Download Print this page

Adobe PHOTOSHOP 5.0 User Manual

Table Of Contents

Table of Contents

Advertisement

Quick Links

®

User Guide

version

Adobe Photoshop 5.0

®

Table of Contents

Advertisement

Table of Contents

Need help?

Need help?

Do you have a question about the PHOTOSHOP 5.0 and is the answer not in the manual?

Questions and answers

Summary of Contents for Adobe PHOTOSHOP 5.0

Page 1 ® User Guide version Adobe Photoshop 5.0 ®...
Page 2 U.S. government end users (A) only as commercial items and (B) with only those rights as are granted to all other end users pursuant to the terms and conditions set forth in the Adobe standard commercial agreement for this software.
Page 3: Table Of Contents
..... 5 Installing and starting Adobe Photoshop ....5 Starting Adobe Photoshop .
Page 4 CONTENTS Getting Images into Chapter 3 Photoshop About bitmap images and vector graphics ....41 About image size and resolution ..... . . 42 Changing image size and resolution .
Page 5 Making Color and Tonal Chapter 6 Adjustments Using the Adobe Photoshop color correction tools ..105 Comparing CMYK and RGB mode corrections ... . . 109 Step 1: Calibrate your system .
Page 6 Choosing the foreground and background colors ..214 Using the Adobe Photoshop Color Picker ....218 Using other color pickers .
Page 7 Editing layers ........269 Specifying layer options .
Page 8 External automation ....... . 358 Troubleshooting Appendix Before you call Adobe Technical Support ....361 Setup and performance problems .
Page 9: Introduction
This chapter also describes system painting software. Whether you are a novice or requirements, and provides information on new an expert in image editing, the Adobe Photoshop features in Adobe Photoshop 5.0. program offers you the tools you need to get This manual assumes you have a working professional-quality results.
Page 10: Windows System Requirements
A CD-ROM drive. • Classroom in a Book section when viewing the tutorials. For information on how to install and A sound card (required to use the Adobe • use Adobe Acrobat and QuickTime to view these Photoshop Tour and Training CD-ROM).
Page 11: The Adobe Photoshop Package Contents
For the best performance, Adobe Systems recom- Includes every- The Adobe Photoshop installer mends the following hardware and software: thing needed to install Adobe Photoshop 5.0 on your hard drive—the installer, the Adobe Mac OS version 8.1 or later. •...
Page 12: Registration
Photoshop information and the Adobe site, The Electronic Publishing Guide Explains how to choose File > Adobe Online or click the image at use Adobe products to produce art and documen- the top of the tool bar. tation for online display.
Page 13: Adobe Systems Training Opportunities
CD-ROM. installs the complete set of Photoshop program ﬁles and system support ﬁles. If you’re upgrading to Adobe Photoshop 5 from an earlier version, the installer creates by default a Compact (Windows only) installs the minimum •...
Page 14: Starting Adobe Photoshop
Choose Start > Programs > Adobe > Adobe fonts in Photoshop images. To install the CMap ﬁles Photoshop 5.0. (If you installed the program in a in any other version of Photoshop, you must use the folder other than Adobe, choose that folder from Custom or Custom Install option.
Page 15 “Transforming objects in two dimensions” on before-and-after color data as you make color page 182.) adjustments. (See “Previewing color adjustments” on page 106.) New in Photoshop 5.0, layer effects Layer effects automatically apply complex effects such as The updated Enhanced Hue/Saturation command...
Page 16 Any PDF ﬁle can now be opened and PDF import create paths simply by drawing the shape of the rasterized in Photoshop. Support for Adobe Illus- path you want. As you drag, the tool automatically trator and generic EPS ﬁles also is improved. (See places anchor points, which you can then adjust.
Page 17: Changed Keyboard Shortcuts, Tools, And Commands
The following are some of the Photoshop 4.0 shortcuts, tools, and commands that have been changed for Photoshop 5.0. For a complete list of shortcuts, see the online help: To cycle through a series of related tools on the •...
Page 21: A Quick Tour Of Adobe Photoshop
Selecting You can bring images into Adobe Photoshop in In Adobe Photoshop, you modify part of an image many ways. Most projects begin with a scanned by ﬁrst selecting that area. You’ll begin the tour by...
Page 22 CHAPTER 1 A Quick Tour of Adobe Photoshop First, you’ll make a simple selection, and drag an Now you’ll resize the CD. image from one ﬁle to another. Choose Edit > Free Transform. Move the Click the title bar of the CD.psd window to pointer onto one of the corner handles.
Page 23: Layers
ADOBE PHOTOSHOP 5.0 User Guide Layers Select the magic wand tool ( ); then click the title bar of the Horn.psd window to make it active. Photoshop lets you organize artwork on separate Click the white background in the upper right transparent layers so that you can easily construct corner of the image to select it.
Page 24 CHAPTER 1 A Quick Tour of Adobe Photoshop By changing the order of layers, you can restack Select Layer 1 in the Layers palette, and drag the images in the artwork. opacity slider to 40%. You can now see other layers through the CD.
Page 25 ADOBE PHOTOSHOP 5.0 User Guide Select the type tool ( ), and click the image in You can enhance any layer by adding a shadow, the upper right corner. glow, bevel, or emboss special effect from the program’s assortment of layer effects. You can also...
Page 26: Filters
CHAPTER 1 A Quick Tour of Adobe Photoshop Double-click the T icon on the Mezzo Piano Then choose Filter > Fade Angled Strokes. In layer in the Layers palette. In the Type Tool dialog the dialog box, set the opacity to 50%, select box, select the word “PIANO”...
Page 27 ADOBE PHOTOSHOP 5.0 User Guide Now you’ll paint arcs of four different colors over Now hold down Alt/Option, and click a red note the bell of the French horn. The ﬁrst color is white, to change the foreground color to red. Release the which you’ll select through the toolbox color...
Page 28: Retouching
You can now continue working from this version of the image. All changes past Fade Angled Strokes Adobe Photoshop provides a full range of tools for will be deleted, and new changes will be recorded retouching images, including dodge and burn in their place.
Page 29: Actions
ADOBE PHOTOSHOP 5.0 User Guide Select the Preview option in the dialog box, drag Adobe Photoshop offers some ready-made actions the top slider away from Cyan toward Red, and you can run on a ﬁle or set of ﬁles. You’ll use one click OK.
Page 30: Saving The File
CHAPTER 1 A Quick Tour of Adobe Photoshop When the action is complete, choose Layer > Congratulations, you’ve ﬁnished the tour. Flatten Image, and in the dialog box click OK to Continue experimenting by creating your own discard the hidden layers.
Page 33: Looking At The Work Area
Chapter 2: Looking at the Work Area he Adobe Photoshop work area includes the adding elements such as masks, layers, and menu bar at the top of your screen, the channels. You can also add commands and ﬁlters image window containing an image, and a...
Page 34: Using The Toolbox
CHAPTER 2 Looking at the Work Area Using the toolbox To select a hidden tool, position the pointer on • the visible tool, and drag to highlight the tool The tools in the toolbox let you select, paint, edit, you want. and view images.
Page 35 ADOBE PHOTOSHOP 5.0 User Guide Each default pointer has a different hot spot, With very small brushes, the brush shape is where an effect or action begins. You can switch surrounded by four dots for ﬁner accuracy. to precise pointers, which appear for most tools as cross hairs centered around the hot spot.
Page 36: Using The Status Bar
CHAPTER 2 Looking at the Work Area Using the status bar To make a palette appear at the front of its group, • click the palette’s tab. The status bar at the bottom of the program window displays useful information—such as the current magniﬁcation and ﬁle size of the active image, and brief instructions for using the active tool.
Page 37 (A second click collapses the palette group.) box positions: Choose File > Preferences > General. Deselect Save Palette Locations. The change takes effect the next time you start Adobe Photoshop. Click to collapse or expand palette. Using the Options palette A.
Page 38 CHAPTER 2 Looking at the Work Area To use a pop-up slider: Some settings in the Options palette are common to several tools (such as painting modes and Do one of the following: opacity), some speciﬁc to one tool (such as the Position the pointer over the triangle next to the •...
Page 39 ADOBE PHOTOSHOP 5.0 User Guide To display the Info palette: When you use a two-dimensional transfor- • mation command, the Info palette displays the Choose Window > Show Info. percentage change in width (W) and height (H), The Info palette displays the following speciﬁc...
Page 40: Using Context Menus
Using Adobe online services If you have an Internet connection and a Web browser installed on your system, you can access the Adobe Systems Home Page on the World Wide Web (at http://www.adobe.com) for information on services, products, and tips pertaining to Photoshop.
Page 41: Viewing Images
ADOBE PHOTOSHOP 5.0 User Guide Viewing images The hand tool or the Navigator palette can be used for scrolling. The hand tool, the zoom tools, the Zoom commands, and the Navigator palette let you view To open multiple views of the same image: different areas of an image at different magniﬁca-...
Page 42 To specify a different color, click the color box, • and choose a color as described in “Using the To zoom out: Adobe Photoshop Color Picker” on page 218. Do one of the following: Click OK. Select the zoom tool. Hold down Alt (Windows) •...
Page 43 ADOBE PHOTOSHOP 5.0 User Guide To display an image at 100%: Choose View > Zoom Out to reduce to the • previous preset percentage. Do one of the following: Use these zoom shortcuts: Double-click the zoom tool. • To activate the zoom-in tool, press •...
Page 44: Using Plug-In Modules
Otherwise, drag a copy of the module • (Mac OS), and drag over the area of the Navigator to the Plug-Ins folder inside the Adobe Photoshop palette’s thumbnail that you want to magnify. folder. To zoom to the speciﬁed percentage and...
Page 45: Setting Preferences
Open the Adobe Photoshop Settings folder inside On the Macintosh, to select the plug-ins the Photoshop folder, and rename or delete the location immediately upon starting Adobe Adobe Photoshop 5.0 Prefs ﬁle and the Color Photoshop, press Command+Option as you Settings ﬁle. launch the program.
