chose Perspective, drag a corner handle to apply perspective to the
bounding box.
™ If you chose Warp, choose a warp from the Warp Style pop-up menu in the
options bar, or to perform a custom warp, drag the control points, a line, or an
area within the mesh to change the shape of the bounding box and mesh.
™ For all types of transformations, enter a value in the options bar. For example,
to rotate an item, specify degrees in the rotation text box.
5. (Optional) If desired, switch to a different type of transformation by selecting a
command from the Edit > Transform submenu.
Note: When you transform a bitmap image (versus a shape or path), the image
becomes slightly less sharp each time you commit a transformation; therefore,
performing multiple commands before applying the cumulative transformation is
preferable to applying each transformation separately.
6. (Optional) If you want to warp the image, click the Switch Between Free Transform
And Warp Mode button in the options bar.
7. When you finish, do one of the following:
™ Press Enter (Windows) or Return (Mac OS), click the Commit button in the
options bar, or double-click inside the transformation marquee.
™ To cancel the transformation, press Esc or click the Cancel button in the
options bar.

Flip or rotate precisely

1. Select what you want to transform.
2. Choose Edit > Transform and choose one of the following commands from the
submenu:
™ Rotate to specify degrees in the options bar
™ Rotate 180° to rotate by a half-turn
™ Rotate 90° CW to rotate clockwise by a quarter-turn
™ Rotate 90° CCW to rotate counter clockwise by a quarter-turn
™ Flip Horizontal to flip horizontally, along the vertical axis
™ Flip Vertical to flip vertically, along the horizontal axis

Repeat a transformation
z Choose Edit > Transform > Again, Edit > Transform Path > Again, or Edit >
Transform Points > Again.

Duplicate an item when transforming it

z Hold down Alt (Windows) or Option (Mac OS) when selecting the Transform
command.
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8.6.2 Layer Masking

Notes Masking is one of the most powerful, yet misunderstood features in Photoshop. When
used right, masks can be used to create very effective visual effects. From blending
images to stylizing texts, there are hundreds of uses of masks in Photoshop.

About layer and vector masks

You can use masks to hide portions of a layer and reveal portions of the layers below.
You can create two types of masks:
Layer masks are resolution-dependent bitmap images that are edited with the
painting or selection tools.
Vector masks are resolution independent and are created with a pen or shape tool.
Layer and vector masks are non-destructive, which means you can go back and
re-edit the masks later without losing the pixels they hide.
In the Layers panel, both the layer and vector masks appear as an additional
thumbnail to the right of the layer thumbnail. For the layer mask, this thumbnail
represents the gray scale channel that is created when you add the layer mask. The
vector mask thumbnail represents a path that clips out the contents of the layer.

Figure 8.6: Masking layer

A. Layer mask thumbnail B. Vector mask thumbnail C. Vector Mask Link
icon D. Add Mask
You can edit a layer mask to add or subtract from the masked region. A layer mask
is a grayscale image, so areas you paint in black are hidden, areas you paint in white
are visible, and areas you paint in shades of gray appear in various levels of
transparency.

Figure 8.7: Background painted with black; description card painted with
gray; basket painted with white
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A vector mask creates a sharp-edged shape on a layer and is useful anytime you
want to add a design element with clean, defined edges. After you create a layer with a
vector mask, you can apply one or more layer styles to it, edit them if needed, and Notes
instantly have a usable button, panel, or other web-design element.
The Properties panel provides additional controls to adjust a mask. You can change
the opacity of a mask to let more or less of the masked content show through, invert the
mask, or refine the mask borders, as with a selection area.

Figure 8.8: Properties panel A. Layer mask B. Vector mask

Add layer masks

When you add a layer mask, you can hide or show all of the layer, or base the mask on
a selection or transparency. Later, you’ll paint on the mask to precisely hide portions of
the layer, revealing the layers beneath.
Add a mask that shows or hides the entire layer
1. Make sure that no part of your image is selected. Choose Select > Deselect.
2. In the Layers panel, select the layer or group.
3. Do one of the following:
™ To create a mask that reveals the entire layer, click the Add Layer
Mask button in the Layers panel, or choose Layer > Layer Mask > Reveal
All.
™ To create a mask that hides the entire layer, Alt-click (Windows) or Option-click
(Mac OS) the Add Layer Mask button, or choose Layer > Layer Mask > Hide
All.

Add a layer mask that hides part of a layer

1. In the Layers panel, select the layer or group.
2. Select the area in the image, and do one of the following:
™ Click the New Layer Mask button in the Layers panel to create a mask that
reveals the selection.
™ Alt-click (Windows) or Option-click (Mac OS) the Add Layer Mask button in the
Layers panel to create a mask that hides the selection.
™ Choose Layer > Layer Mask > Reveal Selection or Hide Selection.

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Create a mask from layer transparency

Notes If you want to directly edit layer transparency, create a mask from this data. This
technique is helpful for video and 3D workflows.
1. In the Layers panel, select the layer.
2. Choose Layer > Layer Mask > From Transparency.
Photoshop converts transparency into an opaque color, hidden by the newly
created mask. The opaque color varies greatly, depending upon the filters and other
processing previously applied to the layer.

