© 2007 Barbara Heiman, Corrine Haverinen, and Donald Laird. Printing more than one copy, file duplication, or Internet publishing without prior written permission from the authors is prohibited. Page 8

In this tutorial you will explore the Photoshop CS3 workspace, customize it to serve your needs, and use Photoshop to modify a photograph taken with a digital camera. The tutorial is broken up into step-by-step Guided Exercises interspersed with explanatory sections. As you work through this introductory tutorial, remember that Photoshop is a very complicated application, and it is learned best through repetition. The concepts and skills you learn here will be reinforced and expanded as you proceed through the tutorial series. Don’t expect to master everything the first time through!!!

ObjectivesIdentify the major regions of the Photoshop workspace and explain the function of each: ■Menu bar and context menus, Options bar, Toolbox, palettes, and document window(s).

Use the Workspace menu to change and use built-in workspaces. ■

Explore Photoshop Help, and use it to find out more about the tools in the Toolbox. ■

Manipulate and customize palettes. ■

Open and navigate a Photoshop document with menu commands, the Zoom and Hand tools, and the ■Navigator palette.

Create a layered Photoshop document from a starting image (provided). ■

Use Undo commands and the History palette to reverse document changes. ■

Print a Photoshop document by configuring the Photoshop Print dialog box. ■

Save a copy of the print-quality document for fast online transmission. ■

The Photoshop WorkspaceA WOrkSPACE consists of the palettes, menus, and keyboard shortcuts you use with Photoshop.

Guided Exercise 1.1: Navigate the Photoshop WorkspaceOpen Photoshop.1.

Windows

To launch Photoshop, choose a. Start > All Programs > Adobe Photoshop CS3.

To launch Bridge, choose b. Start > All Programs > Adobe Bridge CS3.

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If you have installed Photoshop as part of the Creative Suite, you may have one more submenu to wade through.

If you are working in a lab computer, there may be shortcuts on the Desktop or the Taskbar for you.

Macintosh

Locate the Adobe Photoshop CS3 application icon. By default it is inside the Adobe Photoshop a. CS3 folder inside the Applications folder on your startup hard drive.

Double-click the Photoshop CS3 application icon to open Photoshop.b.

Press the Photoshop icon in the Dock to reveal the Dock menu and choose c. Keep in Dock.

Now, even when you quit Photoshop, its icon will remain in the Dock. Just click the Dock icon to open Photoshop.

If desired, follow the same procedure to keep Bridge in your dock as well.d.

Open an image of your choice. 2. Here we are using harb17.jpg from Graphic Authority’s Harbor Scenes collection.

Locate the major landmarks that comprise the Photoshop workspace.3.

The • Menu bar at the top of the application provides a series of menus, each of which is an orga-nized list of Photoshop commands.

The • Toolbox on the left edge of the workspace contains the tools that you use to create and edit Photoshop images.

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The context-sensitive • Options bar just below the Menu bar provides different options for different tools.

Palettes• are groupings that appear by default along the right edge of the workspace.

Each open Photoshop document is contained in a • document window, with its own special land-marks.

This workspace is customizable. Change the workspace.4.

On the right side of the Options bar, locate the Workspace menu (your menu a. items might be different from the menu shown here).

Click its triangle to reveal the menu items, and choose b. Default Workspace from the drop-down list. This command will arrange your workspace like the one shown on the previous page. (There will be no change if you are already using the Default workspace.)

Choose c. Basic from the drop-down list. You will probably see a warning box to alert you that your chosen workspace will modify not only what and where things appear on screen, but it will also change menu items and keyboard shortcuts.

If you don’t want to be warned each time you change a workspace, click the Don’t Show Again box before clicking Yes.

The Basic workspace simplifies things for beginners. Look at the Image menu. This menu contains only a few items, with the last one being Show All Menu Items.

Click d. Show All Menu Items to temporarily reveal those that the Basic work-space has hidden.

Choose the e. What’s New in CS3 workspace and look at the Layer menu. Some of the menu items are highlighted to let you know they have been introduced in or improved for Photoshop CS3.

Experiment with some of the other Preset task-oriented workspaces. f.

return to the g. Default Workspace before continuing this tutorial.

Use the 5. Toolbox, sometimes called the Tools palette. Each tool is contained in a box. To choose a tool, you click its box.

By default, the Toolbox is one long skinny column. Click the double triangle a. at the top of the Toolbox to toggle it to two columns.

Use the b. Change Screen Mode button at the bottom of the Toolbox. Each time you click the button, it changes to the next mode down the list, and finally back to the top. The flyout menu in the lower right corner of the button identifies the cur-rent screen mode, and lets you choose another.

Maximized is a new screen view, which fills the document

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window with a gray pasteboard, and enlarges the document to the maximum possible size, up to 100%, without being covered by any palettes.

Maximized Screen Mode is very useful when working on an individual document, but with some operating systems it hides the docu-ment’s title bar. Be sure to learn or remember the keystrokes for saving the active document (command + S Mac, ctrl + S Win) and for closing the active document (command + W Mac, ctrl + W Win).

Without clicking, point the mouse to the tool with a hand on it to show its c. TOOL TIP. Each tool tip displays both the name of the tool and its kEYBOArD SHOrTCUT, the key you can type from the keyboard to choose that tool. Notice that the Hand tool, shown here, is in color to indicate that its tool tip is the one you see.

Tools that contain a little triangle in their lower right corner hide other tools. Click and hold the d. mouse button down on the Brush tool to reveal the menu of tools organized in that location. By default, the Pencil and the Color Replacement tools hide under the Brush tool.

