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Please note that many of our lesson materials can be very large especially image and video files. You will be able to see the size of any file for download adobe photoshop cs classroom in a book. The Adobe Photoshop CS6 Classroom in a Book disc includes the lesson files that you’ll need to complete the exercises in this book as well as other content CS Complete. Please click here to go to the last page in this eBook for the download Adobe Dreamweaver CS6 Classroom in a Book includes the lesson files that you’ll.

You will need to download these lesson folders to your hard drive before you can begin each lesson. Lesson files. To report errors, please send a note to errata peachpit. For information on getting permission for reprints and excerpts, contact permissions peachpit.

Mac OS i s a trad folder inside the Lessons folder. You will need to copy these lesson folders to your hard drive before you s te m s can begin each lesson. Made in the USA. Photoshop CS5 pushes the boundaries of digital image editing and helps you turn your dreams into designs more easily than ever before.

You can follow the book from start to finish, or do only the lessons that match your interests and needs. New exercises and lessons cover: t Using the Mixer Brush tool and bristle tip options to achieve realistic paint strokes. Photoshop Extended features include: t he ability to import 3D images and video, and to edit individual frames or image sequence files by painting, cloning, retouching, or transforming them.

Prerequisites Before you begin to use Adobe Photoshop CS5 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. You must purchase the Adobe Photoshop CS5 software separately. Photoshop and Bridge use the same installer. Follow the onscreen instructions. Make sure that your serial number is accessible before installing the application.

Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons. In case you overwrite them, you 2 Browse the contents and locate the Lessons folder. Restoring default preferences he preferences files stores information about panel and command settings.

Each time you quit Adobe Photoshop, the positions of the panels and certain command settings are recorded in the respective preferences file. Any selections you make in the Preferences dialog box are also saved in the preferences file. If you prefer to preserve your preferences, be aware that the tools, panels, and other set- tings in Photoshop CS5 may not match those described in this book.

If you have custom-calibrated your monitor, save the calibration settings before you start work on this book. To save your monitor-calibration settings, follow the simple procedure described below. To save your current color settings: 1 Start Adobe Photoshop. You do not need to perform steps 4—6 of this procedure.

To restore your color settings: 1 Start Adobe Photoshop. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.

Search results will show you not only content from Adobe, but also from the community. However, you can also download Adobe Help and language reference content for use offline. You can download the application from www. You can contribute in several ways: add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contrib- ute Cookbook Recipes. Find out how to contribute: www.

Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe Photoshop CS5 product home page: www.

Adobe certification he Adobe training and certification programs are designed to help Adobe custom- ers improve and promote their product-proficiency skills. You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources.

For information on the Adobe Certified programs, visit www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems. Adobe CS Review is for creative professionals who want a new level of efficiency in the creative review process. Unlike collaborating via email and attend- ing time-consuming in-person meetings, Acrobat.

Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences.

NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process. You can access aggregate user data such as browser type, operating system, mobile device profile, screen resolution, and more, which can be shown over time.

The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow.

Note that this option does not give you access to the services from within your products. See www. To make the best use of the extensive editing capabilities in Photoshop, you must first learn to navigate the work area.

You can also add commands and filters to the menus by installing third-party software known as plug-ins. Photoshop works with bitmapped, digitized images that is, continuous-tone images that have been converted into a series of small squares, or picture elements, called pixels. You can also work with vector graphics, which are drawings made of smooth lines that retain their crispness when scaled.

Photoshop Settings file. Application bar B B. Menu bar C C. Options bar D. Tools panel E. Adobe Bridge button F. Mini Bridge button G. Workspaces menu H. Otherwise, the arrangement is the same, but operating system styles may vary. When you have documents open, one or more image windows also appear, and you can display them at the same time using the tabbed interface.

Additionally, you can enable and disable the Application bar. On Mac OS, the application frame keeps the image, panels, and Application bar together. In this file, an image of a vintage car has been enhanced without overexposing the headlight.

Do not close Photoshop. In the previous exercise, you used the Open command to open a file. In Bridge. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Adding files, folders, application icons, and other assets that you use often to the Favorites panel lets you access them quickly. Using the tools Photoshop provides an integrated set of tools for producing sophisticated graphics for print, web, and mobile viewing.

