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How To Cheat In Photoshop CC The art of creating realistic photo....pdf
Cover
Title Page
Copyright Page
Table of Contents
Introduction
Acknowledgements
How to use this book
1 Natural selection
Selection: the fundamentals
The Lasso and the Magic Wand
QuickMask 1: better selection
QuickMask 2: tips and tricks
QuickMask 3: transformations
The Quick Selection tool
Refine Edge: fuzzy logic
Refine Edge: going further
The Pen is mightier
The Pen tool by numbers
Putting the Pen into practice
Lock and load
Find and replace
Color by numbers
The color of her face
Brush-on color
The perfect setup
2 Transformation and distortion
Free Transform distortion
Step and repeat rotation
Image Warp: flag waving
Cloning in perspective
Special effects with cloning
Puppet Warp: animal tamer
Puppet Warp: get to grips
Cappuccino with sprinkles
Content-Aware Scaling
Content-Aware Fill 1
Content-Aware Fill 2
Content-Aware Moving 1
Content-Aware Moving 2
Choose your distortion
Straightening with Camera Raw
Wide-angle wonder
Easy panorama correction
Spin the bottle 1
Spin the bottle 2
The freelance artist
3 Hiding and showing
Texture with layer modes
Layer masks 1: intersections
Layer masks 2: soft edges
Layer masks 3: smoothing
Layer masks 4: auto masking
Tricks with Layer Masks
Texture, clipping and groups
Weaving in and out
Blending Options 1: fire power
Blending Options 2: soft clouds
Graphics tablets
4 Image adjustment
Shadows and highlights
Learning Curves
Matching colors with Curves
The photographer’s level
Selective hue and saturation
Sharpening: Unsharp Mask
Sharpening: Smart Sharpen
Adjustment layers
Hard Light layer adjustment
Camera Raw 1: combined effects
Camera Raw 2: selective effects
Camera Raw 3: the jpeg filter
What’s so great about Camera Raw?
5 Composing the scene
Location tells the story
Relative values: interaction
Eyes: the window of the soul
Back to the foreground
A choice of background
Composition tips and tricks
The left and right of things
6 Getting into perspective
Establishing the horizon
Introducing vanishing points
Two point perspective
Three point perspective
Correcting perspective
Fixing wide angle objects
Using existing perspective
Boxing clever: doubling up
Vanishing Point filter 1
Vanishing Point filter 2
Cropping in perspective
Taking the initiative
7 Light and shade
Shadows on wall and ground
Tricky ground shadows
Light from windows
Multiple shadowed objects
Visible light sources
Turn the lamp on
Shading using Hard Light mode
Shading on multiple objects
Reverse shading with Curves
Making smoke without fire
Making fire without smoke
Lighting up: perfect neon
Day for night
I want to tell you a story
8 Heads and bodies
Up close and personal
Putting heads on bodies
Complex head fitting
Combining body parts
Detailed hair cutting
The solution for flyaway hair
Cutting hair with Refine Edge
The problem of hair loss
Instant hair growth
Beards and stubble
The ageing process
Reversing the ageing process
It’s all in the eyes
Face changing with Liquify
Liquify: turning heads
Skin patching and healing
Cosmetic makeover
Coloring black and white images
A change of skin
Compiling the compiler
Sourcing images for free
9 Shiny surfaces
Introducing… Plastic Wrap
I’m forever blowing bubbles
Water: moats and reflections
Making water from thin air
Submerging in water
Snow and icicles
Catching snow as it falls
Making it rain
Getting the glazing bug
Glass: refraction
Combining reflections
Complex reflections
Putting things in bottles
Glass: adding a pair of specs
A refracting glass case
Photographing glass
10 Metal, wood and stone
Instant metal with Curves
Metal with Layer Styles
Turning silver into gold
Metal with Lighting Effects
More on Lighting Effects
Spray-on rust and decay
Making a better impression
Timber floors with varnish
Making statues from life
Bringing statues to life
Carving words in stone
A grave business
The point of illustration
11 Paper and fabric
Folds and wrinkles
How to make a load of money
Judging a book by its cover
Paper: folding and crumpling
Ripping and tearing
Simulating old photographs
Smudge painting fabric
Making custom fibers
Ribbon and tape
Upgrade and replace
12 The third dimension