Drag down the list to highlight the e. Pencil tool and release the mouse button. Now the Pencil tool shows in the Toolbox, with the others hidden beneath it.

Click and hold the f. Pencil tool and choose the Brush tool from the tool menu. Since you will use the Brush tool more than the Pencil tool, keep the Brush tool visible.

Examine the 6. Title bar at the top of the document window.

Identify the operating system-specific window controls for your operating system. The Mac con-a. trols are on the left side of the Title bar; the Windows controls are on the right side.

Macintosh

Windows

close • minimize • maximize minimize • restore/maximize • close

If your document window is small, and Photoshop cannot display all its pertinent information, it b. places an ellipsis (…) on the right side of the title to indicate that some information is hidden. If necessary, enlarge the document window until you can see the entire title.

In addition to the window controls, locate the following Title bar information, from left to right:c.

The name of the file, • harb17.jpg here.

The zoom or magnification level, • @ 12.5% here, indicates that only 1/64 of the pixels are showing, to reveal the entire document in the document window without scrolling.

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The image mode,• RGB/8# in this document, indicates that this is an image that uses the rGB image mode, with 8 bits to each color channel.

If a document has more than one layer, and a layer other than the background is active, its •name will also show at the end of the title bar. Here, Curves 1 is the active layer, and within that layer, its Layer Mask is active.

Examine the7. Status bar at the bottom of the document window or at the bottom of the application window in Maximized Screen Mode. Like the Title bar, the Status bar window can only display all its information when the window is of adequate size. From left to right, here is what you will see:

Zoom level, a. 12.5% here. To change the zoom level, highlight the number, type in a new zoom percentage like 50%, and press Enter or return.

Status bar information, here Doc b. 48.2 M/48.2 M. This status bar is set to show Document Sizes.

Click the triangle to the right of the Status bar information to choose a c. different informational category from the Status bar menu.

Measurement Scale will only appear in Photoshop Extended, not Photoshop Standard.

End up with d. Document Sizes showing (checked).

Photoshop HelpPhotoshop is a tremendously complex application, and it is difficult even for Photoshop “experts” to remember all the details. With Photoshop CS3, Adobe has put forth a huge effort to improve its support. Help is only a menu away. Let’s look at some of the available resources.

Guided Exercise 1.2: Use Photoshop HelpChoose 1. Help > Photoshop Help to see the Adobe Help Viewer.

The organization of the Adobe Help Viewer makes it very easy to use. It is divided into two panes with Browse and Search boxes across the top. There is even a handy little print button at the top of the Content pane to quickly print out a topic of special interest. The left pane provides or-ganization and navigation, and the right one displays the topic content.

The organizational pane can either be viewed by Contents, as shown at the top of the next page, or as an alphabetical Index.

Click 2. Adobe Help in the right Content pane to learn more about getting help.

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If a topic spreads out over more than one page, you can use the arrow buttons to move forwards and backwards in the article.

Some topics, like Adobe Help, have additional topics online at the Help Resource Center. There you can find not only additional information about your chosen topic, but training videos, and other resources.

Click the plus box to the left of 3. Workspace in the organizational pane to expand it to see more workspace topics. The plus changes to a minus, to show it is expanded. (Clicking the box again collapses it.)

Click the 4. Tools subtopic to expand its contents. Each of these items are actual Help topics.

Click5. About tools to read more about tools. The View full size graphic link displays a very useful Toolbox overview, showing how the tools are grouped by function, with the names and keyboard shortcuts for each tool.

Click the 6. Print button to print the Toolbox overview for future reference. Then click the Back link at the top of the Toolbox overview to return to the About Tools topic.

With About Tools expanded, choose the 7. Selection Tools Gallery from the topic pane, and look at full-color examples of how each selection tool works. Then continue down the tools gallery to see them all. You may wish to maximize the Help window as you do so, to see these visual examples without having to scroll.

Sometimes you don’t know where to find what you are looking for, or don’t want to waste time drilling down the content topics. In either case, you can either use the alphabetical index, or type a word or two of your question or topic into the search box at the top of the Adobe Help Viewer. If you have more than one CS3 application, you can specify which application to examine in the Browse box.

When you are done, you can either close the Adobe Help Viewer, or minimize it for quick reference as 8. you continue to work.

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Palette Manipulation & CustomizationPhotoshop CS3 Standard has twenty palettes, with the addition of the Measurement Log palette in Photoshop CS3 Extended. Since you don’t typically work with all these pal-ettes at once and since they would cover the entire screen if they were all visible and active at once, palettes are grouped in docks, or accessible from the Options bar, depending on how a particular palette is used.

Each DOCk contains a column of grouped or clustered palettes. For example, the Navigator palette, on top, is grouped with the Histogram and Info palettes.

To view a different palette in the group, click its tab at the top of the palette.

All the palettes are listed alphabetically under the Window menu. Checkmarks indi-cate those palettes that are at the front of their palette groups, such as the Navigator and Layers palettes in the Default Workspace. The Window menu also lists keyboard shortcuts for the most commonly used palettes, such as F7 to open the Layers palette. You can assign your own keystrokes for other palettes if desired. Consult Photoshop Help to learn how to do this.

You have already seen how the Workspace menu lets you choose from premade work-spaces. Now let’s view and use the docks and individual palettes, beginning with the Default Workspace and its two palette docks, the right one expanded and the left one collapsed to icons.

When expanded, palettes can be shrunk or expanded both horizontally or vertically, but the dock itself al-ways remains in position, either anchored to the edge of the screen or to its neighboring dock.

Dock ManipulationThe top of each dock has double arrows to collapse or expand all its palettes.