Apply a layer mask from another layer

z Do one of the following:
z To move the mask to another layer, drag the mask to the other layer.
z To duplicate the mask, Alt-drag (Windows) or Option-drag (Mac OS) the mask to
the other layer.

Unlinking layers and masks

By default, a layer or group is linked to its layer mask or vector mask, as indicated by
the link icon between the thumbnails in the Layers panel. The layer and its mask
move together in the image when you move either one with the Move tool . Unlinking
them lets you move them independently and shift the mask’s boundaries separately
from the layer.
z To unlink a layer from its mask, click the link icon in the Layers panel.
z To re-establish the link between a layer and its mask, click between the layer and
mask path thumbnails in the Layers panel.

Disable or enable a layer mask

z Do one of the following:
z Select the layer containing the layer mask you want to disable or enable, and click
the Disable/Enable Mask button in the Properties panel.
z Shift-click the layer mask thumbnail in the Layers panel.
z Select the layer containing the layer mask you want to disable or enable, and
choose Layer > Layer Mask > Disable or Layer > Layer Mask > Enable.
A red X appears over the mask thumbnail in the Layers panel when the mask is
disabled, and the layer’s content appears without masking effects.

Apply or delete a layer mask

You can apply a layer mask to permanently delete the hidden portions of a layer. Layer
masks are stored as alpha channels, so applying and deleting layer masks can help
reduce file size. You can also delete a layer mask without applying the changes.
1. In the Layers panel, select the layer containing the layer mask.
2. Do one of the following:
™ To remove the layer mask after applying it permanently to the layer, click the
Apply Mask icon at the bottom of the Properties panel.
™ To remove the layer mask without applying it to the layer, click the Delete
button at the bottom of the Properties panel, and then click Delete.
You can also apply or delete layer masks using the Layer menu.
Note: You cannot apply a layer mask permanently to a Smart Object layer when
deleting the layer mask.

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Select and display the layer mask channel
For easier editing of a layer mask, you can display the grayscale mask by itself or as a Notes
rubylith overlay on the layer.
z In the Layers panel, do one of the following:
z Alt-click (Windows) or Option-click (Mac OS) the layer mask thumbnail to view only
the grayscale mask. To redisplay the layers, Alt-click or Option-click the layer mask
thumbnail. Alternatively, click the eye icon in the Properties panel.
z Hold down Alt+Shift (Windows) or Option+Shift (Mac OS), and click the layer mask
thumbnail to view the mask on top of the layer in a rubylith masking color. Hold
down Alt+Shift or Option+Shift, and click the thumbnail again to turn off the color
display.
Change the layer mask rubylith color or opacity
1. Double-click the layer mask channel in the Channels panel.
2. To choose a new mask color, in the Layer Mask Display Options dialog box, click
the color swatch and choose a new color.
3. To change the opacity, enter a value between 0% and 100%.
Both the color and opacity settings affect only the appearance of the mask and
have no effect on how underlying areas are protected. For example, you may want
to change these settings to make the mask more easily visible against the colors in
the image.
4. Click OK.

Adjust mask opacity and edges

Use the Properties panel to adjust the opacity of a selected layer or vector mask. The
Density slider controls mask opacity. Feather lets you soften mask edges.
Additional options are specific to layer masks. The Invert option reverses masked
and unmasked areas. The Mask Edge option gives you various controls to modify the
mask edges, such as Smooth and Contract/Expand..

Change mask density

1. In the Layers panel, select the layer containing the mask you want to edit.
2. In the Layers panel, click the Mask thumbnail. A border appears around the
thumbnail.
3. In the Properties panel, drag the Density slider to adjust the mask opacity.
At 100% density, the mask is completely opaque and blocks out any underlying
area of the layer. As you lower the density, more of the area under the mask
becomes visible.

Feather mask edges

1. In the Layers panel, select the layer containing the mask you want to edit.
2. In the Layers panel, click the Mask thumbnail. A border appears around the
thumbnail.
3. Drag the Feather slider to apply feathering to the mask edges.
Feathering blurs the edges of the mask to create a softer transition between the
masked and unmasked areas. Feathering is applied from the edges of the mask
outward, within the range of pixels you set with the slider.

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Refine Mask Edges

1. In the Layers panel, select the layer containing the mask you want to edit.
Notes
2. In the Layers panel, click the Mask thumbnail. A border appears around the
thumbnail.
3. Click Mask Edge. You can modify mask edges with the options in the Refine Mask
dialog box and view the mask against different backgrounds. For a description of
options,
4. Click OK to close the Refine Mask dialog box and apply your changes to the layer
mask.

8.7 Working with Fills and Strokes, Gradients

Fill Tools - these tools fill a selected object, area, or layer with color.
In Adobe Photoshop this is done with Paint Bucket and Gradient.
The Paint Bucket and Gradient tools occupy one cell in the Toolbar, and are
represented by the icon of the last tool used. To choose another tool, right-click the
triangle next to the tool and choose the desired tool from the menu that appears. This
menu can also be accessed if you press the tool's icon and wait for a few moments.