Page 49: Getting Images Into Photoshop
Chapter 3: Getting Images into Photoshop n Adobe Photoshop, you can create new A bitmap image is resolution-dependent—that is, images, import them from another graphics it contains a ﬁxed number of pixels to represent its application, or capture them from video. Often image data.
Page 50: About Image Size And Resolution
CHAPTER 3 Getting Images into Photoshop Because computer monitors represent images by BITMAP VS. VECTOR A bitmap image is composed displaying them on a grid, both vector and bitmap of a grid of small squares known as pixels. A vector images are displayed as pixels on-screen.
Page 51 ADOBE PHOTOSHOP 5.0 User Guide Image resolution The number of pixels displayed ON-SCREEN DISPLAY SIZE How large an image per unit of printed length in an image, usually appears on-screen depends on a combination of measured in pixels per inch (ppi). An image with factors––the pixel dimensions of the image, the...
Page 52 CHAPTER 3 Getting Images into Photoshop To determine the image resolution to use, consider In Photoshop, image pixels are translated directly the medium of ﬁnal distribution for the image. If into monitor pixels. This means that when the you’re producing an image for online display, the image resolution is higher than the monitor image resolution only needs to match the typical resolution, the image appears larger on-screen...
Page 53 ADOBE PHOTOSHOP 5.0 User Guide High-end imagesetters can print at 1200 dpi or IMAGE RESOLUTION AND SCREEN FREQUENCY higher and produce good results with images from To ensure high-quality output when printing with 200 ppi to 300 ppi. a halftone screen, you need to choose an image...
Page 54: Changing Image Size And Resolution
CHAPTER 3 Getting Images into Photoshop File size The digital size of an image, measured in RESOLUTION, FILE SIZE, AND OUTPUT The ﬁle kilobytes (K), megabytes (MB), or gigabytes (GB). size of an image refers to the total amount of pixel File size is proportional to the pixel dimensions of information in the image.
Page 55 ADOBE PHOTOSHOP 5.0 User Guide To display dimensions, channel information, and Information about the current ﬁle size and resolution information: resolution of an image is displayed at the lower left of the image window. Before you change the size of...
Page 56 CHAPTER 3 Getting Images into Photoshop About resampling The dimensions of the page shown in the page preview box correspond to the page size speciﬁed Resampling refers to changing the pixel dimen- with the Page Setup command (see “General sions (and therefore ﬁle size) of an image. When printing options”...
Page 57 ADOBE PHOTOSHOP 5.0 User Guide To change the pixel dimensions of an image: You can avoid the need for resampling by scanning in or creating the image at a high enough Choose Image > Image Size. resolution. If you want to preview the effects of...
Page 58 CHAPTER 3 Getting Images into Photoshop If you turn on resampling for the image, you can Under Print Size, enter new values for the height change print dimensions and resolution indepen- and width. If desired, choose a new unit of dently.
Page 59: Scanning Images
Choosing an interpolation method dynamic range your image requires. These prepa- When an image is resampled, Adobe Photoshop ratory steps can also prevent unwanted colors casts uses an interpolation method to assign color values from being introduced by your scan.
Page 60 To import an image using the TWAIN interface: If you’re using the TWAIN device for the You can import scanned images directly from any ﬁrst time with Adobe Photoshop, choose File > scanner that has an Adobe Photoshop-compatible Import > Select TWAIN_32 Source. Then select plug-in module or supports the TWAIN interface.
Page 61 “Step 3: Set the highlight and shadow values” on page 114). To calculate the ﬁle size before scanning an image: Open Adobe Photoshop, and choose Eliminating unwanted color casts File > New. If your scanned image contains an unwanted color...
Page 62: Creating New Images
CHAPTER 3 Getting Images into Photoshop To identify and correct a color cast introduced by To create a new image: a scanner: Do one of the following: Make sure that your monitor has been To base the image dimensions and resolution on •...
Page 63: Opening And Importing Images
Click Open. In some cases, a dialog box appears, letting you set the open options. The formats In Adobe Photoshop, you can open and import requiring an open dialog box are described in the images in various ﬁle formats and have multiple following sections.
Page 64 File > Automate > Multi-Page PDF original aspect ratio. to PSD. Adjust the placed artwork: To open an Adobe Illustrator, PDF, or EPS ﬁle as a new To move, position the pointer inside the • Adobe Photoshop image: bounding box, and drag.
Page 65: Viewing Copyright And File Information
ADOBE PHOTOSHOP 5.0 User Guide Turning off anti-aliasing for imported Choose a resolution for the image. objects Select Landscape to open portrait images in The Anti-alias PostScript option removes jagged landscape orientation. ® edges from a pasted or placed selection by making Click Source.
Page 66: Cropping An Image
CHAPTER 3 Getting Images into Photoshop To view ﬁle information: To crop an image using the Crop command: Choose File > File Info. For section, choose the Use the rectangle marquee tool to select the part attribute you want to view. of the image you want to keep.
Page 67: Increasing The Size Of The Work Canvas
ADOBE PHOTOSHOP 5.0 User Guide To rotate the marquee, position the pointer Choose the units of measurement you want • outside the bounding box (the pointer turns into a from the menus. The Columns option measures curved arrow), and drag. To adjust the point width in terms of the columns speciﬁed in the...
Page 68 CHAPTER 3 Getting Images into Photoshop For Anchor, click a square to indicate where to position the existing image on the new canvas. Click OK. Original canvas, and canvas added to top of image...
Page 71: Choosing A Color Mode
0% (gray) to 100% nology can help you understand how color (fully saturated). On the standard color wheel, is measured and how Adobe Photoshop saturation increases from the center to the edge. uses this information to deﬁne, display, and print Brightness is the relative lightness or darkness of •...
Page 72 CHAPTER 4 Choosing a Color Mode RGB mode with black (K) ink to produce a true black. (K is used instead of B to avoid confusion with blue.) Photoshop’s RGB mode uses the RGB model, Combining these inks to reproduce color is called assigning an intensity value to each pixel ranging four-color process printing.
Page 73 ADOBE PHOTOSHOP 5.0 User Guide L*a*b model Specialized color modes The L*a*b color model is based on the model Photoshop also provides specialized color modes. proposed by the Commission Internationale Uses one of two color values (black Bitmap mode d’Eclairage (CIE) in 1931 as an international or white) to represent the pixels in an image.
Page 74: Color Gamuts
CHAPTER 4 Choosing a Color Mode Duotone mode Creates duotone (two-color), Converting a CMYK image to multichannel • tritone (three-color), and quadtone (four-color) creates cyan, magenta, yellow, and black spot grayscale images using two to four colored inks. channels. (See “Using monotones, duotones, tritones, and Converting an RGB image to multichannel •...
Page 75: Color Channels
Color channels with the Info palette and color samplers, see “Previewing color values” on page 107 and the Every Adobe Photoshop image has one or more procedure to change Info palette options in “Using channels, each storing information about color the Info palette”...
Page 76 For more information, see displays Chapter 14, Saving and Exporting Images. Each image mode in Adobe Photoshop uses a color lookup table, or color palette, to store the colors About bit depth used in the image. When you’re working with a display system that supports 8-bit color (or fewer Bit depth—also called pixel depth or color depth—...
Page 77: Converting Between Bit Depths
(usually RGB from most scanners, than an 8-bit-per-channel image. or CMYK from traditional drum scanners or if imported from Adobe Illustrator or from a Scitex Photoshop supports these tools and commands in system). 16-bit-per-channel images: the marquee, lasso, crop, measure, zoom, hand, pen, eyedropper, Save a backup copy before converting.
Page 78: Converting Between Grayscale Mode And Bitmap Mode
CHAPTER 4 Choosing a Color Mode To convert an image to Bitmap mode: The following mode conversions ﬂatten the ﬁle: Do one of the following: RGB to Indexed color or Multichannel mode. • If the image is in color, choose Image > Mode > •...
Page 79 ADOBE PHOTOSHOP 5.0 User Guide Specifying a halftone screen for a Bitmap- Enter a value for the screen angle in degrees mode image from –180 to +180. The Halftone Screen option in the Bitmap dialog The screen angle refers to the orientation of the box lets you convert a grayscale image to simulated screen.
Page 80: Converting To Indexed Color
1-inch-by-1-inch pattern to a 4-inch-by-4-inch inevitably introduced. This error is transferred to image, the pattern appears as 16 squares. Adobe surrounding pixels and diffused throughout the Photoshop comes with several self-tiling patterns image, resulting in a grainy, ﬁlmlike texture.
Page 81 ADOBE PHOTOSHOP 5.0 User Guide To convert an RGB image to an indexed-color image: Uniform Creates a palette by uniformly sampling colors from the spectrum. For example, if you Choose Image > Mode > Indexed Color. choose an 8-bit color depth, Photoshop takes 6 Note: The image must be ﬂattened ﬁrst, or you will...
Page 82 Faster Takes less time than Best, but may not ﬁnd Adobe Photoshop still treats the image as an 8-bit, the best color match for each pixel. This option is 256-color image.
Page 83 Choose the color you want, as explained in from violet, blue, and green to yellow, orange, “Using the Adobe Photoshop Color Picker” on and red. page 218, and click OK. Displays the standard Windows Windows System 256-color system palette.
Page 84 You use the Save and Load buttons in the Color Table dialog box to save your indexed color tables for use with other Adobe Photoshop images. Once you load a color table into an image, the colors in the image change to reﬂect the color positions they reference in the new color table.
Page 87: Reproducing Color Accurately
RGB color space that your monitor a video display, or a different computer monitor, can display. You must calibrate your monitor and also between your colors in Adobe Photoshop before you can display colors accurately on it. and in other software programs. If your monitor Once you have calibrated your monitor, isn’t calibrated, the resulting colors may not even...