Click the right double arrows to collapse that dock. Collapsed, the right ■dock still shows its labels, but the left dock does not.

Shrink the right pane to hide the labels by dragging its vertical bar, or ■enlarge the left pane so that you can see its labels.

When palettes are expanded, you can change their relative lengths by dragging up or down on the border between palette groups. The pointer changes to a double-headed arrow when you are in the correct location.

Likewise, you can change the dock width from the left edge of the dock. Again, the double-headed arrow will let you know you are in the correct spot for resizing.

The tab key hides the palettes and bars, but with a nice twist—they are spring loaded to reappear as you mouse over them.

Press the ■ tab key. Notice that all the palettes including the Toolbox and the Options bar disappear, leaving more room to work on your document.

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Without pressing the mouse button, slowly move your pointer over the left edge of the screen or ap- ■plication window (Windows).

When you get close to the edge, a dark gray bar will appear to show that you are close to the Toolbox. As you drag further to the left, the Toolbox will appear so that you can pick a tool. Notice that the Op-tions bar does not appear, even if you move the pointer to the top of the screen.

Now drag right, away from the Toolbox, and watch the Toolbox hide again. ■

repeat these steps, moving the pointer to the opposite (right) side of the screen to reveal the palette ■docks, and then move left to hide them again.

Press the ■ tab key again to reveal all the palettes and bars.

Shift + tab toggles to hide and reveal only the right palette docks, but not the Options bar and Toolbox. With the narrow one-column Toolbox, and the Options bar always visible, but the palettes hidden, you can see the controls you use most often, keep most of the workspace available for document editing, and quickly reveal the palettes when you need them.

Palette ControlsIndividual palettes can be grouped, rearranged, reduced to icons, floated, closed, and reopened. Each palette group has controls in its upper right corner. These controls are small and very close to one another, so it is (too) easy to click the wrong one. Practice using each of them.

Minimize and Restore

Click the ■ minimize button in the Color/Swatches/Styles group. The palette group shrinks to just its top tabs, dramatically reducing its size and changes the minimize button to the restore button.

Click the restore button to expand the palette group. ■

Close and Reopen

Click the close box in the ■ Navigator palette group to hide the entire group.

Choose ■ Window > Navigator to reopen the palette group, with the Navigator on top.

Palette Menus

Each palette has a menu of commands that pertain to that particular palette. Some-times these commands are found elsewhere as well, and at other times they are restricted to the palette menu. Here is the Color palette menu, which can modify the Color palette’s appearance.

Palette Manipulation

There are many ways in which you can change the appearance and location of indi-vidual palettes in the docks.

Expand and Collapse an Individual Palette

The top palette in the left pane is the History palette, grouped with the Actions palette beneath it. By default,

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both of these palettes are reduced to buttons.

Click the ■ History palette icon to expand it, and click again to collapse it.

Be careful not to click the ■ X in the History tab itself, or you will close the palette instead of col-lapsing it.

Free-float a Palette

Sometimes you want to move a palette out of its dock, to float freely on top of the document window. To do this, drag the palette by the light gray bar at the top of the palette.

Drag the ■ Toolbox out of its dock.

Drag it back when you are done. The ■ Toolbox will be very light (ghosted) and first the gray dock and then a vertical blue line will appear as you approach the correct location.

Relocate a Palette Group

Palette groups, whether collapsed or expanded, have a light gray bar at the top of each group. Its coloring is very subtle.

Drag the ■ History/Actions group by the bar to the left, without releas-ing the mouse button. Notice that the palettes are ghosted (very pale).

Without releasing the mouse button, drag the ■ History/Actions group between the Navigator/Histogram/Info group and the Color/Swatches/Styles group. When you are the correct location, a horizontal blue line will appear.

release the mouse button to insert the ■ History/Actions palette be-tween the other two palettes.

Relocate an Individual Palette

If you don’t like the group a palette has been placed into in one of the preset workspaces, you can drag any palette by its button (collapsed) or its tab (expanded) into a different group.

Drag the ■ History palette into the Layers/Channels/Paths group.

If you don’t like the new location, choose ■ Workspace > Default Workspace to quickly put the History palette back to its origi-nal position.

Document NavigationChanging the viewing size, or ZOOM LEVEL, does not change the dimensions or print size of an image—it just changes its screen display. The viewing size of a document appears in the navigator palette and in the lower left corner of the document window on a Mac, or in the lower border of the application window in Windows.

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Guided Exercise 1.3: Open and navi-gate a file with menu commands

Choose 1. File > Open to see the Open dialog box.

Navigate to the folder called 2. student_files_01 on your Tutorials disc. It contains a group of subfolders, one for each individual tutorial.

Open the tutorial_01 folder. 3.

Click4. the file named pumpkin.psd to select it. Notice that the bottom of the open dialog box displays its file type or (FILE) FOr-MAT, Photoshop, and its file size, 12.3 MB. This large file, taken with a digital camera, has enough pixels for a high-quality printout on an ink jet printer. PSD stands for Photoshop Document.

Click 5. Open to open pumpkin.psd inside a document window in Photoshop.

Determine the view magnification. The top of the document window, called the 6. Title Bar, shows both the name of the document, and its VIEW MAGNIFICATION as a percentage value, as well as some other information about the document.

Large documents such as this one have too many pixels to show up in your monitor, so Photoshop hides some of the pixels so that you can “see” the entire image.

Here, the view magnification is 33%. That means that along each row of pixels in the document, Photoshop shows the first pixel and hides the next two, then shows the fourth pixel, and hides the next two, etc. Depending on the size of your monitor, and its monitor resolution, your pumpkin.psd document window may be bigger or smaller than the one shown here, so you may see a different view percentage.