The Paint Bucket is used to fill a selected area with a color or pattern by clicking on
a pixel in that area. For example, if you want to replace all red pixels in part of an image
with blue pixels, then select blue as the primary color and click on one of the red pixels.
Parameters for the Paint Bucket are set in the Options panel.
Fill. This parameter determines in what manner Paint Bucket will fill an area: with a
color (Foreground) or pattern (Pattern).
Pattern. If Pattern is chosen in the Fill parameter, then clicking on the triangular
button next to Pattern will open a palette of patterns to choose from. Any of these can
be used to fill an area.
Mode. This parameter sets the mode in which an area is filled. For example, if
darken mode is chosen, Paint Bucket will only replace pixels lighter than the primary
color.
Opacity. This parameter sets the opacity of the fill.
Tolerance. This parameter sets the degree to which pixel colors are influenced by a
fill. It can accept values from 0 to 255. At lower values of the Tolerance parameter, the
range of colors affected by the tool will decrease. As the value is increased, then more
pixels that share similar color shades will be affected by the tool.
Contiguous. If Contiguous is checked, then adjacent areas that are affected by the
Tolerance value will be filled. If you do not want these areas to be affected then
Contiguous should be unchecked.
Anti-aliased. When Anti-aliased is checked, a translucent border is created
between filled and unfilled areas. If this effect is not desired then Anti-aliased should be
unchecked.
All Layers. When All Layers is checked, all visible layers are affected by a fill.
When it is unchecked only the active layer is affected.

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It is also possible to execute a fill by selecting Fill in the Edit menu. To do this, first
select an area using one of the selection tools and then choose the command Fill in
the Edit menu. It is not necessary to make a selection if an entire layer is to be filled. Notes
After the Fill command is selected, a dialog window will open with the same settings to
choose from as for the Paint Bucket tool in the Options panel.
The Gradient tool is used to fill with a gradient, i.e. it fills with one color that
gradually changes to another.
To make a gradient fill:
z Step 1. Select an area to be filled with a gradient. If an entire layer will be filled then
it is not necessary to make a selection.
z Step 2. Choose the Gradient tool from the Toolbar.
z Step 3. Set the primary color (the first color of the gradient) and the background
color (the last color of the gradient).
z Step 4. Set the tool's parameters in the Options Panel.
z Step 5. Move the cursor inside the selected area.
z Step 6. Press the left mouse button, and while keeping it pressed, move in a
straight line. The starting point defines where the primary color will begin, the
ending point defines where the background color will be. The length of the line
determines the degree of transition from one color to another: the shorter the line,
the sharper the transition between colors.
The following parameters for Gradient can be set in the Options Panel:
Gradient. The Gradient parameter displays gradient types from which to choose.
To choose another type of gradient, press the triangular button to open a palette where
a different gradient can be selected, then choose a gradient pattern.
Gradient Style. The gradient's style can be set with one of the following buttons:
Linear, Radial, Angle, Reflected, Diamond.
Mode. This parameter sets the mode in which color is applied.
Opacity. This parameter sets the level of opacity for the gradient. The lower the
value for Opacity, the more opaque the colors are.
Reverse. If Reverse is checked, the gradient begins with the background color and
ends with the primary color.
Dither. When applying a gradient with many color transitions the transitions
between colors will be visible as bands. To smooth these transitions check Dither.
Transparency. It is possible to add transparency to the gradient. To add
transparency to a gradient check Transparency.
To create a complex gradient (a gradient which contains transitions between three
or more colors) or to edit an existing type of gradient use the Gradient Editor, which is
opened by clicking on the image of the gradient itself.

8.8 Applying Layer Styles and Blending Options

Layer Style Dialog Box Overview
You can edit styles applied to a layer or create new styles using the Layer Style dialog
box.

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Notes

You can create custom styles using one or more of the following effects:
Drop Shadow: Adds a shadow that falls behind the contents on the layer.
Inner Shadow: Adds a shadow that falls just inside the edges of the layer’s
content, giving the layer a recessed appearance.
Outer Glow and Inner Glow: Add glows that emanate from the outside or inside
edges of the layer’s content.
Bevel and Emboss: Add various combinations of highlights and shadows to a
layer.
Satin: Applies interior shading that creates a satiny finish.
Color, Gradient, and Pattern Overlay: Fills the layer’s content with a color,
gradient, or pattern.
Stroke: Outlines the object on the current layer using color, a gradient, or a pattern.
It is particularly useful on hard-edged shapes such as type.