Page 88: About Workﬂow
CHAPTER 5 Reproducing Color Accurately The CMYK Setup dialog box deﬁnes which CMYK To ﬁne-tune the CMYK settings you made in color space to use for editing and printing CMYK step 3, print a pre-separated CMYK proof as images. described on page 92. Then adjust the CMYK Setup settings to match the proof as described on Even if you plan to print your ﬁles, you may not page 92.
Page 89: About Icc Proﬁles
• module Display CMYK colors accurately on the screen. • To work with ICC proﬁles in Adobe Photoshop, you can choose which CMM to use for converting About ICC proﬁles images. These are typical CMMs: One of the methods Photoshop can use to manage The Photoshop built-in CMM.
Page 90: Calibrating Your Monitor
When opening an RGB, Grayscale, or CMYK • ﬁle, to compare the ﬁle’s color space to the color The Adobe Gamma utility lets you calibrate the space deﬁned in the appropriate Setup dialog box. contrast and brightness, gamma (midtones), color If the two color spaces are not the same, you can balance, and white point of monitors.
Page 91 For Phosphors, choose a monitor type. If the Start the Adobe Gamma utility located in the correct type is not listed, choose Custom, and Photoshop/Calibrate folder (Windows) or enter the red, green, and blue chromaticity coordi- Photoshop/Goodies/Calibration folder (Mac OS).
Page 92: Entering Rgb Setup Information
Deselect Use As Default Monitor Proﬁle in the • gamma based on Red, Blue, and Green reading. Adobe Gamma control panel unless you want the Drag the slider under each box, until the center secondary monitor’s proﬁle to be used as the box matches the patterned frame.
Page 93 Apple RGB for the RGB color space used by SMPTE-C for the current color television • • earlier versions of Adobe Photoshop as well as a standard in the United States and other parts of the variety of other desktop publishing applications. world that use NTSC-based television.
Page 94: Entering Cmyk Setup Information
CHAPTER 5 Reproducing Color Accurately For Primaries, choose a set of red, green, and As with the RGB Setup dialog box, Photoshop uses blue phosphor or primary types. This option is information in the CMYK Setup dialog box when based on the different red, green, and blue converting color values between modes.
Page 95: Using Icc Proﬁles To Deﬁne The Cmyk Color Space
ADOBE PHOTOSHOP 5.0 User Guide To specify the ink and separation options For Engine, choose the CMM you want to use. • yourself, see “Using the Built-in option to deﬁne Built-in refers to Photoshop’s built-in CMM. the CMYK color space” on page 88.
Page 96: Using The Built-In Option To Deﬁne The Cmyk Color Space
CHAPTER 5 Reproducing Color Accurately Using the Built-in option to Photoshop what printed cyan, magenta, yellow, and black look like given a certain set of inks and deﬁne the CMYK color space paper stock under your lighting conditions. The Built-in option in the CMYK Setup dialog box Note: In most cases, printing ink characteristics do lets you specify the ink and separation options.
Page 97: Adjusting Separation Options
ADOBE PHOTOSHOP 5.0 User Guide To save and load settings: their subtractive counterparts (cyan, magenta, and yellow). In theory, equal parts of cyan, Use the Save and Load buttons in the CMYK Setup magenta, and yellow combine to subtract all dialog box to save these settings as an ICC proﬁle.
Page 98 CHAPTER 5 Reproducing Color Accurately Adjusting the separation type and black The Separation Options area in the CMYK Setup generation dialog box displays a graph based on current settings showing how the neutral colors in the In most cases, the Photoshop color separation image will separate.
Page 99 ADOBE PHOTOSHOP 5.0 User Guide Choosing the ink limits You can choose from several Black Generation settings in the Separation Setup dialog box: For both GCR and UCR separations, the black generation uses the ink limit settings you enter in None generates the color separation using no •...
Page 100: Printing A Color Proof
Testpict.jpg (Windows) or Olé No Moire A set of swatches that make up a four-color • (Mac OS) CMYK image included with the Adobe black, such as 60% cyan, 50% magenta, Photoshop software, or you can create your own 50% yellow, and 100% black.
Page 101 ICC increases or decreases. For example, a 50% proﬁle. Adobe Systems strongly recommends that halftone screen may be read with a densitometer at you calibrate the imagesetter using the manufac- an actual density on the printed page of 55%.
Page 102 CHAPTER 5 Reproducing Color Accurately Decreasing the dot gain makes the image on- For CMYK Model, choose Built-in. screen appear lighter, because the dots are smaller. Choose Standard from the Dot Gain menu and Increasing the dot gain makes the image appear enter the total amount of dot gain from step 2 in darker, because the dots are larger.
Page 103 ADOBE PHOTOSHOP 5.0 User Guide Click to add an adjustment point in the dot gain Transfer functions enable you to compensate for • curve, and drag the point to change its value. The dot gain between the image and ﬁlm. For example, value then appears in the appropriate text box.
Page 104 CHAPTER 5 Reproducing Color Accurately To save the current transfer function settings as Calculate the required adjustment, and type the the default: values (as percentages) in the Transfer Functions dialog box. Hold down Alt (Windows) or Option (Mac OS) to change the Save button to —>...
Page 105: Converting To Cmyk
ADOBE PHOTOSHOP 5.0 User Guide The Ink Colors dialog box displays the various Using your printed CMYK proof, take a reading combinations of CMYK and the CIE coordinates of the color values using a spectrophotometer or a measured for each. CIE coordinates are an inter- colorimeter, and then enter those values in the Ink national color deﬁnition standard supported by...
Page 106 CHAPTER 5 Reproducing Color Accurately Using color separation tables Avoid multiple conversions between RGB and • CMYK mode, because each conversion requires The Tables option lets you do the following: color values be recalculated and rounded, Save the CMYK setup from the built-in model as •...
Page 107: Managing Icc Proﬁles In Files
ADOBE PHOTOSHOP 5.0 User Guide Loading a separation table overrides any options The following information can help you in speci- in the CMYK Setup dialog boxes. To use the fying Proﬁle Setup options: dialog box settings again, you must choose File >...
Page 108: Converting The Color Space Of Open Images
Grayscale color spaces to convert from when Setup dialog box. opening ﬁles that don’t contain an ICC proﬁle. Important: Adobe does not recommend automati- For example, if an RGB image was previously cally converting CMYK images to other color spaces, saved in Photoshop 4.0 in Mac OS, choosing...
Page 109 ADOBE PHOTOSHOP 5.0 User Guide To convert the color space of open images: If you’ve changed one of the Setup dialog boxes, use this command to maintain accurate color on Select an open image. any open images. For example, if you’ve used the Choose Image >...
Page 113: Making Color And Tonal Adjustments
When you make color adjustments to a channel or a regular All Adobe Photoshop color correction tools layer, you permanently alter the pixels on that work essentially the same way: by mapping layer.
Page 114 CHAPTER 6 Making Color and Tonal Adjustments To open a color adjustment dialog box: immediate, but not always accurate, preview of changes. You can turn off color table animation to Do one of the following: display an accurate preview of color adjustments Choose Image >...
Page 115 ADOBE PHOTOSHOP 5.0 User Guide To turn on previewing and deactivate color table When you work with a color adjustment dialog animation: box, the Info palette displays two sets of color values for the pixels under the pointer. The value Select the Preview option in any color correction in the left column is the original pixel’s color value.
Page 116 CHAPTER 6 Making Color and Tonal Adjustments To display or hide color sampler information in the To change the color space in which a color sampler Info palette: displays values: Choose Show Color Samplers or Hide Color Move the pointer onto the color sampler icon in •...
Page 117: Comparing Cmyk And Rgb Mode Corrections
ADOBE PHOTOSHOP 5.0 User Guide Comparing CMYK and RGB mode To use the Color palette to preview color values: Choose Window > Show Color. corrections Select the eyedropper tool ( ). Even though you can perform all tonal and color corrections in either RGB or CMYK mode, you Open a color adjustment dialog box (see “Using...
Page 118 CHAPTER 6 Making Color and Tonal Adjustments Identifying out-of-gamut colors With certain types of separations, you must • work in RGB mode anyway. For example, if you The gamut is the range of colors that can be separate an image using the Maximum Black displayed or printed in a color system.
Page 119: Step 1: Calibrate Your System
ADOBE PHOTOSHOP 5.0 User Guide You can also quickly identify all out-of-gamut colors in an RGB image by using the Gamut STEPS IN MAKING COLOR AND TONAL Warning command. This command highlights all ADJUSTMENTS pixels that are out of gamut in the image.
Page 120: Step 2: Check The Scan Quality And Tonal Range
CHAPTER 6 Making Color and Tonal Adjustments Step 2: Check the scan quality LOOKING AT THE HISTOGRAM The histogram and tonal range shows how the pixels’ values are distributed in an image, and whether the image contains enough detail It’s important to determine whether your image in the shadows (shown in the left part of the histogram), the midtones (shown in the middle), and has sufﬁcient detail to produce high-quality...
Page 121 ADOBE PHOTOSHOP 5.0 User Guide To determine whether a scan captured The numerical values at the lower left of the enough detail for high-quality output, Histogram dialog box display statistical infor- check the RGB pixel values of your highlight mation about the color values of the pixels: and shadow areas in the Info palette—...
Page 122: Step 3: Set The Highlight And Shadow Values
CHAPTER 6 Making Color and Tonal Adjustments Step 3: Set the highlight and For a color illustration on determining highlight and shadow values, see page 230. shadow values You begin professional tonal correction by Setting the highlights and shadows using assigning values to the extreme highlight and target values shadow pixels in the image, setting an overall...