Look at the 7. Status Bar. In Windows, it is at the bottom of the application window; on the Mac it is at the bottom of the document window.

The Status Bar also shows the view magni-fication, as well as other information about the document. Here it shows the document size, 12.4 MB.

Choose 8. View > Zoom In.

Notice that the pumpkin gets larger, but you can no longer see the entire image within the document window. Scroll bars appear on the sides of the document window to let you view the hidden parts of the document. The view magnification also changes, probably to 50%, meaning that of the part of the image that is in the window, Photoshop displays 1/4 of the pixels, every other one both horizontally and vertically, and hides the others.

Choose View > Actual Pixels. 9. This command displays your document in 100% zoom. At 100% magnification, you can see every pixel in the part of the document that shows in the document window; no pixels are hidden.

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Experiment with the other view menu commands shown here. 10.

Fit on Screen expands the document window to as large as can be shown on screen without being covered by palettes.

Print Size shows the image in the approximate size it will print. It is not very ac-curate.

Zoom In and Zoom Out let you increase and decrease magnification in set incre-ments.

Guided Exercise 1.4: Use the Zoom Tool with OptionsClick the Zoom tool,1. which looks like a magnifying glass. Each time you click the Zoom tool, it is the same as choosing View > Zoom In.

Locate the 2. Options Bar, just below the Menu Bar at the top of the Photoshop window.

The Options Bar organizes the settings you can choose for each tool in the toolbox. Each tool has its own set of option choices.

The far-left part of the Options Bar always shows the ACTIVE, or currently-chosen, tool.

To its right are two buttons that allow you to either zoom in (plus sign cursor) or zoom out (minus sign cursor) when you use the Zoom tool.

Click the check box to the left of 3. Resize Windows to Fit and then zoom in and out several times with the Zoom tool.

Notice what happens to your document window.

When resize Windows to Fit is checked, the Document window will expand or contract as you zoom in or out.

When resize Window to Fit is not checked, the document window remains a constant size.

In turn, click4. the Actual Pixels, Fit Screen, and Print Size buttons. They function the same as the View Menu commands you have already used.

Choose the Hand 5. tool. Notice that its Options bar also provides these three buttons.

Guided Exercise 1.5: Use the Navigator Pal-ette

Locate the 1. NAVIGATOr PALETTE. By default, it is in the top palette group. The Navigator Palette always contains a small preview image, or THUMBNAIL, of the active document.

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Notice that the Navigator Palette has a red box outlining only a small part of the pumpkin image. This red box, called the PrOxY, represents the part of the image that is currently visible within the document window.

The Navigator palette shows the zoom percentage in its lower left corner.

Drag the vertical scroll bar up so that you can see the top of the image. Notice that the Navigator’s 2. proxy moves as you drag.

Drag the horizontal scroll bar to the right so you can see the upper right corner of the image. Now the 3. proxy should be in the upper right corner of the Navigator preview.

Choose the 4. Hand tool and drag it around in the document. This is called PANNING.

You can navigate much more quickly with the Hand tool than the scroll bars because you can drag diagonally instead of just horizontally or vertically. Again, the Navigator Palette’s proxy shows your loca-tion in the document window.

Move the mouse pointer on top of the proxy in the Navigator Palette. Notice that it changes to look 5. like the Hand tool.

Drag 6. to change the proxy location on the Navigator thumbnail, and concurrently to change the part of the document you see in the document window.

Choose View > Zoom Out7. .

An image’s view magnification is sometimes called its ZOOM. When you zoom out, you see a larger portion of the image in the document window, but Photoshop may need to hide some pixels

Click the 8. Zoom Out button on the Navigator palette to make the zoom percentage decrease.

Click the9. Zoom In button on the Navigator palette to make the zoom percentage increase.

Drag the Zoom Slider all the way to the left. 10. Notice that the document shrinks to .17% and it is virtually invisible. Zooming out this far is not very useful.

Slowly drag the Zoom Slider all the way to the right. 11. As you drag, the zoom increases slowly. Typi-cally, you will drag the Zoom Slider slowly to dynamically find the zoom percentage you need for the task at hand.

When you reach the right end of the Zoom Slider, you will have magnified the document to 3200%. Now you can see the individual pixels that make up the document, but you see such a small part of the docu-ment that you may not be able to find the proxy in the Navigator thumbnail. Occasionally, you may use this view to edit individual pixels in a document.

Navigation ShortcutsLearning to navigate around an image and quickly change its view size is an important skill. Become familiar with zooming and scrolling around an image. keep track of your document viewing magnification.

Practice these navigational shortcuts:

Double click the Zoom tool to change document view to Actual Pixels (100%)

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Double click the Hand tool to change document view to Fit on Screen.

Press the Space Bar (the biggest key on the keyboard) to temporarily change from any other tool to the Hand tool. Drag to pan your image. When you release the Space Bar, you will return to whatever tool you were using before you panned.

Look at the Zoom tool cursor before you click it to see if it is set to zoom in (plus) or zoom out (minus). To temporarily reverse the zoom, alt + click (Windows) or option + click (Mac).

With the Zoom tool set to zoom in, drag a rectangle around a particular part of a document to enlarge it to fill the document window.

Use Command/Ctrl + Plus to zoom in or Command/Ctrl + Minus to zoom out.

Context MenusIf you right-click (two button mouse) or ctrl +click (one button mouse) on a part of your document or workspace, its Context Menu of relevant commands will appear.

Restore tool DefaultsTo set an individual tool’s settings back to the default, control + click (one button mouse) or right-click (two button mouse) the tool icon in the upper left corner of the Options bar and choose Reset Tool from the context menu that appears.