Apply or Edit a Custom Layer Style

Note: You cannot apply layer styles to a background layer, a locked layer, or a group.
To apply a layer style to a background layer, first convert it into a regular layer.
1. Select a single layer from the Layers panel.
2. Do one of the following:
™ Double-click the layer, outside the layer name or thumbnail.
™ Click the Add A Layer Style icon at the bottom of the Layers panel and
choose an effect from the list.
™ Choose an effect from the Layer > Layer Style submenu.
™ To edit an existing style, double-click an effect displayed below the layer name
in the Layers panel. (Click the triangle next to the Add A Layer Style icon to
display the effects contained in the style.)
3. Set effect options in the Layer Style dialog box. See Layer style options.
4. Add other effects to the style, if desired. In the Layer Style dialog box, click the
check box to the left of the effect name to add the effect without selecting it.
You can edit multiple effects without closing the Layer Style dialog box. Click the
name of an effect on the left side of the dialog box to display its options.
Change Style Defaults to Custom Values
1. In the Layer Style dialog box, customize settings as desired.
2. Click Make Default.
When you next open the dialog box, your custom defaults are automatically applied.
If you adjust settings and want to return to your custom defaults, click Reset To Default.

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To return to Photoshop’s original defaults, see Restore preferences to default.

Layer Style Options Notes

Altitude: For the Bevel and Emboss effect, sets the height of the light source. A setting
of 0 is equivalent to ground level, 90 is directly above the layer.
Angle: Determines the lighting angle at which the effect is applied to the layer. You
can drag in the document window to adjust the angle of a Drop Shadow, Inner Shadow,
or Satin effect.
Anti-alias: Blends the edge pixels of a contour or gloss contour. This option is most
useful on small shadows with complicated contours.
Blend Mode: Determines how the layer style blends with the underlying layers,
which may or may not include the active layer. For example, an inner shadow blends
with the active layer because the effect is drawn on top of that layer, but a drop shadow
blends only with the layers beneath the active layer. In most cases, the default mode for
each effect produces the best results.
Choke: Shrinks the boundaries of the matte of an Inner Shadow or Inner Glow prior
to blurring.
Color: Specifies the color of a shadow, glow, or highlight. You can click the color
box and choose a color.
Contour: With solid color glows, Contour allows you to create rings of
transparency. With gradient-filled glows, Contour allows you to create variations in the
repetition of the gradient color and opacity. In beveling and embossing, Contour allows
you to sculpt the ridges, valleys, and bumps that are shaded in the embossing process.
With shadows, Contour allows you to specify the fade.
Distance: Specifies the offset distance for a shadow or satin effect. You can drag in
the document window to adjust the offset distance.
Depth: Specifies the depth of a bevel. It also specifies the depth of a pattern.
Use Global Light: This setting allows you to set one “master” lighting angle that is
then available in all the layer effects that use shading: Drop Shadow, Inner Shadow,
and Bevel and Emboss. In any of these effects, if Use Global Light is selected and you
set a lighting angle, that angle becomes the global lighting angle. Any other effect that
has Use Global Light selected automatically inherits the same angle setting. If Use
Global Light is deselected, the lighting angle you set is “local” and applies only to that
effect. You can also set the global lighting angle by choosing Layer Style > Global Light.
Gloss Contour: Creates a glossy, metallic appearance. Gloss Contour is applied
after shading a bevel or emboss.
Gradient: Specifies the gradient of a layer effect. Click the gradient to display the
Gradient Editor, or click the inverted arrow and choose a gradient from the pop-up
panel. You can edit a gradient or create a new gradient using the Gradient Editor. You
can edit the color or opacity in the Gradient Overlay panel the same way you edit them
in the Gradient Editor. For some effects, you can specify additional gradient options.
Reverse flips the orientation of the gradient, Align With Layer uses the bounding box of
the layer to calculate the gradient fill, and Scale scales the application of the gradient.
You can also move the center of the gradient by clicking and dragging in the image
window. Style specifies the shape of the gradient.
Highlight or Shadow Mode: Specifies the blending mode of a bevel or emboss
highlight or shadow.
Jitter: Varies the application of a gradient’s color and opacity.
Layer Knocks Out Drop Shadow: Controls the drop shadow’s visibility in a
semitransparent layer.
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Noise: Specifies the number of random elements in the opacity of a glow or