Adding depth to flat artwork
An open and shut case
Flipping makes sense
Opening the hamper
Matching existing perspective
Building boxes
Displacement maps 1
Displacement maps 2
Drawing pipes and cables
3D layers: getting started
3D layers: reshaping
3D layers: texture and more
3D layers: revolution
3D layers: inflation
3D layers and instances
3D layers: scene integration
3D layers with Vanishing Point
Image-based lighting
Manipulating memories
13 Hyper realism
The need for speed
Iris Blur: yes and no
Cartoon distortions
Breaking glass
Smashing things up 1
Smashing things up 2
Magical realism
Zombie pensioners from hell
Working to a brief
14 Advanced techniques
Putting it all together 1
Putting it all together 2
Front and back
Working with Smart Objects
Layer groups and layer comps
Watercolor with Filter Gallery
Working with Shapes
Round-cornered heaven
Complex repair work
Distortion through glass
Complex strokes
Custom brush design 1
Custom brush design 2
Natural media brushes
Background Eraser tricks
Making the most of Bridge
Photoshop Actions
DeBlur with Shake Reduction
Misusing Shake Reduction
Portable shadows
Take a fresh look
15 Print and the internet
Image size and resolution
Working for print
Working for the web
Making it move
movie editing in Photoshop
Test Yourself
Index
Taking Photoshop further
HOW TO
cheat
PhotoshopCC
IN
The art of creating
realistic photomontages
Steve Caplin
Focal Press
Taylor & Francis Group
N EW Y O R K A ND
L O N D ON
Eighth edition first published 2014 by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803
Simultaneously published in the UK by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Focal Press is an imprint of the Taylor & Francis Group, an informa business
First published as How to Cheat in Photoshop 2002 by Elsevier Ltd.
Reprinted 2002, 2003
Second edition 2004
Third edition 2005
Reprinted 2006
Fourth edition 2007
Fifth edition 2009
Sixth edition 2010
Seventh edition 2012
First published as How to Cheat in Photoshop CS6 2012 by Focal Press, an imprint of the Taylor & Francis Group
Copyright © 2002, 2004, 2005, 2007, 2009, 2010, 2012, 2014 Steve Caplin.
The right of Steve Caplin to be identified as the author of this work has been asserted by him in accordance with sections 77
and 78 of the Copyright, Designs and Patents Act 1988
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means
electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher
Notice: No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of
products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas
contained in the material herein.
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and
explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
A catalog record has been applied for
ISBN: 978-0-415-71238-5 (pbk)
ISBN: 978-1-315-88412-7 (ebk)
Printed in the United States of America by Courier, Kendallville, Indiana
For information on all Focal Press publications visit our website at www.focalpress.com
Book design and cover by Steve Caplin
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Bound to Create
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theatre — you simply want to create without limitation. Bound
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For over 75 years Focal has published books that support your
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knowledge, techniques, and tools that allow you to create
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Focal Press
Taylor & Francis Group
2002
2004
2005
2007
2009
2010
2012
2014
iv
How to use this book . . . . . . . . . . . . . . . . . . . . 1
The freelance artist . . . . . . . . . . . . . . . . . . . . . .78
1 Natural selection . . . . . . . . . . . . . . . . . . . . 3
Selection: the fundamentals . . . . . . . . . . . . . 4
The Lasso and the Magic Wand . . . . . . . . . . . 6
QuickMask 1: better selection . . . . . . . . . . . . 8
QuickMask 2: tips and tricks . . . . . . . . . . . . .10
QuickMask 3: transformations . . . . . . . . . . .12
The Quick Selection tool . . . . . . . . . . . . . . . .14
Refine Edge: fuzzy logic . . . . . . . . . . . . . . . . .16
Refine Edge: going further . . . . . . . . . . . . . .18