To restore all tools to their default settings, right-click or control-click the icon of the chosen tool in the Options palette and choose Reset All Tools from the context menu that appears.

Zoom with Context MenuYou can also access context-sensitive menus of commands relevant to the current tool. If you choose the Zoom tool and then either right-click (two button mouse) or ctrl + click (one button mouse) on a part of your document or workspace, its Context Menu of relevant commands will appear. The Hand tool provides only the top three options.

Your First Photoshop ProjectA common problem with learning any new application is that, in the beginning, you look at a lot of “stuff” but don’t get to do anything fun. Since Photoshop is so much fun, we don’t want you to miss out. Here we will guide you through some exercises that let you have fun with Photoshop while you receive a very basic introduction to Photoshop painting and layer manipulation. Your goal is to experience just a little of what Photoshop can do, not to provide comprehensive coverage of each step you accomplish. As the course proceeds, we will return to each of these topics in more detail.

Guided Exercise 1.6: Begin to “Carve” a Pumpkin, Photoshop StyleOpen the 1. pumpkin.psd image if necessary.

Locate the2. Color Controls toward the bottom of the toolbox. They are the solid colored squares shown here.

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Many Photoshop tools use one or both of two user-defined colors, foreground and background. The big top left square shows the FOrEGrOUND COLOr; the big bottom right square shows the BACk-GrOUND COLOr. Painting tools such as the Brush and Pencil tools paint in the foreground color. On the background layer, the Eraser tool reveals the background color. The foreground and background colors are used together to make gradient fills, and for other special effects.

Click the Swatches Palette tab3. to bring it forward.

By default, the Swatches palette hides below the Color Palette.

Each box of color is a single-color SWATCH.

Without pressing its button, move the mouse over the green 4. swatch near the upper left corner of the Swatches Palette.

The (mouse) pointer becomes a tiny eyedropper to signify that you can choose or sample that color, and a tool tip appears to tell you the color. Here it is rGB Green.

Click that green swatch to make it the foreground color. Note the 5. change in the Color Controls on the Toolbox.

restore all tools to their default settings:6.

Control-clicka. (one button mouse) or right-click (two button mouse) the tool icon in the upper left corner of the Options bar

Chooseb. Reset All Tools from the context menu that appears.

Click c. OK from the dialog box that appears.

Choose the7. Brush tool and drag it in the center of the pumpkin to paint a short green line. Whoops! It’s too thin.

Choose 8. Edit > Undo Brush Tool to remove the green line. Whenever you Undo in Photoshop, the Undo command includes the last tool or command you used.

In the Options bar, click the Brush 9. thumbnail to display the Brush Preset Picker.

Drag the Master Diameter Slider 10. from the default 13 px (pixels) to 25 pixels.

Drag the Brush tool to paint a short green line in the center of the pumpkin. Now it’s a better 11. thickness.

Paint two more lines to make a triangle. It could be the nose of a jack-o’-lantern, but it’s too 12. big.

Attempt to erase the nose:13.

Click the Eraser tool and examine its options. a.

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Each tool has its own default settings, including brush tip size. The brush tip thumbnail shows that the Eraser tool is set by default to 13 pixels.

reapply steps 10-11 to change the Eraser brush tip size to 25 pixels.b.

Drag the Eraser across one of the green lines to erase it. Whoops, two more c. problems:

First, there are still traces of green on the edges of the white. More erasing could easily correct that problem, but, the line will still be white, not the pumpkin image you probably expected. When you paint directly on an im-age, and then use the Eraser tool, you erase to the background color (white by default) rather than restoring the original image.

keep the pumpkin image open while you read about the History Palette, and then use it to remove the 14. green triangle back to the original pumpkin.

The History PaletteWhen you need to undo just one step in Photoshop, you can choose Edit > Undo as we did earlier. Typi-cally, however, you discover a problem further down the road, like the wrong size nose on the pumpkin, and Undo only reverses the very last command or tool you used. When this happens, the Photoshop HIS-TOrY PALETTE comes to the rescue.

Every time you use a tool or command to edit your image, the History Palette adds that particular version of the image to the bottom of the palette as a HISTOrY STATE. The History Palette lets you choose one of any of these recent states to restore the image to the desired state. The History Palette records only docu-ment-specific steps that change selections, pixels, or paths—not program-wide alterations such as a prefer-ence change or a change in document view. Program-wide alterations are not changes to the components of a particular image and so are not added to the History Palette.

The History Palette is wonderful, but it has one major limitation. History states are not saved with the image; when you close an image, its History states vanish.

Guided Exercise 1.7: Use the History Palette to Undo Image ChangesLocate the History Palette. By default, it is the top button, just to the left of the Navigator palette. If the 1. History palette is contracted to its button view, click—don’t double click—its button to expand it to palette view.

Towards the top of the palette is a small thumbnail of the pumpkin image, with the history states listed beneath it. If the scroll bar on the right side of the palette is vis-ible, it indicates that there are more states than you can see in the palette.

Drag the lower corner of the palette down to make it longer and 2. to reveal all its History states, if needed.

Here you can see five states. The text information given for each state is limited to the name of the tool and its icon.

Snapshot• : The appearance of the document when first

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opened. This state shows a document thumbnail and the name of the document.

Open• : Opening the original document.

Brush Tool• : Painting the first green line.

Brush Tool• : Painting the second green line.

Brush Tool• : Painting the third green line.

Eraser• : Erasing one of the white lines. This state is highlighted to indicate that it is the state shown in the document window.

Click the 3. Brush Tool state immediately above the Eraser state.