shadow. Enter a value or drag the slider.
Notes
Opacity: Sets the opacity of the layer effect. Enter a value or drag the slider.
Pattern: Specifies the pattern of a layer effect. Click the pop-up panel and choose a
pattern. Click the New Preset button to create a new preset pattern based on the
current settings. Click Snap To Origin to make the origin of the pattern the same as the
origin of the document (when Link With Layer is selected), or to place the origin at the
upper-left corner of the layer (if Link With Layer is deselected). Select Link With Layer if
you want the pattern to move along with the layer as the layer moves. Drag the Scale
slider or enter a value to specify the size of the pattern. Drag a pattern to position it in
the layer; reset the position by using the Snap To Origin button. The Pattern option is
not available if no patterns are loaded.
Position: Specifies the position of a stroke effect as Outside, Inside, or Center.
Range: Controls which portion or range of the glow is targeted for the contour.
Size: Specifies the radius and size of blur or the size of the shadow.
Soften: Blurs the results of shading to reduce unwanted artifacts.
Source: Specifies the source for an inner glow. Choose Center to apply a glow that
emanates from the center of the layer’s content, or Edge to apply a glow that emanates
from the inside edges of the layer’s content.
Spread: Expands the boundaries of the matte prior to blurring.
Style: Specifies the style of a bevel: Inner Bevel creates a bevel on the inside
edges of the layer contents; Outer Bevel creates a bevel on the outside edges of the
layer contents; Emboss simulates the effect of embossing the layer contents against the
underlying layers; Pillow Emboss simulates the effect of stamping the edges of the layer
contents into the underlying layers; and Stroke Emboss confines embossing to the
boundaries of a stroke effect applied to the layer. (The Stroke Emboss effect is not
visible if no stroke is applied to the layer.)
Technique: Smooth, Chisel Hard, and Chisel Soft are available for bevel and
emboss effects; Softer and Precise apply to Inner Glow and Outer Glow effects.
Smooth: Blurs the edges of a matte slightly and is useful for all types of mattes,
whether their edges are soft or hard. It does not preserve detailed features at larger
sizes.
Chisel Hard: Uses a distance measurement technique and is primarily useful on
hard-edged mattes from anti-aliased shapes such as type. It preserves detailed features
better than the Smooth technique.
Chisel Soft: Uses a modified distance measurement technique and, although not
as accurate as Chisel Hard, is more useful on a larger range of mattes. It preserves
features better than the Smooth technique.
Softer: Applies a blur and is useful on all types of mattes, whether their edges are
soft or hard. At larger sizes, Softer does not preserve detailed features.
Precise: Uses a distance measurement technique to create a glow and is primarily
useful on hard-edged mattes from anti-aliased shapes such as type. It preserves
features better than the Softer technique.
Texture: Applies a texture. Use Scale to scale the size of the texture. Select Link
With Layer if you want the texture to move along with the layer as the layer moves.
Invert inverts the texture. Depth varies the degree and direction (up/down) to which the
texturing is applied. Snap To Origin makes the origin of the pattern the same as the
origin of the document (if Link With Layer is deselected) or places the origin in the

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upper-left corner of the layer (if Link With Layer is selected). Drag the texture to position
it in the layer.
Notes
Modify Layer Effects with Contours: When you create custom layer styles, you
can use contours to control the shape of Drop Shadow, Inner Shadow, Inner Glow,
Outer Glow, Bevel and Emboss, and Satin effects over a given range. For example, a
Linear contour on a Drop Shadow causes the opacity to drop off in a linear transition.
Use a Custom contour to create a unique shadow transition.
You can select, reset, delete, or change the preview of contours in the Contour
pop-up panel and Preset Manager.

Figure 8.9: Detail of Layer Style dialog box for Drop Shadow effect.
A. Click to display the Contour Editor dialog box. B. Click to display the pop-up
panel.

Create a Custom Contour

1. Select the Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and
Emboss, Contour, or Satin effect in the Layer Style dialog box.
2. Click the contour thumbnail in the Layer Style dialog box.
3. Click the contour to add points, and drag to adjust the contour. Or enter values for
Input and Output.
4. To create a sharp corner instead of a smooth curve, select a point and click Corner.
5. To save the contour to a file, click Save and name the contour.
6. To store a contour as a preset, choose New.
7. Click OK. New contours are added at the bottom of the pop-up panel.

Load a Contour:
z Click the contour in the Layer Style dialog box, and in the Contour Editor dialog box,
and then choose Load. Go to the folder containing the contour library you want to
load and click Open.

Delete a Contour:
z Click the inverted arrow next to the currently selected contour to view the pop-up
panel. Press Alt (Windows) or Option (Mac OS), and click the contour you want to
delete.

Set a Global Lighting Angle for all Layers:

Using global light gives the appearance of a common light source shining on the image.
Do one of the following:
1. Choose Layer > Layer Style > Global Light. In the Global Light dialog box, enter a
value or drag the angle radius to set the angle and altitude, and click OK.
2. In the Layer Style dialog box for Drop Shadow, Inner Shadow, or Bevel, select Use
Global Light. For Angle, enter a value or drag the radius, and click OK.
The global lighting applies to each layer effect that uses the global lighting angle.

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Display or Hide Layer Styles:

Notes When a layer has a style, an “fx” icon appears to the right of the layer’s name in the
Layers panel.

Hide or show all layer styles in an image:

z Choose Layer > Layer Style > Hide All Effects or Show All Effects.

Expand or collapse layer styles in the Layers panel:

Do one of the following:
1. Click the triangle next to the Add A Layer Style icon to expand the list of layer
effects applied to that layer.
2. Click the triangle to collapse the layer effects.
3. To expand or collapse all of the layer styles applied within a group, hold down Alt
(Windows) or Option (Mac OS), and click the triangle or inverted triangle for the
group. The layer styles applied to all layers within the group expand or collapse
correspondingly.

Copy Layer Styles

Copying and pasting styles is an easy way to apply the same effects to multiple layers.

Copy layer styles between layers:

1. From the Layers panel, select the layer containing the style you want to copy.
2. Choose Layer > Layer Style > Copy Layer Style.
3. Select the destination layer from the panel, and choose Layer > Layer Style > Paste
Layer Style.
The pasted layer style replaces the existing layer style on the destination layer or
layers.

