Chapter 9 CC18 - Revision history

Michael: /* Exercise 3: Creating and Manipulating Layers */ Text edits

2018-09-07T22:36:50Z

Exercise 3: Creating and Manipulating Layers: Text edits

Michael: /* Exercise 1: Using Layers to Create a Double-Exposure */ Text Edits

2018-09-07T22:34:52Z

Exercise 1: Using Layers to Create a Double-Exposure: Text Edits

Michael: /* Exercise 4: Adding an Adjustment to Some Layers */ Screenshots

2018-07-18T17:09:23Z

Exercise 4: Adding an Adjustment to Some Layers: Screenshots

Michael: /* Exercise 3: Creating and Manipulating Layers */ Screenshots

2018-07-18T17:04:01Z

Exercise 3: Creating and Manipulating Layers: Screenshots

Michael: /* Exercises 3 and 4: Exquisite Corpse (in two parts) */ Mispelling

2018-07-18T16:59:06Z

Exercises 3 and 4: Exquisite Corpse (in two parts): Mispelling

Michael: /* Exercise 2: Cropping and Adjusting the Hue */ Screenshots

2018-07-18T16:57:47Z

Exercise 2: Cropping and Adjusting the Hue: Screenshots

Michael: /* Exercise 1: Using Layers to Create a Double-Exposure */ Screenshots

2018-07-18T16:52:09Z

Exercise 1: Using Layers to Create a Double-Exposure: Screenshots

Michael: /* Exercise 4: Adding an adjustment to some layers */ Text Edits

2018-07-12T20:40:58Z

Exercise 4: Adding an adjustment to some layers: Text Edits

Michael: /* Exercise 3: Creating and manipulating layers */ Text Edits

2018-07-12T20:20:32Z

Exercise 3: Creating and manipulating layers: Text Edits

Michael: /* Exercise 2: Cropping and adjusting the hue */ Text Edits

2018-07-12T19:27:56Z

Exercise 2: Cropping and adjusting the hue: Text Edits

@@ Line 139: / Line 139: @@
 '''5.'''	 Click on each layer to activate it, then use the Move Tool to reposition the layer and Edit > Free Transform in order to scale it. Some of the layers will need to be scaled if you want your exquisite corpse to look just like ours.  Remember to hold the SHFT key while dragging on one of the four anchor corners in the Free Transform box or to link the width and height if you are using the Options Palette to make the transformation. Also, it is always safe to scale an image down in PhotoShop; however, it is never a good idea to scale an image up (or to make an image larger than it is) as this will add bad pixel information to the image.
-'''6.'''	Once each layer is renamed, repositioned and scaled, click on the top layer once to activate it, then hold SHFT, and click on the last layer in the stacking order above the adjustment layer from Exercise 2. Click on the Layer Palette Pull-Down Menu in the top right corner of the palette and choose “New Group From Layers…” In the dialog box, name the new group, “corpse.” This will make a new folder in the Layer Palette for all of the body parts. Layer Groups are used to organize the PhotoShop Layer Palette.
+'''6.'''	Once each layer is renamed, repositioned and scaled, click on the top layer once to activate it, then hold SHFT, and click on the last layer in the stacking order above the adjustment layer from Exercise 2 to select all layers. Click on the Layer Palette Pull-Down Menu in the top right corner of the layer palette and choose “New Group From Layers…” In the dialog box, name the new group, “corpse.” This will make a new folder in the Layer Palette for all of the body parts. Layer Groups are used to organize the PhotoShop Layer Palette.
 [[File:Fig9 Ex3 06 CC2018.png|600px]]