When you click on a state, that activates it, and reveals the image in that state in the document window. The white eraser mark is now gone.

Click the 4. Open state. Now the image returns to its original state before you painted on it.

Click the 5. Eraser state. The green triangle and white eraser line return.

Click the image thumbnail at the top of the History Palette. Again the image returns to its original state 6. before painting.

The image thumbnail is called a SNAPSHOT. Each snapshot is a stored history state. right now, the pumpkin.psd and Open states are identical. By default the History Palette can only record up to twenty states. When you make the twenty-first change to a document, the first state (Open) vanishes from the top of the list to make room for the most recent change at the bottom.

Snapshots remain with the document until you close it, so Photoshop automatically makes that first snapshot for you in case you need to get back to the original image.

Choose File > Save As7. and save the document as pumpkin1.psd. If you are working directly off the tutorial disc, you will need to change your save location from the locked disc to your hard drive or a flash disk.

Choose 8. File > Close to close the pumpkin1.psd image.

Choose 9. File > Open Recent and choose pumpkin1.psd from the list of recently opened files. (In some computer labs, you will need to choose File > Open and navigate to your saved file.)

Examine the History Palette. 10.

Note that the History palette now only displays the image snapshot and the Open history state. The other history states are gone—permanently. History states are stored in rAM, and not saved to disk with a document. When you close a document, or if the computer freezes, or if you have a power failure, you lose your history states. For this reason, you should save your document frequently as you work on it. Each time you choose File > Save (Command + S on Mac, Ctrl + S on Windows), your cur-rent document state is stored on disk, and replaces the previously-saved version.

History Palette Keyboard ShortcutsEdit > Undo (Ctrl + Z or Command + Z) reverses the last change or history state that you made to the im-age. It cannot reverse more than one history state.

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Edit > Redo (Ctrl + Z or Command + Z) is available just after an Undo. It restores the image to the way it was before the Undo.

Edit > Step Backward (Ctrl + Alt + Z or Command + Option + Z) steps you back one history state each time it is used.

Edit > Step Forward (Ctrl + Shift + Z or Command + Shift + Z) steps you forward one history state at a time. It is available if you just stepped backward.

The Layered Photoshop DocumentYou have already discovered the lack of editing flexibility you had when you tried to paint directly on top of the pumpkin pixels. A Pho-toshop feature called layers greatly simplifies your image editing and also adds some fun special effects.

LAYErS isolate distinct parts of your image so that they can be individually viewed, positioned, or edited. Think of layers as a stack of clear acetate sheets containing image pixels and transparent areas. In the trans-parent areas you can see below to the layers underneath; where there is opaque imagery, you cannot.

The Layers Palette shows the hierarchical organization of a document, and it lets you change the ways that layers interact.

Guided Exercise 1.8: Use Layers to Finish “Carving” the PumpkinOpen 1. pumpkin1.psd image if necessary.

In Guided Exercise 1.7, you expanded the History palette on top of the Layers palette. Choose 2. Win-dow > Workspace > Reset Palette Locations to return your palettes to their default locations so you can see the entire Layers palette in the bottom group of Photoshop palettes.

This document has one layer, named Background. That layer shows a thumbnail of what’s on the layer. Whenever you open an image that was taken with a digital camera, it opens as the background layer.

The Layers palette has buttons along its bottom. Second from the right is the 3. New Layer button. Click it to create a new, transparent layer named by default Layer 1.

Compare Layer 1 with the Background. Notice that Layer 1 is 4. highlighted (blue here) and there is a decorative box around its thumbnail.

These are the two ways that Photoshop indicates in the Layers palette that Layer 1 is the ACTIVE LAYEr, the one that you can paint on.

Each document can have only one active layer at a time.

Click the 5. eye symbol to the left of the Background thumbnail. This turns off the visibility of the Background so you can see Layer 1 all by itself.

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Edit > Redo (Ctrl + Z or Command + Z) is available just after an Undo. It restores the image to the way it was before the Undo.

Edit > Step Backward (Ctrl + Alt + Z or Command + Option + Z) steps you back one history state each time it is used.

Edit > Step Forward (Ctrl + Shift + Z or Command + Shift + Z) steps you forward one history state at a time. It is available if you just stepped backward.

The Layered Photoshop DocumentYou have already discovered the lack of editing flexibility you had when you tried to paint directly on top of the pumpkin pixels. A Pho-toshop feature called layers greatly simplifies your image editing and also adds some fun special effects.

LAYErS isolate distinct parts of your image so that they can be individually viewed, positioned, or edited. Think of layers as a stack of clear acetate sheets containing image pixels and transparent areas. In the trans-parent areas you can see below to the layers underneath; where there is opaque imagery, you cannot.

The Layers Palette shows the hierarchical organization of a document, and it lets you change the ways that layers interact.

Guided Exercise 1.8: Use Layers to Finish “Carving” the PumpkinOpen 1. pumpkin1.psd image if necessary.

In Guided Exercise 1.7, you expanded the History palette on top of the Layers palette. Choose 2. Win-dow > Workspace > Reset Palette Locations to return your palettes to their default locations so you can see the entire Layers palette in the bottom group of Photoshop palettes.

This document has one layer, named Background. That layer shows a thumbnail of what’s on the layer. Whenever you open an image that was taken with a digital camera, it opens as the background layer.

The Layers palette has buttons along its bottom. Second from the right is the 3. New Layer button. Click it to create a new, transparent layer named by default Layer 1.

Compare Layer 1 with the Background. Notice that Layer 1 is 4. highlighted (blue here) and there is a decorative box around its thumbnail.

These are the two ways that Photoshop indicates in the Layers palette that Layer 1 is the ACTIVE LAYEr, the one that you can paint on.