Copy layer styles between layers by dragging:

Do one of the following:
1. In the Layers panel, Alt-drag (Windows) or Option-drag (Mac OS) a single layer
effect from one layer to another to duplicate the layer effect, or drag the Effects bar
from one layer to another to duplicate the layer style.
2. Drag one or more layer effects from the Layers panel to the image to apply the
resulting layer style to the highest layer in the Layers panel that contains pixels at
the drop point.

Scale a Layer Effect

A layer style may have been fine-tuned for a target resolution and features of a given
size. Using Scale Effects allows you to scale the effects in the layer style without scaling
the object to which the layer style is applied.
1. Select the layer in the Layers panel.
2. Choose Layer > Layer Style > Scale Effects.
3. Enter a percentage or drag the slider.
4. Select Preview to preview the changes in the image.
5. Click OK.

Remove Layer Effects

You can remove an individual effect from a style applied to a layer, or remove the entire
style from the layer.

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Remove an effect from a style:
1. In the Layers panel, expand the layer style to see its effects.
Notes
2. Drag the effect to the Delete icon .

Remove a style from a layer:

1. In the Layers panel, select the layer containing the style you want to remove.
2. Do one of the following:
™ In the Layers panel, drag the Effects bar to the Delete icon .
™ Choose Layer > Layer Style > Clear Layer Style.
™ Select the layer, and then click the Clear Style button at the bottom of the
Styles panel.

Convert a Layer Style to Image Layers

To customize or fine-tune the appearance of layer styles, you can convert the layer
styles to regular image layers. After you convert a layer style to image layers, you can
enhance the result by painting or applying commands and filters. However, you can no
longer edit the layer style on the original layer, and the layer style no longer updates as
you change the original image layer.
Note: The layers produced by this process may not result in artwork that exactly
matches the version using layer styles. You may see an alert when you create the new
layers.
1. In the Layers panel, select the layer containing the layer style that you want to
convert.
2. Choose Layer > Layer Style > Create Layers.
You can now modify and restack the new layers in the same way as regular layers.
Some effects—for example, Inner Glow—convert to layers within a clipping mask.

Create and Manage Preset Styles

You can create a custom style and save it as a preset, which is then available from the
Styles panel. You can save preset styles in a library and load or remove them from the
Styles panel as you need them.

Create a new preset style:

1. From the Layers panel, select the layer containing the style that you want to save
as a preset.
2. Do one of the following:
™ Click an empty area of the Styles panel.
™ Click the Create New Style button at the bottom of the Styles panel.
™ Choose New Style from the Styles panel menu.
™ Choose Layer > Layer Style > Blending Options, and click New Style in the
Layer Style dialog box.
3. Enter a name for the preset style, set style options, and click OK.

Rename a preset style:

Do one of the following:
1. Double-click a style in the Styles panel. If the Styles panel is set to display styles as
thumbnails, enter a new name in the dialog box and click OK. Otherwise, type a
new name directly in the Styles panel and press Enter (Windows) or Return
(Mac OS).

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2. Select a style in the Styles area of the Layer Style dialog box. Then choose
Rename Style from the pop-up menu, enter a new name, and click OK.
Notes 3. When using a shape or Pen tool, select a style from the Style pop-up panel in the
options bar. Then choose Rename Style from the pop-up panel menu.

Delete a Preset Style:

Do one of the following:
1. Drag a style to the Delete icon at the bottom of the Styles panel.
2. Press Alt (Windows) or Option (Mac OS), and click the layer style in the Styles
panel.
3. Select a style in the Styles area of the Layer Style dialog box. Then choose Delete
Style from the pop-up menu.
4. When using a shape or Pen tool, select a style from the Layer Style pop-up panel in
the options bar. Then choose Delete Style from the pop-up panel menu.

Save a set of preset styles as a library:

1. Do one of the following:
™ Choose Save Styles from the Styles panel menu.
™ Select Styles on the left side of the Layer Style dialog box. Then choose Save
Styles from the pop-up menu.
™ When using a shape or Pen tool, click the layer style thumbnail in the options
bar. Then choose Save Styles from the pop-up panel menu.
2. Choose a location for the style library, enter a file name, and click Save.
You can save the library anywhere. However, if you place the library file in the
Presets/Styles folder inside the default presets location, the library name will appear
at the bottom of the Styles panel menu when you restart the application.
Note: You can also use the Preset Manager to rename, delete, and save libraries of
preset styles.

Load a library of preset styles:

1. Click the triangle in the Styles panel, Layer Style dialog box, or Layer Style pop-up
panel in the options bar.
2. Do one of the following:
™ Choose Load Styles to add a library to the current list. Then select the library
file you want to use, and click Load.
™ Choose Replace Styles to replace the current list with a different library. Then
select the library file you want to use, and click Load.
™ Choose a library file (displayed at the bottom of the panel menu). Then click OK
to replace the current list, or click Append to append the current list.
3. To return to the default library of preset styles, choose Reset Styles. You can either
replace the current list or append the default library to the current list.