We could easily fill the entire book with details on the wealth of Photoshop tools and tool configurations. Every lesson will introduce you to more tools and ways to use them. In Photoshop Extended, it also includes the end of this lesson. For example, when the Zoom tool in the status bar. Or, you can type a new and then click anywhere in the image. Drag the Zoom tool to the if OpenGL is enabled left to zoom out.

When Scrubby Zoom is selected in the options bar, you can in the Photoshop drag the Zoom tool across the image to zoom in and out. Preferences panel. You have now used four methods with the Zoom tool to change the magnification in the image window: clicking, holding down a keyboard modifier while clicking, dragging to zoom in and out, and dragging to define a magnification area. Many of the other tools in the Tools panel can be used with keyboard combinations and options, as well.

Selecting and using a hidden tool Photoshop has many tools you can use to edit image files, but you will probably work with only a few of them at a time.

A small triangle in the lower-right corner of a button is your clue that other tools are available but hidden under that tool. Select that tool. An animated dashed line indicates that the area inside it is selected. When you select an area, it becomes the only editable area of the image. When you drag the selection, only the selection border moves, not pixels in the image. You usually activate these modes by holding down specific keys as you move the tool with the mouse. Some tools have modes that you choose in the options bar.

If, however, options bar. Selected editable area area the headlight cannot be changed while the selec- the future, you can just B. Unselected protected press that keyboard tion is active. As you drag, highlights are brightened in the selected area of the image. Lessons 2, 6, and 10, in particular, address techniques like those used in classic darkroom work, such as adjusting for exposure, retouching, and correcting colors. Zooming and scrolling with the Navigator panel The Navigator panel is another speedy way to make large changes in the zoom level, especially when the exact percentage of magnification is unimportant.

The slider under the image thumbnail in the Navigator panel enlarges the image when you drag to the right toward the large mountain icon and reduces it when you drag to the left.

The red rectangular outline represents the area of the image that appears in the image window. When you zoom in far enough that the image window shows only part of the image, you can drag the red outline around the thumbnail area to see other areas of the image. When you selected the Zoom tool in the previous project, you saw that the options bar contained options that change the view of the current image window. Previewing and opening another file he next project involves a promotional postcard for a community project.

You can access many of the features of Adobe Bridge without leaving Photoshop. Double-click the Lesson01 folder in the Content area of the Mini Bridge panel. Photoshop, to display he buttons and menus in the options bar now relate to the Type tool. We used finger slider to the right increases the value; Garamond, but you can use another font if you prefer.

Alt-dragging Windows or Option-dragging Mac OS changes the values in smaller increments; Shift- dragging changes them You can specify 38 points by typing directly in the font-size text box and pressing in larger increments.

Enter or Return, or by scrubbing the font-size menu label. You can also choose a standard font size from the font-size pop-up menu.

Typing V will add the letter to your text in the image window. Using panels and panel menus he text color in your image is the same as the Foreground Color swatch in the Tools panel, which is black by default.

Select any other tool in the temporarily changes into an eyedropper. Tools panel to deselect the text so that you can see the color applied to it. Set the tip of the eyedropper on the swatch you want, and click to select it. Now the text appears in the lighter violet color.

Resetting the default colors does not change the color of the text in the image, because that text is no longer selected. Nice job! For the real world, Photoshop gives you the power to step back and undo actions so that you can try other options.

Photoshop features many kinds of layers, some of which contain images, text, or solid colors, and others that simply interact with layers below them. Both files appear in the Preview panel. In the start file, the tie is solid; in the end file, it is patterned. Notice the listings in the Layers panel. A clipping mask works somewhat like a selection in that it restricts the area of the image that can be altered.

With the clipping mask in place, you can paint a design over the tie without worrying about any stray brush strokes disturbing the rest of the image. In the list of brushes, select the Soft Round Pressure Size brush.

Illustration: Pamela Hobbs Oops! You could use the Step Backward command to undo additional steps one at a time.