@@ Line 62: / Line 62: @@
-Notice that when the hand is dragged into the double-exposure document it appears very large. The hand file contains more pixels than the double-exposure file. We did this on purpose for two reasons: 1. To demonstrate that the number of pixels in a document has a noticeable affect on the way that the file is previewed in PhotoShop and 2. To distinguish the hand, originally a digital photo (the camera we used stored a significant amount of information), from the working file that we generated from File > New. You can always create a new file with a higher resolution value, but for exercises that will not be printed it is faster to work in a file with resolution no greater than the screen. The larger the resolution, the larger the file size; and larger file sizes require greater computer processing power. Larger file sizes, requiring more processing power, tend to slow down the work process. In a learning environment, we try to avoid hinderances.
+Notice that when the hand is dragged into the double-exposure document it appears very large. The hand file contains more pixels than the double-exposure file. We did this on purpose for two reasons: 1. To demonstrate that the number of pixels in a document has a noticeable effect on the way that the file is previewed in PhotoShop and 2. To distinguish the hand, originally a digital photo (the camera we used stored a significant amount of information), from the working file that we generated from File > New. You can always create a new file with a higher resolution value, but for exercises that will not be printed it is faster to work in a file with resolution no greater than the screen. The larger the resolution, the larger the file size; and larger file sizes require greater computer processing power. Larger file sizes, requiring more processing power, tend to slow down the work process. In a learning environment, we try to avoid hindrances.
 '''3.''' In the Layer Palette, double-click on the name “Layer 1” to rename it “hand01.” Notice "Background" beneath the layer, "hand01". The Background Layer is completely white. It was the first layer that PhotoShop generated when the new document was created. By moving the hand into the new document, we created a new layer.  Click once on the Background Layer and then click on the trash can icon in the bottom right corner of the Layer Palette. At the “Delete the layer Background” warning dialog box click “Yes.” Now the layer hand01 is active (indicated by a light grey highlight). To scale the hand so that it fits into the document, click Edit > Free Transform.
@@ Line 69: / Line 69: @@
-'''4.''' When the image to be transformed does not run off the edges of the file document, it is easy to transform it by using the arrows at one of the four corners of the transformation box to click and drag towards the center of the image. However you may have to move the image in order to see the arrows at the corners. This type of transformation is similar to transforming objects in Illustrator.  Remember to always hold the SHFT key in order to maintain the proportions of the image. In this situation, it is easier to use the transform tools in the Options Palette at the top of the document because we cannot see the edges of the transformation box. First click on the link icon between the width and height percentage boxes to maintain the aspect ratios (or proportions). Now enter 65% into either the width or height box and notice that the other box also takes on the 65% value. Press “Return” or “Enter” on your keypad to finalize the transformation.
+'''4.''' When the image to be transformed does not run off the edges of the file document, it is easy to transform it by using the arrows at one of the four corners of the transformation box to click and drag towards the center of the image. However you may have to move the image in order to see the arrows at the corners. This type of transformation is similar to transforming objects in Illustrator.  Remember to always hold the SHFT key when adjusting the image size in order to maintain the proportions of the image. In this situation, it is easier to use the transform tools in the Options Palette at the top of the document because we cannot see the edges of the transformation box. First click on the link icon between the width and height percentage boxes to maintain the aspect ratios (or proportions). Now enter 65% into either the width or height box and notice that the other box also takes on the 65% value. Press “Return” or “Enter” on your keypad to finalize the transformation.
 [[File:Fig9 Ex1 04 CC2018.png|700px]]
@@ Line 88: / Line 88: @@
-'''6.''' Use the Move Tool to move the separate layers into position. Clicking one time in the Layer Palette activates a layer. Notice that whichever layer is active can be moved with the Move Tool. Once both layers are named and positioned, use the Layer Blending Modes pull-down menu in the top left area of the Layer Palette to choose “Multiply” on the top layer, “hand02”. Leave the hand01 layer in Normal mode. Blending modes define how layers interact. We will continue to explore these in the third exercise.
+'''6.''' Use the Move Tool to move the separate layers into position. Clicking one time in the Layer Palette activates a layer. It is very important to notice which layer is activated, and on which layer the element you are trying to move is located. Working on the wrong layer leads to various problems. Notice that whichever layer is active can be moved with the Move Tool. Once both layers are named and positioned, use the Layer Blending Modes pull-down menu in the top left area of the Layer Palette to choose “Multiply” on the top layer, “hand02”. Leave the hand01 layer in Normal mode. Blending modes define how layers interact. We will continue to explore these in the third exercise.
 [[File:Fig9 Ex1 06 CC2018.png]]