Each document can have only one active layer at a time.

Click the 5. eye symbol to the left of the Background thumbnail. This turns off the visibility of the Background so you can see Layer 1 all by itself.

Photoshop represents transparency in a layer by a gray checkerboard.

Click the Background eye again to make both layers visible.6.

Click the 7. Default Foreground and Background Button, the little black and white boxes in the toolbox, to restore the default colors—black for the foreground color and white for the back-ground.

Double-click the name Layer 1 in the Layers palette to highlight its name.8.

Type the word “Face” and press the Enter or return key to change the de-9. fault name, Layer 1, to a more descriptive name.

Complex Photoshop documents can have hundreds of layers, so you should try to give layers meaningful names as you create them.

Check one more time to be sure the Face layer is active, choose the Brush 10. tool, and paint a black face on the Face layer. You might get an idea from the jack-o’-lanterns shown here. This image is from http://www.gettyimages.com and Adobe Stock Photos.

As you paint, make the brush tip bigger or smaller to 11. suit your needs.

If you mess up, you can either go back in History, or 12. choose the Eraser tool and and erase what you don’t like. On any layer but the background, the Eraser tool erases to transparent, not the background color.

When you finish painting your face, choose 13. File > Save to save the document with its face. Now look at the History palette. You should see many states that say Brush tool or Eraser, but no Save state. That’s because the History palette only records document alterations, and saving does not alter the image pixels you see on screen.

Next you will use the Layers palette settings to make your painted face look like it is carved into the 14. pumpkin. Here you will just follow along step by step, but later in the course you will learn how to customize layer settings to achieve many special effects.

Choose a. Layer > Layer Style > Bevel and Emboss to open the Layer Style dialog box. This dialog box is so huge that you may need to drag it by its tile bar so that only the left side shows, and you can still see some of your painted face.

In the b. Structure area of the Layer Style dialog box, change the settings to match the ones listed here.

Style: Inner Bevel Technique: Smooth Depth: 231% Direction: Down Size: 60 Soften: 10

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Click 15. OK to apply this Layer Style to the Face layer. Notice that the layer now has a subarea named Effects and a further indent listing the name of the ef-fect that was applied.

Now the pumpkin looks more interesting than with the flat black paint, but it still does not look carved.

Locate the 16. Fill setting near the top of the Layers palette, and its drop down triangle to the right of the word Fill. Press the triangle to reveal a slider where you can set the amount of Fill, from 0 to 100%.

Drag the slider all the way to the left, until it reaches 0%. Notice what happens—the 17. bevel and emboss layer style stays completely visible, but the black face paint fades away making the pumpkin look carved.

Drag the slider a little to the right to keep just a little bit of the black, if you prefer. 18. This pumpkin’s face is faded to 16%.

Choose 19. File > Save to save your work. Print if desired.

Printing Photoshop DocumentsPrinting in Photoshop CS3 is a two dialog box process. When you first choose File > Print, you will see a huge dialog box with a thumbnail of your image on the left side, and a number of controls on the right.

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The left side, or PrEVIEW ArEA, shows a thumbnail of how your image will print relative to a piece of paper. The largest gray box represents the full page of paper as set in the Page Setup dialog box (usually US Letter) and the smaller white box represents the printable area for your printer.

Printers need to grab the paper to pull it through the printing mechanism. This usually is a small amount on the top and sides, and a larger amount on the bottom of the paper. These areas, called MArGINS, cannot be printed onto. The portion of the paper that can be is called the PrINTABLE ArEA. If you don’t see any of the white box, this usually means that your image is too large to be printed on this paper.

After you click Print, you will see the standard Print dialog box for your printer. This dialog box allows you to set printer-specific settings, such as print quality, paper type, and number of copies. When your image is printed, it will be centered on the page.

File > Print One Copy doesn’t bring up any dialog box at all— it just prints a copy of your image using the settings you used last time you printed.

Guided Exercise 1.9: Print Your PumpkinOpen1. pumpkin1.psd image if necessary.

Choose 2. File > Print.

Choose your desired printer from the 3. Printer drop-down menu at the top of the dialog box .

Look at the thumbnail. Notice that the document is too big for the paper. You can see white space on 4. the top and bottom, but not on the sides of the thumbnail.

Click the 5. Landscape orientation button below the image thumbnail to change from the default Portrait (or tall), to Landscape (or wide). Notice that the document now has white space all around the thumbnail.

Do not change any other settings in the Print dialog box unless you know how to use them. (They are for more advanced users.)

Click the 6. Print button to view the standard dialog box for your printer. Set settings as needed and click Ok or Print to print the document.

Saving a File for Fast Online TransmissionAssuming that you are a Photoshop beginner, we pre-configured the pumpkin image for you so that it would print properly on an ink jet printer. This image has 240 pixels per each inch of the printed image; the image is 2400 pixels wide and 1800 pixels high, and prints out 10 inches wide and 7.5 inches tall. Saved to disk, it started out at 12.2 MB, and once the face layer was added, it became 24.7 MB. That is a BIG file.

When you send a file over the Internet, either attached to an email message or uploaded to a Web page,

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big files can cause three kinds of problems.

Big files take a long time for you to send (upload) and for the recipient to receive (download). 1.

If you send someone a 24 mb file, it might take twenty minutes for them to receive it if they use a modem to connect to the Internet (dialup connection) and maybe twice as long for you to send the file with a dialup modem.

Big files can cause problems with Internet Service Providers. 2.