8.9 Applying Filters

Any filter applied to a Smart Object is a Smart Filter. Smart Filters appear in the Layers
panel below the Smart Object layer to which they are applied. Because you can adjust,
remove, or hide Smart Filters, they are nondestructive.
You can apply any Photoshop filter (that has been enabled to work with Smart
Filters)—except for Extract, Liquify, Pattern Maker, and Vanishing Point—as a Smart
Filter. In addition, you can apply Shadow/Highlight as Smart Filters.

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To work with Smart Filters, select a Smart Object layer, choose a filter, and then set
filter options. After you apply a Smart Filter, you can adjust, reorder, or delete it.
Notes
To expand or collapse the view of Smart Filters, click the triangle next to the Smart
Filter icon, displayed to the right of the Smart Object layer in the Layers panel. (This
technique also shows or hides Layer Style.) Or, choose Layers panel Options from the
Layers panel menu, then select Expand New Effects in the dialog box.
Use filter masks to selectively mask Smart Filter effects.
Apply a Smart Filter
Do one of the following:
1. To apply a Smart Filter to an entire Smart Object layer, select the layer in the
Layers panel.
2. To constrain the effects of the Smart Filter to a selected area of a Smart Object
layer, make a selection.
3. To apply a Smart Filter to a regular layer, select the layer, and choose Filter >
Convert For Smart Filters, and click OK.

Choose a filter
Do one of the following:
1. Choose a filter from the Filter menu. You can choose any filter, including third-party
filters that support Smart Filters, except Extract, Liquify, Pattern Maker, and
Vanishing Point.
2. Choose Image > Adjustments > Shadows/Highlight.
Note: If you apply one or more filters using the Filter Gallery, they appear as a
group in the Layers panel named “Filter Gallery.” You can edit individual filters by
double-clicking a Filter Gallery entry.
3. Set filter options and click OK.
The Smart Filter appears under the Smart Filters line in the Layers panel beneath
the Smart Object layer. If you see a warning icon next to a Smart Filter in the Layers
panel, the filter doesn’t support the image’s color mode or depth.
After you apply a Smart Filter, you can drag it (or an entire group of Smart Filters)
onto another Smart Object layer in the Layers panel; press Alt-drag (Windows) or
Option-drag (Mac OS) Smart Filters. You can’t drag Smart Filters onto regular
layers.

Edit a Smart Filter

If a Smart Filter contains editable settings, you can edit it at any time. You can also edit
blending options for Smart Filters.
Note: When you edit a Smart Filter, you can’t preview filters stacked above it. After
you finish editing the Smart Filter, Photoshop again displays the filters stacked above it.

Edit Smart Filter settings

1. Double-click the Smart Filter in the Layers panel.
2. Set filter options, and click OK.

Edit Smart Filter blending options

Editing Smart Filter blending options is similar to using the Fade command when
applying a filter to a traditional layer.
1. Double-click the Edit Blending Options icon next to the Filter in the Layers panel.
2. Set blending options, and click OK.

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Hide Smart Filters

Notes Do one of the following:

1. To hide a single Smart Filter, click the eye icon next to the Smart Filter in the
Layers panel. To show the Smart Filter, click in the column again.
2. To hide all Smart Filters applied to a Smart Object layer, click the eye icon next
to the Smart Filters line in the Layers panel. To show the Smart Filters, click in the
column again.

Reorder, Duplicate, or Delete Smart Filters

You can reorder Smart Filters in the Layers panel, duplicate them, or delete Smart
Filters if you no longer want to apply them to a Smart Object.

Reorder Smart Filters:

z In the Layers panel, drag a Smart Filter up or down in the list. (Double-click Filter
Gallery to reorder any gallery filters.)
Photoshop applies Smart Filters from the bottom up.

Duplicate Smart Filters:

z In the Layers panel, Alt-drag (Windows) or Option-drag (Mac OS) the Smart Filter
from one Smart Object to another, or to a new location in the Smart Filters list.
Note: To duplicate all Smart Filters, Alt-drag (Windows) or Option-drag (Mac OS)
the Smart Filters icon that appears next to the Smart Object layer.

Delete Smart Filters:

1. To delete an individual Smart Filter, drag it to the Delete icon at the bottom of the
Layers panel.
2. To delete all Smart Filters applied to a Smart Object layer, select the Smart Object
layer and choose Layer > Smart Filter > Clear Smart Filters.

Mask Smart Filters

When you apply a Smart Filter to a Smart Object, Photoshop displays an empty (white)
mask thumbnail on the Smart Filters line in the Layers panel under the Smart Object. By
default, this mask shows the entire filter effect. (If you made a selection before applying
the Smart Filter, Photoshop displays the appropriate mask instead of an empty mask on
the Smart Filters line in the Layers panel.)
Use filter masks to selectively mask Smart Filters. When you mask Smart Filters,
the masking applies to all Smart Filters—you can’t mask individual Smart Filters.
Filter masks work much like layer masks, and you can use many of the same
techniques with them. Like layer masks, filter masks are stored as alpha channels in the
Channels panel, and you can load their boundaries as a selection.
Like layer masks, you can paint on a filter mask. Areas of the filter that you paint in
black are hidden; areas you paint in white are visible; and areas you paint in shades of
gray appear in various levels of transparency.
Use the controls in the Masks panel to change the filter mask density, add
feathering to the edges of the mask, or invert the mask.
Note: By default, layer masks are linked to regular layers or Smart Object layers.
When you move the layer mask or the layer using the Move tool, they move as a unit.