@@ Line 145: / Line 145: @@
 =Exercise 4: Adding an Adjustment to Some Layers =
-[[File:Fig09_Ex4_finalfile_CS6.png|400px]]
+[[File:Fig9 Ex4 finalimg CC2018.png|400px]]
 ''This illustration demonstrates the results of exercises three and four.''
@@ Line 154: / Line 154: @@
 '''2.''' There is one trick here: we never merge layers without keeping our individual layers in tact somewhere else. That is to say, we never simply choose “merge layers.” Now this part is important, hold the Option (OPT) key on your keypad before you click on the Layer Palette Pull-Down Menu (top right of the Layer Palette) and choose, “Merge Layers.”
 <table class="infobox">
@@ Line 167: / Line 166: @@
 Adding the Option Key results in a new layer above those that were activated containing all of the activated layers flattened together. Notice that ear was at the top of the list, so the new layer “ear (merged)” is the merged layer. Use the eyeball icon to turn this layer on and off and notice that while you have a layer that has merged all of the body parts, you also have each body part on a different layer. This will give you flexibility if you need to make revisions after merging the layers.
-[[File:Fig09_Ex4_02_CS6.png]]
+[[File:Fig9 Ex4 02 CC2018.png|600px]]
 '''3.''' Drag the merged layer outside of the group so that it is on top of the stacking order in the Layer Palette. Close the “corpse” group folder and turn off its eyeball icon.
-[[File:Fig09_Ex4_03_CS6.png|400px]]
+[[File:Fig9 Ex4 03 CC2018.png|600px]]
 '''4.''' Click on the merged layer to activate it then add an adjustment layer for Hue/Saturation. Use the “Colorize” button again and add a wash of orange. Notice that this will colorize the entire document.
-[[File:Fig09_Ex4_04.jpg|400px]]
+[[File:Fig9 Ex4 04 CC2018.png|600px]]
 '''5.''' Hold the OPT key while clicking on the line between the adjustment layer and the merged layer. You will see the cursor change to an icon that looks like a square next to an arrow. When you see this cursor change, click the mouse. This will create a clipping group between the adjustment layer and the merged layer. Now the adjustment layer will only affect the merged layer. The background images should appear cyan again.
 '''6.''' Use the Blending Mode Pull-Down Menu in the Layer Palette to set the mode to Linear Light and enter 50% for the Opacity of the merged layer. A decreased opacity enables the viewer to see through the image on this layer, and helps to blend the two layers. Sometimes these methods can create a murky image where the foreground and background are hard to decipher. Remember that every image communicates a message.
-[[File:Fig09_Ex4_06_CS6.png|400px]]
+[[File:Fig9 Ex4 06 CC2018.png|800px]]

@@ Line 122: / Line 122: @@
 '''1.''' We’ll work on top of the double-exposure file that we just created, so save the file as “exquisite-corpse.psd.” Your file should look like the illustration.
-[[File:Fig09_Ex3_01_CS6.png|400px]]
+[[File:Fig9 Ex3 01 CC2018.png|800px]]
 '''2.''' Keep exquisite-corpse.psd open and use File > Open in PhotoShop to open all of the documents used in this exercise (on the disk, the files are: arm.psd, back.psd, ear.psd, head.psd, shoes.psd, and torso.psd). The files will open as tabs in the main window.
-'''3.''' Move all of the body parts into the exquisite-corpse document, just as we moved the hands into the double-exposure document in Exercise 1. Once all of the parts are on separate layers in the exquisite-corpse document, rename all of the layers to indicate which body part is on the layer. Use the eyeball icon in the Layer Palette to hide and show the layer to quickly assess which image is on the layer.
+[[File:Fig9 Ex3 03 CC2018.png|600px]]
 '''4.''' Click on a layer and drag it above or below another layer. The order of the layers in the Layer Palette is referred to as the “stacking order”. This determines which image appears in the foreground or closer to the viewer’s eyes and which images fall to the background. Organize the layers so that they appear like the stacking order in the illustration above. Notice that our layer palette has a left and right arm! We named our first arm, “right arm” then used the Layer Menu > Duplicate Layer… and named the duplicate layer, “left arm.” Use Edit > Transform > Flip Vertical to flip each arm (be sure to activate the layer first) and then Edit > Transform > Flip Horizontal to distinguish one from the other.
-[[File:Fig09_Ex3_04_CS6.png]]
+[[File:Fig9 Ex3 04 CC2018.png|200px]]
 '''5.'''	 Click on each layer to activate it, then use the Move Tool to reposition the layer and Edit > Free Transform in order to scale it. Some of the layers will need to be scaled if you want your exquisite corpse to look just like ours.  Remember to hold the SHFT key while dragging on one of the four anchor corners in the Free Transform box or to link the width and height if you are using the Options Palette to make the transformation. Also, it is always safe to scale an image down in PhotoShop; however, it is never a good idea to scale an image up (or to make an image larger than it is) as this will add bad pixel information to the image.
@@ Line 139: / Line 141: @@
 '''6.'''	Once each layer is renamed, repositioned and scaled, click on the top layer once to activate it, then hold SHFT, and click on the last layer in the stacking order above the adjustment layer from Exercise 2. Click on the Layer Palette Pull-Down Menu in the top right corner of the palette and choose “New Group From Layers…” In the dialog box, name the new group, “corpse.” This will make a new folder in the Layer Palette for all of the body parts. Layer Groups are used to organize the PhotoShop Layer Palette.
-[[File:Fig09_Ex3_06_CS6.png|400px]]
+[[File:Fig9 Ex3 06 CC2018.png|600px]]
 =Exercise 4: Adding an Adjustment to Some Layers =