Page 123 ADOBE PHOTOSHOP 5.0 User Guide The eyedropper displays the average value of each The RGB equivalent is 244, 244, 244. • 3-by-3-screen-pixel area, ensuring a representative The grayscale equivalent is a 4% dot. • sample of an area rather than the value of a single You can reproduce these target values quickly by •...
Page 124 CHAPTER 6 Making Color and Tonal Adjustments The RGB equivalent is 10, 10, 10. Hold down Alt (Windows) or Option • (Mac OS), and drag the white or black Input The grayscale equivalent is a 96% dot. • Levels triangle. You can reproduce these same values quickly by •...
Page 125 ADOBE PHOTOSHOP 5.0 User Guide Setting the highlights and shadows using To set the highlights and shadows using the Levels sliders: the Levels sliders Open the Levels dialog box (see “Using color You can also set the highlights and shadows in an adjustment commands”...
Page 126 CHAPTER 6 Making Color and Tonal Adjustments You can also enter values directly into the Input You can also enter values directly into the Output Levels text boxes. Levels text boxes. A. Decreases shadows B. Decreases highlights If your image also needs midtone corrections, you can set them now with the Levels dialog box.
Page 127: Step 4: Adjust The Midtones And Fine-Tune The Tonal Correction
ADOBE PHOTOSHOP 5.0 User Guide Step 4: Adjust the midtones and By default, the Auto feature clips the white and black pixels by 0.5%—that is, it ignores the ﬁrst ﬁne-tune the tonal correction 0.5% of either extreme when identifying the Once you have set the highlights and shadows, you lightest and darkest pixels in the image.
Page 128 CHAPTER 6 Making Color and Tonal Adjustments Using the Curves command If you’re working in an image with more than one color channel, choose the channel (or Like Levels, Curves lets you adjust the tonal range channels) you want to adjust from the Channel of an image.
Page 129 ADOBE PHOTOSHOP 5.0 User Guide The horizontal axis of the graph represents the Click the part of the curve you want to adjust. original brightness values of the pixels (Input A set of direction arrows marks the pixel’s position levels); the vertical axis represents the new on the graph, and the Input and Output values brightness values (Output levels).
Page 130: Step 5: Adjust The Color Balance
CHAPTER 6 Making Color and Tonal Adjustments Adjust the curve: Arrow keys to move points on the curve. • Drag the curve until the image looks as you Shift-click to select multiple points. • • want it. Ctrl+Tab (Windows) or Command+Tab to •...
Page 131 ADOBE PHOTOSHOP 5.0 User Guide Once again, although you can use the Levels For example, in a CMYK image you can decrease command, Curves offers the most precise control magenta either by decreasing the amount of over pixel distribution within a channel. The...
Page 132 CHAPTER 6 Making Color and Tonal Adjustments To adjust an image using Hue/Saturation: Choose Shadows, Midtones, or Highlights to select the tonal range on which you want to focus Open the Hue/Saturation dialog box, as the changes. described in “Using color adjustment commands” on page 105.
Page 133 ADOBE PHOTOSHOP 5.0 User Guide For Hue, enter a value or drag the slider until the Drag one of the lighter gray bars to adjust the • colors appear as you want. range without affecting the amount of fall off.
Page 134 CHAPTER 6 Making Color and Tonal Adjustments To colorize a grayscale image or create a monotone To adjust and replace a color: effect: Choose Image > Adjust > Replace Color. If you are colorizing a grayscale image, choose Choose from the following options: Image >...
Page 135 ADOBE PHOTOSHOP 5.0 User Guide To use the Selective Color command: Drag the hue, saturation, and lightness sliders (or enter values in the text boxes) to change Open the Selective Color dialog box, as the color of the selected areas.
Page 136: Step 6: Sharpen The Image
CHAPTER 6 Making Color and Tonal Adjustments Step 6: Sharpen the image The effects of the Unsharp Mask ﬁlter are far more pronounced on-screen than in high-resolution Unsharp masking, or USM, is a traditional ﬁlm output. If your ﬁnal destination is print, exper- compositing technique used to sharpen edges in iment to determine what dialog box settings work an image.
Page 137: General-Purpose Color And Tonal Adjustment Commands
ADOBE PHOTOSHOP 5.0 User Guide If applying the Unsharp Mask ﬁlter makes The two thumbnails at the top of the dialog box already bright colors appear overly show the original selection (Original) and the saturated, convert the image to Lab mode and selection with its currently selected adjustments apply the ﬁlter to the L channel only.
Page 138: Special-Purpose Color Adjustment Commands
CHAPTER 6 Making Color and Tonal Adjustments Special-purpose color To subtract a color, click its opposite on the color • wheel (see “Adjusting color balance” on page 123). adjustment commands For example, to subtract cyan, click red. The Invert, Equalize, Threshold, Posterize, and Click the thumbnails on the right of the dialog Desaturate commands also change colors or box to adjust the brightness in the image.
Page 139 ADOBE PHOTOSHOP 5.0 User Guide To invert an image: To equalize the brightness values of pixels: Choose Image > Adjust > Invert. Choose Image > Adjust > Equalize. If you selected an area of the image, in the Equalize dialog box select what to equalize:.
Page 140 CHAPTER 6 Making Color and Tonal Adjustments To use the Threshold command: This command is useful for creating special effects, such as large, ﬂat areas in a photograph. Its effects Open the Threshold dialog box, as described in are most evident when you reduce the number of “Using color adjustment commands”...
Page 141 ADOBE PHOTOSHOP 5.0 User Guide Using the Desaturate command The Desaturate command removes all color values from a color image, converting it to a grayscale image in the same color mode. To desaturate an image: Choose Image > Adjust > Desaturate.
Page 145: Making Selections
Chapter 7: Selecting o modify part of an image in Adobe To select all pixels on a layer within the canvas boundaries: Photoshop, you ﬁrst select the area you want to edit. A selected area is indicated by Select the layer in the Layers palette, as a dotted selection border, also called a selection explained in “Using the Layers palette”...
Page 146 CHAPTER 7 Selecting To use the marquee tools: To make a selection, do one of the following: Select and double-click one of the following With the rectangular or elliptical marquee, drag • marquee tools to display its Options palette: over the area you want to select. Hold down Shift as you drag to constrain the marquee to a square or Rectangular marquee ( ) to make a rectangular •...
Page 147 ADOBE PHOTOSHOP 5.0 User Guide Using the lasso, polygon lasso, and To erase recently drawn segments, hold down magnetic lasso tools Delete until you’ve erased the desired segment. The lasso and polygon lasso tools let you draw To close the selection border, release the mouse both straight-edged and freehand segments of a without holding down Alt/Option.
Page 148 CHAPTER 7 Selecting Continue to click and Alt/Option-drag to ﬁnish If the border doesn’t snap to the desired edge, selecting. click once to add a fastening point manually. Continue to trace the edge and add fastening Close the selection border: points as needed.
Page 149 ADOBE PHOTOSHOP 5.0 User Guide To set options for the lasso, polygon lasso, and magnetic lasso tools: If needed, double-click the tool to open its Options palette. Specify feather and anti-aliasing options, as described in “Softening the edges of a selection” on page 147.
Page 150 CHAPTER 7 Selecting To use the magic wand tool: Using the Color Range command Double-click the magic wand tool to display its The Color Range command selects a speciﬁed Options palette. color or color subset within an existing selection or an entire image. If you want to replace a For Tolerance, enter a value in pixels, ranging selection, be sure to deselect everything before from 0 to 255.
Page 151 ADOBE PHOTOSHOP 5.0 User Guide Position the pointer over the image or preview Adjust the selection: area, and click to sample the colors you want To add colors, select the plus eyedropper from • included. the Color Range dialog box and click in the preview area or image.
Page 152: Adjusting Selections
CHAPTER 7 Selecting To select a range using preset colors: To save and load color range settings: Choose Select > Color Range. Use the Save and Load buttons in the Color Range dialog box to save and reuse settings. For Select, choose a color or tonal range. The Out-of-Gamut option works only on RGB and Lab images.
Page 153 ADOBE PHOTOSHOP 5.0 User Guide To add to, subtract from, or intersect a selection: Use the following methods to control selection movement: Make a selection. To constrain the direction to a multiple of 45 , • Using any selection tool, modify the selection:...
Page 154 CHAPTER 7 Selecting Grow and Similar to expand a selection to The Border command always creates an anti- • include areas similar in color. aliased selection (see “Softening the edges of a selection” on page 147). To paint a hard-edged Smooth to clean up any stray pixels left inside or •...
Page 155: Softening The Edges Of A Selection
1 and 16, and click OK. display its Options palette.) You must specify this option before using these tools. Once a selection is Adobe Photoshop checks around each selected made, you cannot add anti-aliasing. pixel to ﬁnd any unselected pixels falling within the speciﬁed range.
Page 156 CHAPTER 7 Selecting To deﬁne a feathered edge for a selection tool: Double-click the marquee, lasso, polygon lasso, or magnetic lasso tool to display its Options palette. Enter a Feather value in the Options palette. This value deﬁnes the width of the feathered edge and can range from 1 to 250 pixels.
Page 157: About Paths
ADOBE PHOTOSHOP 5.0 User Guide About paths Using the Paths palette Paths provide an effective way to draw precise The Paths palette lists the name of each saved path selection borders. A path is any line or shape you and a thumbnail of its contents. Decreasing the...
Page 158 CHAPTER 7 Selecting To change the size of a path thumbnail: Paths saved with an image appear when you open it again. In Windows, the Photoshop, JPEG, DCS, Choose Palette Options from the Paths EPS, PDF, and TIFF formats support paths. In Mac palette menu.
Page 159: Drawing Freehand Paths
ADOBE PHOTOSHOP 5.0 User Guide Drawing freehand paths Do one of the following: Drag the path to the Trash button at the bottom • The freeform pen tool and the magnetic pen tool of the Paths palette. let you draw paths as if you were drawing with a pencil on paper.