Each Internet Service Provider typically gives each client a small amount of space, often 2-10 MB, to store all your downloaded files. If someone sends you a 24 MB file, or a bunch of people send you 1 MB files, you can quickly run out of room, and your provider may stop serving you. If students send their instructor large files, that instructor’s email capabilities may be turned off until the inappropriately big files are deleted.

Big files don’t display well in Web pages.3.

That’s because they take so long to become visible, and because they have more pixels than the width of the monitor.

Your goal is to make files that can be viewed as an email attachment or in a Web browser without scrolling. The smallest standard monitors are 640 pixels wide and 480 pixels high. Monitors, thus, are landscape (wider than they are tall). Even for folks with larger monitors, operating system and browser controls such as menus and scroll bars take some room on the screen. To allow for those controls, try to keep your Web and emailed images in this course around 600 pixels in their largest dimension.

Guided Exercise 1.10: Save a Duplicate File for the WebPhotoshop has a special command, File > Save for Web and Devices that helps you to save a Web or email-ready copy of your image without harming your original source image. This copy is known as an OPTIMIZED version of the file. Here you will save a Web copy of your finished pumpkin image. DEVICES are small hand-held electronic objects such as cell phones and PDAs.

Open1. pumpkin1.psd image if necessary.

Choose 2. File > Save for Web and Devices.

The dialog box will show one of four different (pre)views on the left side, identified by the highlighted tab in the upper left region of the dialog box.

Original shows only the original file.

Optimized, the default, shows only the preview of the Web file with its current optimization settings.

2-Up splits the image preview into two panes, with the left one showing the original and the right one the optimized view, for easy comparison.

4-Up displays four versions of the image. The upper left image is the original. The upper right image is highlighted, as indicated by the black line around its preview. You can click any other pane to activate it.

Choose the 3. 2-up view, if it is not already visible.

reduce the number of pixels in the Web copy of the image to reduce its file size. (This image is so big 4.

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that you can’t even see the pumpkin in the Save for Web and Devices preview window.)

Click the a. Image Size tab on the right side of the dialog box.

Change whichever dimension is larger, b. Width here, to 600 pixels. When you type in the new width, the other values in the Image Size tab recalculate. This image will become 25% of its original size when the new size is applied.

Choose the c. Quality Photoshop should use to change the Image Size. Bicubic Sharper, shown here, will usually give the best results when you shrink an image.

Click the d. Apply button to change the image size. You will notice that you will be able to see more of your image in each of the panes in the preview area.

IMPORTANT: you must click Apply. Do not press the Enter or return keys or you will save with-out resizing. If the preview does not change, you have not resized properly. repeat step 4.

Check your file size.5.

The bottom of each preview pane displays the type of format ( JPEG here), the size the file will be on disk when you save it using those set-tings, and how long it will take to send over the Internet.

Configure your settings to match the ones shown here.6.

JPEG (not GIF).

Quality of 60 or High.

If your file is still larger than 99 kB, then gradually lower your Quality to 55 or 50, or still lower if necessary.

Progressive and ICC Profile should be unchecked, as these are unnec-essary, and increase your file size.

Save the file7.

Click a. Save to save the Web copy of your image using your chosen settings.

In the Save Optimized As dialog box that pops up next, notice that the image is already append-ed with .jpg, the three character extension for JPEG files.

Name your file, making sure you are saving the file in the correct location by using the top drop b. down menu.

Click c. Save.

When you name files for this Web or email use, please keep the names short (under 10 characters) and avoid spaces or punctuation in the file names.

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The web-sized copy, in JPEG format, will be saved to the place you designated with the original, unchanged, document still open.

How big is your file?When we talk about the size of an image, we might be referring to the dimension size which reflects the size an image would print out (inches), or we might be referring to the space an image takes up on a hard drive or disk (bytes, kilobytes, or megabytes).

A BIT is the smallest unit of information on a computer. A BYTE is made up of 8 bits. A kILOBYTE (k or kB) is roughly 1,000 bytes (1,024) and a MEGABYTE (M or MB) is 1,024 kilobytes.

When you compress an image to send by email or put up on the web, you need a small file that will down-load quickly. Usually, you will be looking at kilobytes (k or kB) unless the image is extremely small, then it will be in bytes. Images that are 1 MB or more are generally considered too large for Internet transmission. We recommend that you try to keep all course files you will send on the web to under 100 kB unless other-wise specified.

If you want to check the size of a file after you make it, view its Properties (Windows) or Get Info (Mac) from the Desktop. When you open a JPEG file in Photoshop, it temporarily expands for editing. Thus the 89 kB JPEG we just made opens to 791 kB.

Online ResourcesThe Photoshop Help information that we used in this tutorial comes from a static document that was installed on your computer when Photoshop was installed. Adobe’s online documentation site online provides additional train-ing resources. http://www.adobe.com/support/documentation/en/photoshop

For example, you can download the complete Photoshop manual in PDF format for printing, because Photoshop does not come with a printed manual.

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LiveDocs Help, new to the CS3 Suite, is an online Help community based on Photoshop Help. Folks from Adobe, and anyone else who wants to con-tribute, can add to the Help topics to increase everyone’s learning experi-ence. You can even subscribe to specific topics you are having trouble with, so that if relevant new posts are made, you will receive an email so you can view them.

If you view the LiveDocs section on the Workspace, you can learn more about the topics presented in this tutorial.

Warning for Macintosh users:

In theory, you should also be able to type or type a word or two of your question or topic into the search box at the top of the Adobe Help Viewer. If you have more than one CS3 application, you can specify which application to examine in the Browse box.

HOWEVEr: Photoshop is not included in the application list as of this writing. Hopefully there will be an update soon. Until then, you should use LiveDocs to search in Photoshop Help.