Several previous actions are undone. Now the History panel restores the earlier listing of dimmed actions. By default, the Photoshop History panel retains only the last 20 actions. Using a context menu Context menus are short menus that contain commands and options appropriate to specific elements in the work area.

Usually, the commands on a context menu are also available in some other area of the user interface, but using the context menu can save time. Context menus vary with their context, of course, so what appears can be a menu of commands or a panel-like set of options, which is what happens in this case.

You may need to scroll up or down the list in the context menu to find the right brush. If the tie area is hidden behind the Brush tool context menu, click another area or double-click your selection in the context menu to close it.

When you finish making changes to your tie design, give yourself a pat on the back for finishing another project. More about panels and panel locations Photoshop panels are powerful and varied. Rarely would you need to see all panels simultaneously. You can open a closed panel or close an open one by selecting the panel name in the Window menu.

To reopen them, press Tab again. You can drag panels to or from the panel dock. You can arrange panels in other ways, as well: t To move an entire panel group, drag the title bar to another location in the work area. To expand a panel, click its icon or the double arrow. You can also pull the lower-right corner in or out. Double-click again to restore it to the the Color, Character, and Paragraph panels.

You can open the panel menu even when the panel is collapsed. Notice that the tabs for the panels in the panel group and the button for the panel menu remain visible after you collapse a panel. You can move the options bar to another location by dragging the grab bar at the far left end of the panel. In fact, following exercise. If prompted, click Yes to apply the workspace. Photoshop returns to the default workspace. You can choose workspaces from the Window menu or from the pop-up menu in the Application bar.

Say, for example, that you do lots of web design, but no digi- tal video work. You can specify which menu items to display in the workspace. You can hide commands that you use infrequently, or highlight commonly used commands to make them easier to see. Photoshop displays the View menu commands and subcommands. Photoshop removes them from the menu for this workspace.

Choose Red from the pop-up menu to highlight this command in red. RGB Color is now highlighted in red. In the New Workspace dialog box, give your workspace a name, select the Menus and Keyboard Shortcuts options, and then click Save. For now, return to the default workspace configuration. Once you know the basics, you can complete the Adobe Photoshop CS5 Classroom in a Book lessons either in sequen- tial order or according to the subjects you find most interesting.

Finding resources for using Photoshop For complete and up-to-date information about using Photoshop panels, tools, and other application features, visit the Adobe website. You can narrow your search results to view only Adobe Help and support documents, as well. For additional resources, such as tips and techniques and the latest product infor- mation, check out the Adobe Community Help page at community. You can easily obtain these Preferences in the updates through Adobe Application Manager, as long as you have an active Adobe Application Internet connection.

Adobe Application Manager be notified of updates, automatically checks for updates available for your Adobe software. Click Done to accept the new settings. Horizontal selection using an adjust- areas. Type T able round brush tip. The Eraser tool erases The Background Eraser The Magic Eraser tool The Gradient tool creates pixels and restores parts tool erases areas to trans- erases solid-colored areas straight-line, radial, angle, of an image to a previously parency by dragging.

The type tools create type The type mask tools The path selection tools The shape tools and Line on an image. Review answers 1 You can scan a photograph, transparency, negative, or graphic into the program; capture a digital video image; or import artwork created in a drawing program. You can also import digital photos.

To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or hold down the mouse button on the tool in the Tools panel to open a pop-up menu of the hidden tools. You can also use keyboard shortcuts or the Navigator panel to control the display of an image. Photoshop also includes a link to the Adobe Systems Photoshop web page for additional information on services, products, and tips pertaining to Photoshop.

This lesson steps you through the process of acquiring, resizing, and retouching a photo intended for a print layout. For many images, you can achieve your desired outcome with just a few clicks in Adobe Camera Raw, which is installed with Adobe Photoshop. For others, you may start in Camera Raw to adjust the white point, for example, and then move on to Photoshop for more advanced retouching, such as applying filters to selected parts of an image.

Organizing an efficient sequence of tasks Most retouching procedures follow these general steps: t Duplicating the original image or scan Working in a copy of the image file makes it easy to recover the original later if necessary.