Page 160 CHAPTER 7 Selecting To continue the existing freehand path, position The most recent segment of the border remains the freeform pen pointer on an endpoint of the active. As you move the pointer, the active segment path, and drag. snaps to the strongest edge in the image, connecting the pointer to the last fastening point.
Page 161: Drawing With The Pen Tool
ADOBE PHOTOSHOP 5.0 User Guide Hold down Alt (Windows) or Option (Mac OS) Specify Frequency, Edge Contrast, and Stylus: • and double-click to close the path with a straight Pressure options, as described in the procedure on segment. page 141.
Page 162 CHAPTER 7 Selecting A path can be closed, with no beginning or end (for the curve on the same side of the point as the example, a circle), or open, with distinct endpoints direction line is adjusted. (for example, a wavy line). Adjusting smooth point and corner point Closed and open paths A.
Page 163 ADOBE PHOTOSHOP 5.0 User Guide Drawing curved paths Position the pen pointer where you want the straight line to begin, and click to deﬁne the ﬁrst You create curves by dragging the pen tool in the anchor point. The anchor point remains selected direction you want the curve to go.
Page 164 CHAPTER 7 Selecting Do one of the following: Complete the path: To draw the next segment of a smooth curve, To end an open path, click the pen tool in the • • position the pointer where you want the next toolbox.
Page 165: Adjusting Path Segments
ADOBE PHOTOSHOP 5.0 User Guide To select a path or path segment: When drawing a series of smooth curves, draw • one curve at a time, placing anchor points at the Select the direct-selection tool ( ). beginning and end of each curve, not at the tip of Do the following: the curve.
Page 166 CHAPTER 7 Selecting To move a curved segment: To activate the direct-selection tool when any other tool is selected, position the Select the direct-selection tool ( ), and select pointer over an anchor point, and press the points or segments you want to move. Be sure Ctrl (Windows) or Command (Mac OS).
Page 167 ADOBE PHOTOSHOP 5.0 User Guide To add an anchor point: To adjust the shape of the segment on either side • of a selected anchor point, drag the anchor point, Select the add-anchor-point tool ( ), and or drag the direction point. Hold down Shift as...
Page 168: Moving And Copying Paths
To convert a smooth point to a corner point with • between a Photoshop image and an image in direction lines, make sure the direction lines are another application, such as Adobe Illustrator, visible. Then drag a direction point to break the Adobe Streamline , or Adobe Dimensions ™...
Page 169: Filling And Stroking Paths
To ﬁll a path using the current Fill Path settings: Click the Fill Path button ( ) at the bottom of To copy paths between two Adobe Photoshop ﬁles: the Paths palette. Open both images. Use the direct-selection tool to select the path in To ﬁll a path and specify options:...
Page 170 CHAPTER 7 Selecting To stroke a path and specify options: Select Preserve Transparency to limit the ﬁll to layer areas that contain pixels. (See “Preserving a Select the path in the Paths palette. layer’s transparency” on page 269.) Select the painting or editing tool you want Select a Rendering option: to use to stroke the path.
Page 171: Converting Between Paths And Selection Borders
ADOBE PHOTOSHOP 5.0 User Guide Converting between paths and Select a Rendering option: selection borders Feather Radius to deﬁne how far inside and • outside the selection border the feather edge Because of their smooth outlines, paths can be extends. Enter a value in pixels.
Page 172 CHAPTER 7 Selecting To subtract the path from the current selection, Enter a Tolerance value. • press Ctrl+Alt/Command+Option and click the Tolerance values can range from 0.5 to 10 pixels path thumbnail. and determine how sensitive the Make Work Path To select the intersection of the path and the command is to slight changes in the selection •...
Page 175: Editing And Retouching
Chapter 8: Editing and Retouching Correcting mistakes dobe Photoshop makes it easy to edit and retouch your images. For example, you Most operations can be undone if you make a can move and copy selections within and mistake. Alternatively, you can restore all or part of between images and also between programs.
Page 176: Reverting To Any State Of The Image
CHAPTER 8 Editing and Retouching To reverse all changes made to the image since it was For example, if you select, paint, and rotate part of last saved: an image, each of those states is listed separately in the palette. You can then select any of these states, Choose File >...
Page 177 ADOBE PHOTOSHOP 5.0 User Guide To revert to a previous state of the image: By default, selecting a state dims those below. • This way you can easily see which changes will be Do any of the following: discarded if you continue working from the Click the name of the state.
Page 178 CHAPTER 8 Editing and Retouching To specify history options: Choose Edit > Purge > Histories to purge the list • of states from the History palette for all open Choose History Options from the History documents. This action cannot be undone. palette pop-up menu.
Page 179 ADOBE PHOTOSHOP 5.0 User Guide Making a snapshot of the image that you could not return to any of them. Using the Undo command undoes only one step and state. The Snapshot command lets you make a By making a snapshot ﬁrst, you can select and temporary copy (or snapshot) of any state of the redisplay the pre-action image.
Page 180: Duplicating Images
CHAPTER 8 Editing and Retouching Select the snapshot, and click the Trash If desired, select Impressionist to paint with an • button ( ). “impressionistic” copy of the source state or snapshot. This option drags and smears the pixels Drag the snapshot to the Trash button ( ). •...
Page 181: Using Rulers, The Measure Tool, Guides, And Grids
ADOBE PHOTOSHOP 5.0 User Guide To duplicate an image and automatically Position the pointer over the intersection of the append the name “copy” to it, hold down rulers in the upper left corner of the window, and Alt (Windows) or Option (Mac OS) as you drag diagonally down onto the image.
Page 182 CHAPTER 8 Editing and Retouching To display an existing measuring line: For Point/Pica Size, choose from the following options: Select the measure tool ( ). PostScript (72 points per inch) if you are • To measure between two points: printing to a PostScript device. Select the measure tool ( ).
Page 183 ADOBE PHOTOSHOP 5.0 User Guide Using guides and the grid Create a guide: Guides appear as lines that ﬂoat over the entire Drag from the horizontal ruler to create a • image and do not print. You can move, remove, or horizontal guide.
Page 184: Moving, Copying, And Pasting Selections
CHAPTER 8 Editing and Retouching Change the guide from horizontal to vertical, or For Color, choose a color for guides or the grid, • vice versa, by holding down Alt (Windows) or or both. If you choose Custom, click the color box, Option (Mac OS) as you click or drag the guide.
Page 185 ADOBE PHOTOSHOP 5.0 User Guide Copying selections or layers In the Move Options palette, select any of the following: You can use the move tool to copy selections as you drag them within or between Photoshop images. Pixel Doubling to speed the preview of the move •...
Page 186 CHAPTER 8 Editing and Retouching To copy a selection: As long as you hold down Alt/Option, each press of an arrow key creates a copy of the selection and Select the area you want to copy. offsets it by the speciﬁed distance from the last Choose Edit >...
Page 187 To copy the artwork as a path Select the move tool ( ), or hold down the Ctrl in Adobe Photoshop, hold down Ctrl as you drag. (Windows) or Command (Mac OS) key to activate In Mac OS, the application must support the move tool.
Page 188: Deleting A Selection
Paste as Paths to paste the copy as a path in the • Note: If you are using the system, not the Adobe Paths palette. Clipboard, this technique resizes your image based If you chose Paste as Pixels in the previous step,...
Page 189: Removing Fringe Pixels From A Selection
ADOBE PHOTOSHOP 5.0 User Guide Removing fringe pixels from a To decrease a fringe on a selection: selection Choose Layer > Matting > Defringe. Enter a value in the Width text box for the When you move or paste an anti-aliased...
Page 190: Transforming Objects In Two Dimensions
Pixels are added or deleted during transforma- • tions. To calculate the color values of these pixels, Adobe Photoshop uses the interpolation method selected in the General Preferences dialog box. This option directly affects the speed and quality of the transformation. Bicubic interpolation, the default, is slowest but yields the best results.
Page 191 ADOBE PHOTOSHOP 5.0 User Guide To transform a selection border, make or load a CCW to rotate the image counterclockwise • • ° selection. (See Chapter 7, Selecting.) by a quarter-turn. Arbitrary to rotate the image by the angle you •...
Page 192 CHAPTER 8 Editing and Retouching To ﬂip or rotate: You can apply several commands in succession before applying the cumulative transformation. Do one of the following: For example, you can choose Scale, drag a handle To ﬂip or rotate part or all of a layer, select it. •...
Page 193 ADOBE PHOTOSHOP 5.0 User Guide To repeat a transformation: To scale, drag a handle. Press Shift as you drag a • corner handle to scale proportionately. When Choose Edit > Transform > Again, Transform positioned over a handle, the pointer turns into a Points >...
Page 194 CHAPTER 8 Editing and Retouching To distort relative to the center point of the To apply perspective, press Control+Alt+Shift • • bounding border, press Alt (Windows) or Option (Windows) or Command+Option +Shift (Mac OS), and drag a handle. (Mac OS), and drag a corner handle. When positioned over a corner handle, the pointer turns into a gray arrowhead.
Page 195: Transforming Objects In Three Dimensions
ADOBE PHOTOSHOP 5.0 User Guide Transforming objects in three To transform part or all of a path, select it. Then • choose Edit > Transform Points > Numeric or dimensions Transform Path > Numeric. The 3D Transform ﬁlter lets you manipulate a ﬂat, To transform a selection border, make or load •...
Page 196 CHAPTER 8 Editing and Retouching To transform an object in three dimensions: With the direct-selection tool, drag an anchor • point on the wire frame to move that anchor Choose Filters > Render > 3D Transform. point. Select one of these tools in the dialog box: Note: The wire frame turns red if you try to make a Cube ( ) to map the image (such as a ﬁle •...