The Pen is mightier… . . . . . . . . . . . . . . . . . . .20
The Pen tool by numbers . . . . . . . . . . . . . . .22
Putting the Pen into practice . . . . . . . . . . . .24
Lock and load . . . . . . . . . . . . . . . . . . . . . . . . . .26
Find and replace . . . . . . . . . . . . . . . . . . . . . . .28
Color by numbers . . . . . . . . . . . . . . . . . . . . . .30
The color of her face . . . . . . . . . . . . . . . . . . . .32
Brush-on color . . . . . . . . . . . . . . . . . . . . . . . . .34
The perfect setup . . . . . . . . . . . . . . . . . . . . . . . .36
2 Transformation and distortion . . . .39
Free Transform distortion . . . . . . . . . . . . . . .40
Step and repeat rotation . . . . . . . . . . . . . . . .42
Image Warp: flag waving . . . . . . . . . . . . . . . .44
Cloning in perspective . . . . . . . . . . . . . . . . . .46
Special effects with cloning . . . . . . . . . . . . .48
Puppet Warp: animal tamer . . . . . . . . . . . . .50
Puppet Warp: get to grips . . . . . . . . . . . . . . .52
Cappuccino with sprinkles . . . . . . . . . . . . . .54
Content-Aware Scaling . . . . . . . . . . . . . . . . .56
Content-Aware Fill 1 . . . . . . . . . . . . . . . . . . . .58
Content-Aware Fill 2 . . . . . . . . . . . . . . . . . . . .60
Content-Aware Moving 1 . . . . . . . . . . . . . . .62
Content-Aware Moving 2 . . . . . . . . . . . . . . .64
Choose your distortion . . . . . . . . . . . . . . . . .66
Straightening with Camera Raw . . . . . . . . .68
Wide-angle wonder . . . . . . . . . . . . . . . . . . . .70
Easy panorama correction . . . . . . . . . . . . . .72
Spin the bottle 1 . . . . . . . . . . . . . . . . . . . . . . .74
Spin the bottle 2 . . . . . . . . . . . . . . . . . . . . . . .76
3 Hiding and showing . . . . . . . . . . . . . . . .81
Texture with layer modes . . . . . . . . . . . . . . .82
Layer masks 1: intersections . . . . . . . . . . . . .84
Layer masks 2: soft edges . . . . . . . . . . . . . . .86
Layer masks 3: smoothing. . . . . . . . . . . . . . .88
Layer masks 4: auto masking . . . . . . . . . . . .90
Tricks with Layer Masks . . . . . . . . . . . . . . . . .92
Texture, clipping and groups . . . . . . . . . . . .94
Weaving in and out . . . . . . . . . . . . . . . . . . . . .96
Blending Options 1: fire power . . . . . . . . . .98
Blending Options 2: soft clouds . . . . . . . .100
Graphics tablets . . . . . . . . . . . . . . . . . . . . . . .102
4 Image adjustment . . . . . . . . . . . . . . . . .105
Shadows and highlights . . . . . . . . . . . . . . .106
Learning Curves . . . . . . . . . . . . . . . . . . . . . . .108
Matching colors with Curves . . . . . . . . . . .110
The photographer’s level . . . . . . . . . . . . . . .112
Selective hue and saturation . . . . . . . . . . .114
Sharpening: Unsharp Mask . . . . . . . . . . . . .116
Sharpening: Smart Sharpen . . . . . . . . . . . .118
Adjustment layers . . . . . . . . . . . . . . . . . . . . .120
Hard Light layer adjustment . . . . . . . . . . . .122
Camera Raw 1: combined effects . . . . . . .124
Camera Raw 2: selective effects . . . . . . . .126
Camera Raw 3: the jpeg filter . . . . . . . . . . .128
What’s so great about Camera Raw? . . . . .130
5 Composing the scene . . . . . . . . . . . . . .133
Location tells the story . . . . . . . . . . . . . . . . .134
Relative values: interaction . . . . . . . . . . . . .136
Eyes: the window of the soul . . . . . . . . . . .138
Back to the foreground . . . . . . . . . . . . . . . .140
A choice of background . . . . . . . . . . . . . . . .142
Composition tips and tricks . . . . . . . . . . . .144
The left and right of things . . . . . . . . . . . . . .146
v
Contents
6 Getting into perspective . . . . . . . . . .149
Establishing the horizon . . . . . . . . . . . . . . .150
Introducing vanishing points . . . . . . . . . . .152
Two point perspective . . . . . . . . . . . . . . . . .154
Three point perspective . . . . . . . . . . . . . . . .156
Correcting perspective . . . . . . . . . . . . . . . . .158
Fixing wide angle objects . . . . . . . . . . . . . .160
Using existing perspective . . . . . . . . . . . . .162
Boxing clever: doubling up . . . . . . . . . . . . .164
Vanishing Point filter 1 . . . . . . . . . . . . . . . . .166
Vanishing Point filter 2 . . . . . . . . . . . . . . . . .168