Otherwise, the settings without risking damage to the results of one process may cause unintended changes to other aspects of the image, original image. Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring.

To illustrate one application of retouching techniques, this lesson takes you through the steps of correcting a photograph intended for four-color print publication. Resolution is determined by pixel dimensions, or the number of pixels Pixels in a photographic image along the width and height of an image. An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution.

Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi. Image pixels are translated directly into monitor pixels. In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions. For example, when you display a 1×1-inch, ppi image on a ppi monitor, the image fills a 2×2-inch area of the screen.

Higher resolution images output to higher image size in inches, resolution printers generally produce the best quality. Mac OS. To enlarge the thumbnails in the Content panel, drag the humbnail slider at the bottom of the Bridge window to the right. In the 02Start. You’ll fix all of these problems in this lesson, starting with the color and tone of the image.

As you make changes to the image, Camera Raw saves those changes in a separate file that is associated with your original image file. You can return to the original at any time when working in Camera Raw.

Adjusting the white balance changes all the colors in the image. To set an accurate white balance, select an area that should be white or gray. Selecting a white balance is a good start. You can use either the Crop tool or the Crop command to crop an image.

Both methods permanently delete all the pixels outside the crop selection area. Drag the tool to the upper-right corner of the photo, and click again. Photoshop straightens the photograph. For Width, type 3. As you drag, the marquee retains the same proportion as the dimensions you specified for the target size 3.

When you release the mouse button, a cropping shield covers the area outside the cropping selection, and the options bar displays choices about the cropping shield. If you need to adjust the size of the marquee, drag one of the corner handles. You can also use the arrow keys on the keyboard to adjust the marquee in 1-pixel increments. Replacing colors in an image Use the Color Replacement tool to paint over one color with another.

When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over. In the Color Picker, select a color of green. Make sure Anti-Alias is selected. You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs.

If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning. Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed.

It automatically samples from around the retouched area. Photoshop fills a selection with pixels that match the surroundings. Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the content-aware fill feature make this process easy.

We used the default value, 1. If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing.

In addition, you can adjust the radius of the region to which each pixel is compared. If your final destination is print, experiment to deter- mine which settings work best for your image. Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode.

For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign. Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area.

We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail. Image resolution and monitor resolution are measured in pixels per inch ppi.

Printer, or output, resolution is measured in ink dots per inch dpi. Content-aware fill replaces a selection with content that matches the surrounding area. You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection. Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area.

Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors. Move the thumbnail slider to the right if you want to see the image in more detail. Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection.

You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want.

Leave the selection active so that you can use it in the next exercise. To move the selected area to another part of the composition, you use the Move tool.

Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist. The layers that are under the pointer appear in the context menu. Manipulating selections You can reposition selections as you create them, move them, and even duplicate them. One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions.

Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed.

If you accidentally release the mouse but- ton at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl.

If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells. Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window. Notice that each time you press the arrow key, the bowl of shells moves one pixel. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key.

Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells. If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier.

A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments.

Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands. Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer.

The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range. As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection.

You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee.

At this point, the coral and the white background area are selected. A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Now all the white pixels are deselected, leaving the coral perfectly selected. Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool.

You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool. Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top.

Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. Leave the mussel selected for the next exercise.

Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges.

When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. You can add as many as you need.

To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Or you can move the Magnetic Lasso tool over the starting point and click once. Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels.

Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it.

Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it.

Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds. A black background appears under the selection, and the selection edges disappear. We used a value of 4. Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar.

Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start. To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving. Review answers 1 Only the area within an active selection can be edited.

To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract. You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers.

All new layers in an image are transparent until you add text or artwork pixel values. When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original.

You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected. No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard.

Notice that only one layer appears in the Beach. An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working.

Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier. Viewing individual layers he 04Working. Some of the layers are visible and some are hidden. To select the layer, click the layer name in the Layers panel.

A white border appears around the beach photo. Rearranging layers he order in which the layers of an image are organized is called the stacking order. In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label. Currently, the blending mode for both layers is Normal.

Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image. Watch the Width and Height percentages in the options bar. Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers.