Page 197 ADOBE PHOTOSHOP 5.0 User Guide To change an added anchor point from a smooth For Dolly Camera, enter a value between 0 and • • anchor point to a corner anchor point and vice 100 or drag the slider to the left to magnify the versa, select the convert-anchor-point tool ( ) and transformed object, right to shrink it.
Page 198: Using The Rubber Stamp Tool And Pattern Stamp Tool
CHAPTER 8 Editing and Retouching Click OK Do any of the following: For a list of 3D transformation shortcuts, Specify the blending mode and opacity as • see the online help explained in “Using the Options palette for painting and editing tools” on page 203. The 3D Transform dialog box previews Choose a brush size as explained in “Using the •...
Page 199: Using Other Retouching Tools
ADOBE PHOTOSHOP 5.0 User Guide Using other retouching tools With the pattern stamp tool, deselect Aligned to • center the pattern on the pointer each time you You can also retouch images using the smudge, stop and resume painting. focus, and toning tools.
Page 200 CHAPTER 8 Editing and Retouching The toning tools consist of the dodge tool and Select a brush size as described in “Using the • the burn tool. Used to lighten or darken areas of Brushes palette” on page 200. the image, the dodge and burn tools are based on Select Finger Painting to smudge using the a traditional photographer’s technique for foreground color at the beginning of each stroke.
Page 201 ADOBE PHOTOSHOP 5.0 User Guide To use the dodge, burn, or sponge tool: Double-click the dodge tool ( ), burn tool ( ), or sponge tool ( ) to display its Options palette. For the dodge tool or burn tool, select what to...
Page 205: Using The Painting Tools
Chapter 9: Painting he painting tools and ﬁll commands let you To use the paintbrush, airbrush, or pencil tool: change the color of pixels to modify and Specify a foreground color as described in create colored areas in an image. “Choosing the foreground and background colors”...
Page 206: Using The Line Tool
CHAPTER 9 Painting Using the line tool For the concavity of the arrowhead, enter a value • from –50% to +50%. The concavity value deﬁnes The line tool ( ) draws straight lines on an image. the amount of curvature on the widest part of the arrowhead, where the arrowhead meets the line.
Page 207 ADOBE PHOTOSHOP 5.0 User Guide Using the eraser tool Select a brush size as described in “Using the Brushes palette” on page 200. The eraser tool changes pixels in the image as you drag through them. If you’re working in the...
Page 208: Using The Brushes Palette
CHAPTER 9 Painting Using the Brushes palette To create a brush: Do one of the following: The brush sizes and shapes available for painting and editing appear in the Brushes palette. You can Click in the empty area outside the brush •...
Page 209 ADOBE PHOTOSHOP 5.0 User Guide To create a custom brush shape: See “Softening the edges of a selection” on page 147 for information on anti-aliasing. Select part of an image to use as a custom brush. The brush shape can be up to 1000 pixels by 1000 Note: The Anti-aliased option is not available for pixels in size.
Page 210 CHAPTER 9 Painting Diameter Controls the size of the brush. Enter a Spacing Controls the distance between the brush value in pixels or drag the slider. marks in a stroke. To change the spacing, type a number, or use the slider to enter a value that is a percentage of the brush diameter.
Page 211: Using The Options Palette For Painting And Editing Tools
Creating sets of brushes can help you pressure, or exposure for these painting and group related or special brushes and manage editing tools: palette size. The Adobe Photoshop program folder includes ﬁles containing various brush sets. You can adjust the opacity used by the gradient •...
Page 212 40, 60, and 80 steps Painting with various opacity settings Specifying stylus pressure options Adobe Photoshop is compatible with most Specifying the paint fade-out rate pressure-sensitive digitizing tablets such as the You can specify the rate at which the pencil, paint- Wacom tablets.
Page 213 ADOBE PHOTOSHOP 5.0 User Guide Behind Edits or paints only on the transparent Color if you want light pressure to paint with the • part of a layer. This mode works only in layers with background color, making a transition to the Preserve Transparency off and is analogous to foreground color as the pressure increases.
Page 214 CHAPTER 9 Painting Soft Light Darkens or lightens the colors, Lighten Looks at the color information in each depending on the blend color. The effect is similar channel and selects the base or blend color— to shining a diffused spotlight on the image. whichever is lighter—as the result color.
Page 215: Using The Paint Bucket Tool
ADOBE PHOTOSHOP 5.0 User Guide Using the paint bucket tool Click the part of the image you want to ﬁll. All adjacent pixels within the speciﬁed tolerance are The paint bucket tool ( ) ﬁlls adjacent pixels that ﬁlled with the foreground color or pattern.
Page 216 CHAPTER 9 Painting Diamond gradient ) Shades from the starting Position the pointer in the image where you point outward in a diamond pattern. The ending want to set the starting point of the gradient, and point deﬁnes one corner of the diamond. drag to deﬁne the ending point.
Page 217 Double-click the color stop, or click the color • swatch below the gradient bar. Choose a color as described in “Using the Adobe Photoshop Color Picker” on page 218, and click OK. Click the foreground selection box to use the •...
Page 218 CHAPTER 9 Painting To add intermediate colors to a gradient: opacity. By default, the transparency mask is set to 100%. Turn off the mask by deselecting Trans- In the Gradient Editor dialog box, click below the parency in the Gradient Options palette. gradient bar to deﬁne another color stop.
Page 219: Filling And Stroking Selections And Layers
ADOBE PHOTOSHOP 5.0 User Guide Loading, saving, and deleting gradients For Opacity, enter a value. By saving and loading sets of gradients, you can In the gradient bar, white represents an opacity of customize the gradient list that appears in the...
Page 220 CHAPTER 9 Painting To ﬁll a selection or layer using shortcuts: To ﬁll a selection or a layer: Specify a foreground or background color as Specify a foreground or background color as described in “Choosing the foreground and described in “Choosing the foreground and background colors”...
Page 221 User Guide Click OK to ﬁll the selection. Select any rasterizing options. (See“Importing Adobe Illustrator, PDF, and EPS ﬁles” on page 55 To ﬁll a selection with a pattern: for these options.) Make a rectangular selection around the part of Click OK.
Page 222: Choosing The Foreground And Background Colors
Choose a color, as explained in “Using the color in the lower box. The default foreground Adobe Photoshop Color Picker” on page 218, and color is black, and the default background is white. click OK.
Page 223 ADOBE PHOTOSHOP 5.0 User Guide To select the foreground or background color using Using the Color palette the eyedropper: The Color palette displays the color values for the Click the eyedropper tool ( ). current foreground and background colors. Using...
Page 224 Click the color selection box, choose a color as • you see the style you want. described in “Using the Adobe Photoshop Color Picker” on page 218, and click OK. Using the Swatches palette Note: An exclamation point inside a triangle in the...
Page 225 ﬁle. (Windows) or Shift+Option (Mac OS), and click a swatch. Save Swatches to save the current swatches in • a ﬁle. Exiting the program saves the current Swatches palette in the Adobe Photoshop preferences ﬁle.
Page 226: Using The Adobe Photoshop Color Picker
(see “Color modes and models” on horizontal axis, one on the vertical. page 63). By default, the program uses the Adobe Photoshop Color Picker. For example, if the current color is black and you...
Page 227 The closest CMYK equivalent is displayed Specifying a color using numeric values below the triangle. (See “Identifying out-of-gamut In the Adobe Photoshop Color Picker, you can colors” on page 110.) select a color in any of the four color models by specifying numeric values for each color component.
Page 228 PANTONE books are The Custom Colors dialog box displays the color available from printers and graphic arts supply closest to the color currently selected in the Adobe stores. Photoshop Color Picker. You can select from PANTONE Coated, PANTONE Uncoated, PANTONE Process, and PANTONE ProSim custom colors.
Page 229: Using Other Color Pickers
Using other color pickers to Custom Colors to add it to the Custom Colors palette. In addition to the default Adobe Photoshop Color Picker, you can use the built-in color picker on To choose a custom color from the Windows your system or a plug-in color picker to select Color Picker, click the color you want.
Page 230 The exact appearance of the Apple Color Picker varies between different system software versions. For more information, see your Mac OS documentation. To return to the Adobe Photoshop Color Picker after using another color picker: Choose File > Preferences > General. For Color Picker, choose Photoshop and...
Page 231: Color Signature
4-1 HSB Model 4-4 Luminance Model A. Saturation B. Hue C. Brightness D. All hues 4-2 Additive Color A. Luminance=100 (white) B. Green to red component C. Blue to yellow component D. Luminance=0 (black) to red component 4-5 Color Gamuts Additive colors (RGB) 4-3 Subtractive Color A.
Page 232 4-6 Pixel Depth 5-1 Color Proof Olé No Moire 177lpi 45 cyan magenta yellow black A. 1-bit (Bitmap) B. 8-bit (grayscale) C. 8-bit (indexed color) D. 24-bit (RGB) A. Black overprint color bar B. Label C. Registration marks D. Progressive color bar 4-7 Color Palettes E.
Page 233 5-2 GCR (Gray Component Replacement) 6-2 Color Cast Contrast improved by setting highlights and shadows to neutral color values (color cast eliminated), and contrast improved by adjusting Levels sliders (color cast retained) 6-3 Color Wheel A. No black generation (Composite image, CMY, K) B.
Page 234 6-4 Adjusting the Color Balance 6-6 Hue Change Original image, and with cyan hue adjusted 6-7 Colorize Option Original image with greenish cast, and magenta/green level Original image, and colorized (Hue: 108, Saturation: 22) adjusted in midtones 6-5 Hue/Saturation 6-8 Replace Color Original image, and Saturation: –40 Original image, and with colors replaced...
Page 235 8-1 Changing Saturation 10-3 Channel Mixer Original image, and increasing saturation of an image Original image, and creative color adjustment applied 10-1 Quick Mask Mode 13-1 Applying Filters to Channels Selected area, and Quick Mask mode applied Grayscale image, converted to RGB and Graphic Pen ﬁlter applied to green and blue channels 10-2 Editing a Quick Mask Quick Mask, and edited with paintbrush tool...