Cropping in perspective . . . . . . . . . . . . . . .170
Taking the initiative . . . . . . . . . . . . . . . . . . . .172
7 Light and shade . . . . . . . . . . . . . . . . . . . .175
Shadows on wall and ground . . . . . . . . . .176
Tricky ground shadows . . . . . . . . . . . . . . . .178
Light from windows . . . . . . . . . . . . . . . . . . .180
Multiple shadowed objects . . . . . . . . . . . .182
Visible light sources . . . . . . . . . . . . . . . . . . .184
Turn the lamp on . . . . . . . . . . . . . . . . . . . . . .186
Shading using Hard Light mode . . . . . . . .188
Shading on multiple objects . . . . . . . . . . .190
Reverse shading with Curves . . . . . . . . . . .192
Making smoke without fire . . . . . . . . . . . . .194
Making fire without smoke . . . . . . . . . . . . .196
Lighting up: perfect neon . . . . . . . . . . . . . .198
Day for night . . . . . . . . . . . . . . . . . . . . . . . . . .200
The ageing process . . . . . . . . . . . . . . . . . . . .226
Reversing the ageing process . . . . . . . . . .228
It’s all in the eyes . . . . . . . . . . . . . . . . . . . . . .230
Face changing with Liquify . . . . . . . . . . . . .232
Liquify: turning heads . . . . . . . . . . . . . . . . .234
Skin patching and healing . . . . . . . . . . . . .236
Cosmetic makeover . . . . . . . . . . . . . . . . . . .238
Coloring black and white images . . . . . . . .240
A change of skin. . . . . . . . . . . . . . . . . . . . . . .242
Compiling the compiler . . . . . . . . . . . . . . . .244
Sourcing images for free . . . . . . . . . . . . . . . .246
9 Shiny surfaces . . . . . . . . . . . . . . . . . . . . . .249
Introducing… Plastic Wrap . . . . . . . . . . . .250
I’m forever blowing bubbles . . . . . . . . . . .252
Water: moats and reflections . . . . . . . . . . .254
Making water from thin air . . . . . . . . . . . . .256
Submerging in water . . . . . . . . . . . . . . . . . .258
Snow and icicles. . . . . . . . . . . . . . . . . . . . . . .260
Catching snow as it falls . . . . . . . . . . . . . . .262
Making it rain . . . . . . . . . . . . . . . . . . . . . . . . .264
Getting the glazing bug . . . . . . . . . . . . . . .266
Glass: refraction . . . . . . . . . . . . . . . . . . . . . . .268
Combining reflections . . . . . . . . . . . . . . . . .270
Complex reflections . . . . . . . . . . . . . . . . . . .272
Putting things in bottles . . . . . . . . . . . . . . .274
Glass: adding a pair of specs . . . . . . . . . . .276
A refracting glass case . . . . . . . . . . . . . . . . .278
I want to tell you a story . . . . . . . . . . . . . . . .202
Photographing glass . . . . . . . . . . . . . . . . . . .280
8 Heads and bodies . . . . . . . . . . . . . . . . . .205
Up close and personal . . . . . . . . . . . . . . . . .206
Putting heads on bodies . . . . . . . . . . . . . . .208
Complex head fitting . . . . . . . . . . . . . . . . . .210
Combining body parts . . . . . . . . . . . . . . . . .212
Detailed hair cutting . . . . . . . . . . . . . . . . . . .214
The solution for flyaway hair . . . . . . . . . . .216
Cutting hair with Refine Edge . . . . . . . . . .218
The problem of hair loss . . . . . . . . . . . . . . .220
Instant hair growth . . . . . . . . . . . . . . . . . . . .222
Beards and stubble . . . . . . . . . . . . . . . . . . . .224
vi
10 Metal, wood and stone . . . . . . . . . . . .283
Instant metal with Curves . . . . . . . . . . . . . .284
Metal with Layer Styles . . . . . . . . . . . . . . . .286
Turning silver into gold . . . . . . . . . . . . . . . .288
Metal with Lighting Effects . . . . . . . . . . . . .290
More on Lighting Effects . . . . . . . . . . . . . . .292
Spray-on rust and decay . . . . . . . . . . . . . . .294
Making a better impression . . . . . . . . . . . .296
Timber floors with varnish . . . . . . . . . . . . .298
Making statues from life . . . . . . . . . . . . . . .300
Bringing statues to life . . . . . . . . . . . . . . . . .302
How to Cheat in Photoshop CC
Carving words in stone . . . . . . . . . . . . . . . .304
A grave business . . . . . . . . . . . . . . . . . . . . . .306
The point of illustration . . . . . . . . . . . . . . . . .308
11 Paper and fabric . . . . . . . . . . . . . . . . . . .311