We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image. Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Click OK to close the Color Picker. Do the following in the Character panel: t Select a serif font we used Birch Std. Applying a gradient to a layer You can apply a color gradient to all or part of a layer.

If you want to be sure you drag straight up, press the Shift key as either Small List or you drag. Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time.

Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text. Adding a border he Hawaii postcard is nearly done.

A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer.

So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel. Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements.

You might have the French text on one layer, and the English text on another in the same image file. With a little imagination, you can appreciate how much time this saves for more complex variations. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away.

Now for the fun part! You can also hide individual layers as you work on other layers. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus.

Many digital cameras can save images in camera raw format. You can go back and reprocess the file any time you like to achieve the results you want. When you download the file from your camera, it has Raw format.

In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms.

Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data. Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously.

Filmstrip B. Toggle Filmstrip C. Toolbar G D. Toggle Full-Screen Mode E. RGB values F. Image adjustment H tabs G. Histogram A H. Camera Raw Settings menu B I. Zoom levels J. Multi-image naviga- tion controls L. Adjustment sliders I J K L he Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images.

Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image. Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes.

You can also save settings as a preset, and then apply them later. For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom.

Or, you can click the Forward button under the main preview window to cycle through the images. A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview.

White balance comprises two components. By default, As Shot is selected in the White Balance menu. Camera Raw applies the white balance settings that were in your camera at the time of exposure. To set an accurate white balance, select an object that should be white or gray. Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically. You can use the White Balance tool to find the best lighting for the scene quickly and easily.

Select Preview again to see the modified image. Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly. Conversely, the Blacks slider sets the black point, or the darkest point in the image. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings. Camera Raw increases the saturation and decreases the blacks and the contrast.

You could use this as a starting point. Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram. Filter tool. Even when this slider is set to 0, Camera Raw performs some sharpening. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges. Synchronizing settings across images All three of the mission images were shot at the same time under the same light- ing conditions.

You do this using the Synchronize command. By default, all options except Crop and Spot Removal are selected. When you synchronize the settings across all of the selected images, the thumb- nails update to reflect the changes you made. To preview the images, click each thumbnail in the filmstrip.

Your files will be named on the web, you would probably want to open Mission They are currently much larger, and most viewers would need to scroll to see the full-size images. Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved.

In Bridge, however, you now also have JPEG versions as well as the original, unedited CRW image files, which you can continue to edit or leave for another time. If you click Open Object button the default, click the Open Image, the image opens as a standard Photoshop image.

Click OK if a compatibility dialog box appears. Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data.

DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format. You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including high- quality printing. JPEG format retains all color information in an image, but compresses file size by selectively discarding data.

The greater the compression, the lower the image quality. Also, virtually all desktop scanners can produce TIFF images. Not to be con- fused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms. Cameras and com- puter monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce.

Merging exposures into an HDR image When a scene contains a more complex dynamic range than you can capture in one image, take three or more, and then merge them in Photoshop. Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image. Photoshop adds a Levels adjustment layer to the Layers panel. Photoshop replaces the histogram. You want to set the black point to match the beginning of that data. As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself.

We moved it to a value of 1. Name the layer Corrections, and click OK. Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes. Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character. Make sure Midtones is selected in the Range menu. Today, Graham has clients in the advertising, architectural, editorial, and travel industries.

Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution.

Start with the best material Get all the data when you capture—at fine compression and high resolution. Graham names his files by date and possibly subject. He would store a series of photos taken Dec. Follow Windows naming conventions to keep filenames usable on non-Macintosh platforms 32 characters maximum; only numbers, letters, underscores, and hyphens.


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Continuous rasterization means that graphics stay sharp as they are scaled up. The white background allows you to see that the edge of the monitor screen looks a little too sharp and unrealistic. Page 50 Checking for updates For example, press P to select the Pen tool. Content-aware fill replaces a selection with content that matches the surrounding area. As soon as you place a pin, the area within an outline is automatically divided into a mesh of triangles. Throughout this title you will see references. To restore your color settings: 1 Start Adobe Photoshop.❿

Adobe illustrator cs5 classroom in a book pdf free


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