Mask Smart Filter effects

1. Click the filter mask thumbnail in the Layers panel to make it active.
A border appears around the mask thumbnail.
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2. Select any of the editing or painting tools.
3. Do one of the following:
Notes
™ To hide portions of the filter, paint the mask with black.
™ To show portions of the filter, paint the mask with white.
™ To make the filter partially visible, paint the mask with gray.
You can also apply image adjustments and filters to filter masks.

Change filter mask opacity or feather mask edges:

1. Click the filter mask thumbnail or select the Smart Object layer in the Layers panel,
and then click the Filter Mask button in the Masks panel.
2. In the Masks panel, drag the Density slider to adjust the mask opacity, and the
Feathering slider to apply feathering to the mask edges.
Note: The Mask Edge option is not available for filter masks.

Invert a filter mask:

z Click the filter mask thumbnail in the Layers panel, then click Invert in the Masks
panel.

Display only the filter mask:

z Alt-click (Windows) or Option-click (Mac OS) the filter mask thumbnail in the Layers
panel. To show the Smart Object layer, Alt-click or Option-click the filter mask
thumbnail again.

Move or copy filter masks:

1. To move the mask to another Smart Filter Effect, drag the mask to the other Smart
Filter Effect.
2. To copy the mask, Alt-drag (Windows) or Option-drag (Mac OS) the mask to
another Smart Filter Effect.

Disable a filter mask:

Do one of the following:
1. Shift-click the filter mask thumbnail in the Layers panel.
2. Click the filter mask thumbnail in the Layers panel, then click the Disable/Enable
Mask button in the Masks panel.
3. Choose Layer > Smart Filter > Disable Filter Mask.
A red X appears over the filter mask thumbnail when the mask is disabled, and the
Smart Filter appears without masking. To re-enable the mask, Shift-click the Smart
Filter mask thumbnail again.

Delete a Smart Filter mask:

1. Click the filter mask thumbnail in the Layers panel, then click the Delete icon in
the Masks panel.
2. Drag the filter mask thumbnail in the Layers panel to the Delete icon.
3. Select the Smart Filter Effect, and choose Layer > Smart Filters > Delete Filter
Mask.

Add a filter mask:

If you delete a filter mask, you can subsequently add another mask.
1. To add an empty mask, select the Smart Object layer, and then click the Filter Mask
button in the Masks panel.

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2. To add a mask based on a selection, make a selection, and then right-click

(Windows) or Control-click (Mac OS) the Smart Filters line in the Layers panel, and
Notes choose Add Filter Mask.

8.10 Preparing Graphics for the Web

Saving Optimized Images
When you’ve applied a combination of settings that achieve a balance between quality
and file size, you’re ready to save the optimized image.
To save an optimized image
1. Select the view with the desired optimization settings, and do one of the following:
™ (Photoshop) Click Save in the Save For Web dialog box.
™ (Image Ready) Choose File > Save Optimized to save the file in its current
state. If you previously saved the optimized file using the File > Save Optimized
command, applying the command again saves the file with the filename and
Save options specified in the first save operation. The Save dialog box does not
appear.
™ (Image Ready) Choose File > Save Optimized As to save an alternate version
of the file with a different filename.
2. Type a filename, and choose a location for the resulting file or files.
3. Choose a Format option:
™ HTML and Images to generate all files required to use your artwork as a Web
page. This includes an HTML file and separate image files for the slices in the
artwork.
™ Images only to save your artwork with the specified optimization settings. If the
artwork contains multiple slices, each slice is saved as a separate file.
™ HTML Only to generate an HTML file but not save any image files.
4. To set preferences for saving image files and HTML files, choose predefined output
options from the Settings pop-up menu, or choose Other to set different options.
5. Choose an option for slices from the pop-up menu:
™ All Slices to save all slices in the image.
™ Selected Slices to save only the selected slices.
If you select this option in conjunction with the HTML and Images option, Image
Ready or Photoshop generates the HTML code based on the outermost bounds of
the selected slices, and generates auto-slices as needed to create a complete
HTML table.
6. Click Save.

8.11 Summary
Photoshop is considered by many to be a benchmark in the world of professional digital
image solutions. The real power of Photoshop is in working with existing images.
Typical tasks include treating and manipulation, compositing, converting to different
formats, printing, etc. Photoshop is very strong in the world of printed media and is
popular with newspapers and other publishers. Photoshop tends to work well with other
applications. As well as integrating seamlessly with other Adobe products (such as
Premiere, Illustrator, etc), Photoshop formats are also widely recognized and able to be
imported into programs such as Macromedia Fireworks, Corel Draw, etc.

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