Folds and wrinkles . . . . . . . . . . . . . . . . . . . . .312
How to make a load of money . . . . . . . . . . .314
Judging a book by its cover . . . . . . . . . . . .316
Paper: folding and crumpling . . . . . . . . . .318
Ripping and tearing . . . . . . . . . . . . . . . . . . .320
Simulating old photographs . . . . . . . . . . .322
Smudge painting fabric . . . . . . . . . . . . . . . .324
Making custom fibers . . . . . . . . . . . . . . . . . .326
Ribbon and tape . . . . . . . . . . . . . . . . . . . . . .328
Upgrade and replace . . . . . . . . . . . . . . . . . . .330
12 The third dimension . . . . . . . . . . . . . . .333
Adding depth to flat artwork . . . . . . . . . . .334
An open and shut case . . . . . . . . . . . . . . . . .336
Flipping makes sense . . . . . . . . . . . . . . . . . .338
Opening the hamper . . . . . . . . . . . . . . . . . .340
Matching existing perspective . . . . . . . . .342
Building boxes . . . . . . . . . . . . . . . . . . . . . . . .344
Displacement maps 1 . . . . . . . . . . . . . . . . . .346
Displacement maps 2 . . . . . . . . . . . . . . . . . .348
Drawing pipes and cables . . . . . . . . . . . . . .350
3D layers: getting started . . . . . . . . . . . . . .352
3D layers: reshaping . . . . . . . . . . . . . . . . . . .354
3D layers: texture and more . . . . . . . . . . . .356
3D layers: revolution . . . . . . . . . . . . . . . . . . .358
3D layers: inflation . . . . . . . . . . . . . . . . . . . . .360
3D layers and instances . . . . . . . . . . . . . . . .362
3D layers: scene integration . . . . . . . . . . . .364
3D layers with Vanishing Point . . . . . . . . .366
Image-based lighting . . . . . . . . . . . . . . . . . .368
Manipulating memories . . . . . . . . . . . . . . . .370
13 Hyper realism . . . . . . . . . . . . . . . . . . . . . .373
The need for speed . . . . . . . . . . . . . . . . . . . .374
Iris Blur: yes and no . . . . . . . . . . . . . . . . . . . .376
Cartoon distortions . . . . . . . . . . . . . . . . . . . .378
Breaking glass . . . . . . . . . . . . . . . . . . . . . . . . .380
Smashing things up 1. . . . . . . . . . . . . . . . . .382
Smashing things up 2. . . . . . . . . . . . . . . . . .384
Magical realism . . . . . . . . . . . . . . . . . . . . . . .386
Zombie pensioners from hell . . . . . . . . . . .388
Working to a brief . . . . . . . . . . . . . . . . . . . . . .390
14 Advanced techniques . . . . . . . . . . . . . .393
Putting it all together 1 . . . . . . . . . . . . . . . .394
Putting it all together 2 . . . . . . . . . . . . . . . .396
Front and back . . . . . . . . . . . . . . . . . . . . . . . .398
Working with Smart Objects . . . . . . . . . . .400
Layer groups and layer comps . . . . . . . . . .402
Watercolor with Filter Gallery . . . . . . . . . .404
Working with Shapes . . . . . . . . . . . . . . . . . .406
Round-cornered heaven . . . . . . . . . . . . . . .408
Complex repair work . . . . . . . . . . . . . . . . . .410
Distortion through glass . . . . . . . . . . . . . . .412
Complex strokes . . . . . . . . . . . . . . . . . . . . . .414
Custom brush design 1 . . . . . . . . . . . . . . . .416
Custom brush design 2 . . . . . . . . . . . . . . . .418
Natural media brushes . . . . . . . . . . . . . . . . .420
Background Eraser tricks . . . . . . . . . . . . . . .422
Making the most of Bridge . . . . . . . . . . . . .424
Photoshop Actions . . . . . . . . . . . . . . . . . . . .426
DeBlur with Shake Reduction . . . . . . . . . .428
Misusing Shake Reduction . . . . . . . . . . . . .430
Portable shadows . . . . . . . . . . . . . . . . . . . . .432
Take a fresh look . . . . . . . . . . . . . . . . . . . . . . .434
15 Print and the internet . . . . . . . . . . . . .437
Image size and resolution . . . . . . . . . . . . . .438
Working for print . . . . . . . . . . . . . . . . . . . . . .440
Working for the web . . . . . . . . . . . . . . . . . . .442
Making it move . . . . . . . . . . . . . . . . . . . . . . .444
Movie editing in Photoshop . . . . . . . . . . . .446
Test Yourself . . . . . . . . . . . . . . . . . . . . . . . . . .448
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .450
Taking Photoshop further . . . . . . . . . . . . . .454
vii
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