@@ Line 117: / Line 117: @@
 =Exercises 3 and 4: Exquisite Corpse (in two parts)=
-“Exquisite corpse” (in French, ''cadaver exquis'') is a parlor game that the Surrealists developed in 1925 (Wikipedia). In this game, each player submits images (drawings, paintings, photographs) of heads, torsos and legs which are combined to produce surprising bodily results. I have played this game with students using images of each other that we captured in class on a digital camera as well as by using images from pop culture, found on the web. In the past, we have placed Lindsay Lohan’s head on John Goodman’s body, George W. Bush’s head on Paris Hilton’s body (with the dog), and so on. Images of my students are on the disk, but it's more fun to try this with pictures of your friends or family!
+“Exquisite corpse” (in French, ''cadavre exquis'') is a parlor game that the Surrealists developed in 1925 (Wikipedia). In this game, each player submits images (drawings, paintings, photographs) of heads, torsos and legs which are combined to produce surprising bodily results. I have played this game with students using images of each other that we captured in class on a digital camera as well as by using images from pop culture, found on the web. In the past, we have placed Lindsay Lohan’s head on John Goodman’s body, George W. Bush’s head on Paris Hilton’s body (with the dog), and so on. Images of my students are on the disk, but it's more fun to try this with pictures of your friends or family!
 =Exercise 3: Creating and Manipulating Layers=

@@ Line 96: / Line 96: @@
 =Exercise 2: Cropping and Adjusting the Hue=
-[[File:Fig09_Ex2_finalfile_CS6.png|400px]]
+[[File:Fig9 Ex2 finalimg CC2018.png|400px]]
 ''This illustration demonstrates the results of exercises one and two.''
@@ Line 102: / Line 102: @@
 '''1.''' Click on the Crop Tool in the Tool Palette and notice the options for this tool in the Options Palette. Click on the pull-down menu that say "Ratio" and select "W x H x Resolution." Enter “6 in” into the crop Width box, “9 in” into the Height box, and "72" into the Resolution box. Drag a crop box around the area of the document where the two layers overlap.
-[[File:Fig09_Ex2_01_CS6.png|600px]]
+[[File:Fig9 Ex2 01 CC2018.png|200px]]
 Notice that the crop tool will only create a rectangular shape in the aspect ratio of 6:9 as you are dragging. Finalize the crop by pressing Return or Enter on your keypad or by clicking the check-mark icon in the top right area of the Options Palette.
@@ Line 108: / Line 108: @@
 '''2.''' Click on the Add Adjustment Layer pull-down menu at the bottom of the Layer Palette and scroll to “Hue/Saturation.”
-[[File:Fig09_Ex2_02_CS6.png]]
+[[File:Fig9 Ex2 02 CC2018.png]]
 '''3.''' In the Hue/Saturation Dialog box, check the “Colorize” button and then use the Hue slider to create a cyan wash over the image. Click OK when you are satisfied with the colorization. Remember that you can always double-click on the histogram icon of the adjustment layer in the Layer Palette to access this dialog box and modify the settings. Be sure the adjustment layer is on top so it affects all visible layers.
-[[File:Fig09_Ex2_03_CS6.png|400px]]
+[[File:Fig9 Ex2 03 CC2018.png|800px]]
 =Exercises 3 and 4: Exquisite Corpse (in two parts)=