Page 236 13-2 Using Filters to Improve Consistency 15-2 Duotone Curves Originals Original image, and default duotone curves Same ﬁlters applied to both images 15-1 Halftone Screens Adjusted image, and adjusted duotone curves Halftone screen with black ink Halftone screens with process ink at different screen angles;...
Page 237 COLOR MODES In addition to determining the number of colors that can be displayed in an image, color modes affect the number of channels and the ﬁle size of an image. See “Color channels” on page 67. Bitmap 12K Indexed color 90K Bitmapped images are Indexed-color images made up of 1 bit of...
Page 238 DETERMINING HIGHLIGHT AND SHADOW VALUES Low-key and high-key images may beneﬁt from slightly different target values than those shown on page 114. With a low-key image, you might want to set the highlight to a lower value to avoid too much contrast; with a high-key image, you might want to set the shadow to a higher value to avoid too much contrast.
Page 239 USING CURVES FOR TONAL ADJUSTMENTS Curves lets you make precise adjustments to one area of the tonal range while controlling the effect on the others. The ﬁrst curve shown here is a common curve adjustment used to boost contrast in a CMYK scan: the S-curve. The midpoint of the curve is anchored, then the quartertones are decreased to lighten the highlights, and the three-quartertones are increased to darken the shadows.
Page 240 CORRECTING THE COLOR PLATES Once you have identiﬁed the color balance problem in an image, it’s easy to correct the problem using Curves. These examples show common color balance problems in an image along with the Curves adjustment needed to correct the problem. You can also use the color wheel to help you identify the cause of a color problem.
Page 241 BLENDING MODES AND OPACITY The blending modes let you control how pixels in an image affect a painting or editing tool. Using different combinations of modes and opacity, you can produce a variety of effects. For a description of each mode, see “Selecting a blending mode” on page 205. Brushstroke Normal, 50% opacity Normal...
Page 242 LAYER BLENDING MODES The layer blending modes let you control how the pixels in the layer blend with the pixels in underlying layers. For a description of each mode, see “Selecting a blending mode” on page 205. Original Images Layer 1 Normal Normal, 70% opacity Dissolve...
Page 243 JPEG OR GIF? For online display, such as on the World Wide Web, JPEG offers you the best color and the smallest ﬁle size. If your image contains line art or requires transparent areas, use the GIF89a Export com- mand. To minimize ﬁle size, choose Image > Mode > Indexed Color, and use the fewest number of colors that still give good results.
Page 244 DUOTONES, TRITONES, AND QUADTONES These examples show sets of process color curves (supplied on the Adobe Photoshop CD-ROM set) applied to the same grayscale image. See “Modifying the duotone curve” on page 340. Original Quadtone, CMYK cool Quadtone, CMYK Quadtone, CMYK...
Page 247: Using Channels And
Chapter 10: Using Channels and Masks n Adobe Photoshop, channels store an Alpha channels store selections as 8-bit grayscale image’s color information. In addition, images and are added to the color channels in an channels and masks store selections that let image.
Page 248: Using The Channels Palette
CHAPTER 10 Using Channels and Masks Using the Channels palette Use the scroll bars or resize the palette to see additional channels. The Channels palette lets you create and manage channels and monitor the effects of editing. The To select a channel: palette lists all channels in the image—a composite Click the channel name.
Page 249 ADOBE PHOTOSHOP 5.0 User Guide If you display an alpha channel at the same time Whatever the order of alpha channels, the color • as color channels, the alpha channel appears as a information channels always appear at the top.
Page 250 CHAPTER 10 Using Channels and Masks To edit a channel: To reverse the selected and masked areas in the duplicate channel, select Invert. Use a painting or editing tool to paint in the image. Paint with white to add to the channel; paint with Click OK.
Page 251: Saving And Managing Channels
• preserved. But alpha channels are automatically For a color illustration of the Channel kept only when you save a ﬁle in the Adobe Mixer, see ﬁgure 10-3 on page 227. Photoshop, Adobe Photoshop 2.0 (Mac OS only), DCS 2.0, PICT, TIFF, or Raw formats. Saving in...
Page 252 CHAPTER 10 Using Channels and Masks Splitting channels into separate images Images must be in Grayscale mode, have the same pixel dimensions, and be open. (See “Changing Choosing the Split Channels command from the the pixel dimensions of an image” on page 49.) Channels palette menu splits the various channels The number of grayscale images you have open in an image into separate images.
Page 253: Adding Spot Colors
ADOBE PHOTOSHOP 5.0 User Guide Click OK. Use the following methods to assign spot colors to an image: For each channel, make sure that the image you want is open. If you change your mind To apply spot color as a tint throughout the •...
Page 254 Click the color box and choose a color, as You can merge spot channels with color • described in “Using the Adobe Photoshop Color channels, splitting the spot color into its color Picker” on page 218. By selecting a custom color, channel components.
Page 255 Double-click the spot channel name in the • Click the color box and choose a color, as Channels palette. described in “Using the Adobe Photoshop Color Select the spot channel in the Channels • Picker” on page 218. palette, and choose Channel Options from the Click OK.
Page 256 CHAPTER 10 Using Channels and Masks The spot color is converted to and merged with the Merging spot channels ﬂattens layered images. color channels. The spot channel is deleted from The merged composite reﬂects the preview spot the palette. color information, including the Solidity settings. For example, a spot channel with a solidity of 50% will produce different merged results from the same channel with a solidity of 100%.
Page 257: About Masks
ADOBE PHOTOSHOP 5.0 User Guide To remove an underlying spot color: In the Channels palette, select the underlying spot channel that contains areas you want to In the Channels palette, select the spot channel knock out. Press Delete. whose color you want to print.
Page 258: Using Quick Mask Mode
CHAPTER 10 Using Channels and Masks In addition, masks let you save and reuse time- Layer masks let you create a mask for a speciﬁc • consuming selections as alpha channels. (Alpha layer (see “Using layer masks” on page 276). channels can be converted to selections and then used for image editing.) Because masks are stored Using Quick Mask mode...
Page 259 Alt-click (Windows) or Option-click (Mac OS) the Quick Mask mode button. To choose a new mask color, click the color box and choose a new color as described in “Using the Adobe Photoshop Color Picker” on page 218. Edited mask, and adjustment applied...
Page 260: Using Alpha Channels
CHAPTER 10 Using Channels and Masks Creating and saving alpha channels To change the opacity, enter a value between 0% and 100%. You create a new alpha channel as a mask. For example, you can create a gradient ﬁll in a blank Both the color and opacity settings affect only the channel, and then use it as a mask.
Page 261 ADOBE PHOTOSHOP 5.0 User Guide To edit an alpha channel: If you’re saving the selection to an existing channel, select how to combine the selections: Use a painting or editing tool to paint in the image. Paint with black to add to the channel; paint with Replace Channel to replace the current selection •...
Page 262 CHAPTER 10 Using Channels and Masks Enter a new name for the channel. To load the intersection of the saved selection • and an existing selection, press Ctrl+Alt+Shift Choose display options, as explained in steps 2 (Windows) or Command+Option+Shift through 4 of the procedure on Quick Mask (Mac OS), and select the channel.
Page 263 ADOBE PHOTOSHOP 5.0 User Guide Click Invert if you want to make the nonselected areas selected and vice versa. If the destination image already has a selection, indicate how to combine the selections. (For information on these options, see step 5 of the procedure on saving a selection to a new or existing channel in “Creating and saving alpha...
Page 267: Using Layers
Chapter 11: Using Layers hen you create, import, or scan an UNDERSTANDING LAYERS Think of layers as sheets Adobe Photoshop image, it consists of of acetate stacked one on top of the other. Where a background layer, analogous to the there is no image on a layer, you can see through to base layer of a painting.
Page 268 CHAPTER 11 Using Layers You use the Layers palette to create, hide, display, Select the move tool, right-click (Windows) or • copy, merge, and delete layers. (Additional Control-click (Mac OS) in the image, and choose commands appear in the menu.) Changes to an the layer you want from the context menu.
Page 269 ADOBE PHOTOSHOP 5.0 User Guide Only visible layers are printed. Making layers For Grid Colors, select an option: temporarily invisible can speed performance. Light, Medium, or Dark to specify a gray • pattern. Note: You can make the active layer invisible.
Page 270 CHAPTER 11 Using Layers To move a selected layer one level up in the Layers palette, press Ctrl+] (Windows) or Command+] (Mac OS). To move one level down, press Ctrl+[ or Command+[. To move to the topmost level, press Ctrl+Shift+] or Command+Shift+].
Page 271: Creating A Layered Image
Creating a layered image Name the layer, and select mode, opacity, and Adobe Photoshop lets you create up to 100 layers ﬁll options as described in “Specifying layer in an image, each with its own blending mode and options” on page 271. Then click OK.
Page 272 CHAPTER 11 Using Layers To convert a background into a layer: To duplicate a layer in an image: Double-click Background in the Layers palette. Select the layer in the Layers palette. Enter a name, opacity, and mode for the layer. Duplicate the layer: See the section, “Specifying layer options”...
Page 273: Moving And Aligning Layer Contents
ADOBE PHOTOSHOP 5.0 User Guide Use the move tool ( ) to drag the layer from the Use the move tool ( ) to drag the linked layers • source image to the destination image. The copied from the source image to the destination image.
Page 274 CHAPTER 11 Using Layers To reposition a layer in an image: To align or distribute layers: In the Layers palette, select the layer that you To align layers to a selection border, make a want to move. selection. Select the move tool ( ). To activate the move In the Layers palette, specify the layers you want tool when any other tool is selected, hold down to align or distribute:...