@@ Line 32: / Line 32: @@
 [[File:2440925717_7e36f5c43c_z.jpg|400px]]
-In Photoshop, the double exposure can be made by putting two images on separate layers, then adjust the blending mode of the top layer. We’ve provided two images on the disk, but you might explore taking two images with a digital camera or scanning two photographs that address the subjects of time, dreams, paranoia, schizophrenia, otherworldliness, duality, etc. The double exposure is often used to express duality or the passing of time (also see Duane Michaels’ photographs).
+In Photoshop, the double exposure can be made by putting two images on separate layers, then adjust the blending mode of the top layer. We’ve provided two images on the disk, but you might explore taking two images with a digital camera or scanning two photographs that address the subjects of time, dreams, paranoia, schizophrenia, other-worldliness, duality, etc. The double exposure is often used to express duality or the passing of time (also see Duane Michals’ photographs).
 '''1.''' Create a New Document using File > New. Set the width and height to 12 by 10 inches (notice the units of measurement pull-down menus as 10 pixels results in a much smaller document than 10 inches). Set the resolution to 72 DPI and leave the color space in RGB mode. Name it "double-exposure".
-[[File:Fig09_Ex1_01_CS6.png|400px]]
+[[File:Fig9 Ex1 01 CC2018.png|600px]]
@@ Line 50: / Line 50: @@
 '''2.'''	Open Hand01.jpg included on the disk. The file will open as a new tab in the main window. Click on the tab and pull down and away from the toolbar so the image is opened in its own window. There are many ways to copy the hand into the new document we are using to assemble the double-exposure. One method is to use the Move Tool to drag the hand layer (in this case, the background layer is the hand layer) into a different document. Click on the Move Tool in the Tool Palette, then click on the hand and drag it to the center of the double-exposure document that we left open.
-[[File:Fig09_Ex1_02_CS6.png|400px]]
+[[File:Fig9 Ex1 02 CC2018.png|600px]]
 <table class="infobox">
@@ Line 63: / Line 60: @@
 </table>
 Notice that when the hand is dragged into the double-exposure document it appears very large. The hand file contains more pixels than the double-exposure file. We did this on purpose for two reasons: 1. To demonstrate that the number of pixels in a document has a noticeable affect on the way that the file is previewed in PhotoShop and 2. To distinguish the hand, originally a digital photo (the camera we used stored a significant amount of information), from the working file that we generated from File > New. You can always create a new file with a higher resolution value, but for exercises that will not be printed it is faster to work in a file with resolution no greater than the screen. The larger the resolution, the larger the file size; and larger file sizes require greater computer processing power. Larger file sizes, requiring more processing power, tend to slow down the work process. In a learning environment, we try to avoid hinderances.
@@ Line 68: / Line 66: @@
 '''3.''' In the Layer Palette, double-click on the name “Layer 1” to rename it “hand01.” Notice "Background" beneath the layer, "hand01". The Background Layer is completely white. It was the first layer that PhotoShop generated when the new document was created. By moving the hand into the new document, we created a new layer.  Click once on the Background Layer and then click on the trash can icon in the bottom right corner of the Layer Palette. At the “Delete the layer Background” warning dialog box click “Yes.” Now the layer hand01 is active (indicated by a light grey highlight). To scale the hand so that it fits into the document, click Edit > Free Transform.
-[[File:Fig09_Ex1_03_CS6.png]]
+[[File:Fig9 Ex1 03 CC2018.png]]
 '''4.''' When the image to be transformed does not run off the edges of the file document, it is easy to transform it by using the arrows at one of the four corners of the transformation box to click and drag towards the center of the image. However you may have to move the image in order to see the arrows at the corners. This type of transformation is similar to transforming objects in Illustrator.  Remember to always hold the SHFT key in order to maintain the proportions of the image. In this situation, it is easier to use the transform tools in the Options Palette at the top of the document because we cannot see the edges of the transformation box. First click on the link icon between the width and height percentage boxes to maintain the aspect ratios (or proportions). Now enter 65% into either the width or height box and notice that the other box also takes on the 65% value. Press “Return” or “Enter” on your keypad to finalize the transformation.
-[[File:Fig09_Ex1_04_CS6.png|600px]]
+[[File:Fig9 Ex1 04 CC2018.png|700px]]
@@ Line 86: / Line 85: @@
 '''5.''' Open Hand02.jpg and use the Move Tool or another method to bring the image of the second hand into the double-exposure document. Notice that it has already been scaled for you. While the second hand is still active in the Layer Palette, click Edit > Transform > Flip Horizontal. The Transform submenu will modify any layer or a selection on any layer. It does not modify the entire document. Notice that this transformation only occurred on the second hand and not on the hand01 layer. Flip the image back to its original orientation by again clicking Edit > Transform > Flip Horizontal. In the Layer Palette, double-click on the name of Layer2 to rename it, “hand02.”
-[[File:Fig09_Ex1_05_CS6.png|400px]]
+[[File:Fig9 Ex1 05 CC2018.png|400px]]
 '''6.''' Use the Move Tool to move the separate layers into position. Clicking one time in the Layer Palette activates a layer. Notice that whichever layer is active can be moved with the Move Tool. Once both layers are named and positioned, use the Layer Blending Modes pull-down menu in the top left area of the Layer Palette to choose “Multiply” on the top layer, “hand02”. Leave the hand01 layer in Normal mode. Blending modes define how layers interact. We will continue to explore these in the third exercise.
-[[File:Fig09_Ex1_06_CS6.png]]
+[[File:Fig9 Ex1 06 CC2018.png]]
 The double-exposure happens in the area where the two images overlap. Multiply blending mode allows us to see the two images together, as if they were photographed on the same piece of film. In the next exercise we will crop the image so that only the double-exposure remains.