Page 275: Managing Layered Images
Bottom to space the linked layers evenly starting • any layers and channels. from the bottom pixel on each layer. To track the use of the Adobe Photoshop Left to space the linked layers evenly starting • scratch disk (temporary disk space used from the leftmost pixel on each layer.
Page 276: Merging Layers
CHAPTER 11 Using Layers To delete a layer: Merge the layer: Select the layer in the Layers palette. Choose Layer > Merge Down. • Delete the layer: Choose Merge Down from the Layers • palette menu. Click the Trash button at the bottom of the •...
Page 277: Editing Layers
ADOBE PHOTOSHOP 5.0 User Guide Flattening all layers Saving layered documents In a ﬂattened image, all visible layers are merged You may want to save two versions of your ﬁle—a into the background, greatly reducing ﬁle size. ﬂattened version for ﬁnal use and a second version Flattening an image discards all hidden layers and with layers intact for future edits.
Page 278 Sampling from all layers Filling a new layer with a neutral color By default, when working with the magic wand, Some Adobe Photoshop effects (such as the smudge, blur, sharpen, rubber stamp, or pattern Lighting Effects ﬁlter) cannot be applied to layers stamp tool, you are applying color sampled only with no pixels.
Page 279: Specifying Layer Options
ADOBE PHOTOSHOP 5.0 User Guide Specifying layer options To turn off previewing as you choose layer options, deselect Preview. The layer options let you change a layer’s name Click OK. and opacity and control how the pixels in the layer blend with the layers underneath.
Page 280 CHAPTER 11 Using Layers To deﬁne a range for the blending operation: If you have selected a tool without an opacity option in its Options palette, use In the Layer Options dialog box, select a Blend the following shortcuts to change the opacity of If option: the active layer: Gray to specify a blending range for all channels.
Page 281: Using Channel Calculations To Blend Layers And Channels
ADOBE PHOTOSHOP 5.0 User Guide Use the Underlying sliders to specify the range of Each pixel in a channel has a brightness value • • pixels in the underlying visible layers that will from 0 (off or black) to 255 (on or white). The blend in the ﬁnal image.
Page 282 CHAPTER 11 Using Layers To use the Calculations command: Select Preview to preview the results in the image window. Open the source image or images. The pixel dimensions of the images must match for image Select Invert to use the negative of the channel names to appear in the Calculations dialog box.
Page 283: Creating Clipping Groups
ADOBE PHOTOSHOP 5.0 User Guide Select Mask if you want to apply the blending The Scale factor may be any number between through a mask. Then choose the image and layer 1.000 and 2.000. Entering a higher Scale value containing the mask. For Channel, you can choose darkens the image.
Page 284: Using Layer Masks
CHAPTER 11 Using Layers Note that only successive layers can be included in The clipping group is assigned the opacity and a clipping group. When you create a clipping mode attributes of the bottommost layer in the group, dotted lines appear between the grouped group.
Page 285 In the Layers palette, select the layer to which thumbnail. This thumbnail represents the you want to add a mask. grayscale (alpha) channel created by Adobe Select the desired area in the image. Photoshop when you add the layer mask. (See Do one of the following: Chapter 10, Using Channels and Masks.)
Page 286 CHAPTER 11 Using Layers For information on viewing the contents of the To reveal the layer and subtract from the mask, • layer mask channel, see “Viewing layer masks” on paint the mask with white. page 279. To edit a layer mask: Click the layer mask thumbnail in the Layers palette to make it active (the mask icon appears to the left of the layer thumbnail).
Page 287 ADOBE PHOTOSHOP 5.0 User Guide To select and display the layer mask channel: To paste a selection into a layer mask, Alt-click (Windows) or Option-click Do one of the following: (Mac OS) the layer mask thumbnail in the Alt-click (Windows) or Option-click (Mac OS) •...
Page 288 Layers palette. swatch and choose a new color as described in Choose Layer > Remove Layer Mask. • “Using the Adobe Photoshop Color Picker” on Remove the mask: page 218. To remove the layer mask and make the changes To change the opacity, enter a value between 0% •...
Page 289: Selecting Opaque Areas On A Layer
ADOBE PHOTOSHOP 5.0 User Guide Selecting opaque areas on a To subtract the pixels from an existing selection, • press Ctrl+Alt/Command+Option, and click the layer layer or layer mask thumbnail in the Layers palette. By loading a transparency mask, you can quickly To load the intersection of the pixels •...
Page 290 CHAPTER 11 Using Layers When you create an adjustment layer, its effect appears on all the layers below it. This lets you correct multiple layers by making a single adjustment, rather than making the adjustment to each layer separately. To conﬁne the effects of an adjustment layer to the layers immediately below it, create a clipping group consisting of these layers (see “Creating clipping groups”...
Page 291 ADOBE PHOTOSHOP 5.0 User Guide Adjustment layers are also layer masks, as Choose layer options as desired, and then indicated by the mask icon to the left of the layer click OK. (See “Specifying layer options” on thumbnail. When an adjustment layer is active, the page 271.)
Page 292: Using Layer Effects
Hold down Alt+Shift (Windows) or • Using layer effects Option+Shift (Mac OS), and click the adjustment Adobe Photoshop includes a number of layer thumbnail to view the mask in a rubylith automated effects that you can apply to layers, masking color. Hold down Alt+Shift/Option+Shift...
Page 293 ADOBE PHOTOSHOP 5.0 User Guide Adding layer effects Specify blending mode, opacity, color, blur, and intensity options, as described in “Specifying Photoshop has numerous different effects that you options for layer effects” on page 286. can apply in any combination to a layer.
Page 294 Speciﬁes the color of a shadow, glow, or Color Click OK. highlight as you click the color box and choose a color, as described in “Using the Adobe Photoshop To apply additional layer effects: Color Picker” on page 218. Do one of the following: Choose another layer effect from the menu at the •...
Page 295 ADOBE PHOTOSHOP 5.0 User Guide Angle Determines the lighting angle at which the Editing and removing layer effects effect is applied to the layer. You can deﬁne a global You can edit the options for the effects you have angle that applies to all layer effects in the image;...
Page 296 CHAPTER 11 Using Layers To convert a layer effect to image layers: Do one of the following: In the Layers palette, select the layer containing Hold down Alt (Windows) or Option (Mac OS), • the effect you want to convert. and choose the desired layer effect from the Layer >...
Page 299: Using Type
ADOBE PHOTOSHOP 5.0 User Guide Chapter 12: Using Type Paint and image-editing programs Adobe Photoshop lets you add horizontal and Bitmap type such as Adobe Photoshop create bitmap type vertical type to an image. You can specify the composed of pixels. The sharpness of bitmap type...
Page 300: Creating Type
Type selections appear on the active layer, box, choose a color as described in “Using the and can be moved, copied, ﬁlled, or stroked just Adobe Photoshop Color Picker” on page 218, and like any other selection. click OK.
Page 301 ADOBE PHOTOSHOP 5.0 User Guide To change the view magniﬁcation, click the Specify type attributes, as described in “Setting • zoom buttons at the bottom of the dialog box. type attributes” on page 295. Click the percentage value to specify a 100% view.
Page 302 CHAPTER 12 Using Type Layer effects Press Ctrl+A (Windows) or Command+A • • (Mac OS) to select all the characters in the text Fill shortcuts (see “Filling and stroking selec- • area. tions and layers” on page 211). To apply the full range of Photoshop effects (such as ﬁlters) to a type layer, you can convert the type layer to a regular layer.
Page 303: Setting Type Attributes
For Font, choose a font family. Choose a type style from the menu to the right of the Font menu. Adobe Photoshop gives you precise control over type attributes, including font, type size, leading, Choosing a type size and measurement...
Page 304 CHAPTER 12 Using Type Specifying leading Positive kerning or tracking values move characters apart; negative values move characters Leading speciﬁes the spacing between baselines closer together. Kerning and tracking values are and is measured in the units you specify in the measured in units that are 1/1000 of an em space.
Page 305 ADOBE PHOTOSHOP 5.0 User Guide Specifying characters with auto-kerning A positive value moves horizontal type above, and vertical type to the right of, the baseline; a negative To use a font’s kerning information to space value moves type below or to the left of the characters better, select the Auto Kern option in baseline.
Page 306 CHAPTER 12 Using Type Specifying anti-aliasing Anti-aliasing lets you produce smooth-edged type by partially ﬁlling the edge pixels. As a result, the edges of the type blend into the background. You’ll probably want to use anti-aliased type in your images, unless you are working with small type sizes (anti-aliasing can make small type sizes appear blurry).
Page 309: Using Filters
• can also create your own effects using the Custom Some ﬁlters are processed entirely in RAM. • ﬁlter or the Filter Factory (included on the Adobe Photoshop CD-ROM). Applying ﬁlters—especially to large images— • can be time-consuming. Previewing effects can For detailed information on individual save time and prevent unintended results.
Page 310 B. Click + to zoom in or - to zoom out on image in preview window. A ﬂashing line beneath the preview size indicates that Adobe Photoshop is still rendering the preview. If available, select the Preview option to preview the ﬁlter effect on the entire image.
Page 311 ADOBE PHOTOSHOP 5.0 User Guide Using ﬁlter shortcuts These techniques can help save time when working with ﬁlters: To cancel a ﬁlter as it is being applied, press Esc • or Command-(.) (period) (Mac OS only). To undo a ﬁlter, press Ctrl+Z (Windows) or •...
Page 312 CHAPTER 13 Using Filters To use texture and glass surface controls: All textures must be in the Photoshop format. Most ﬁlters use only the grayscale information of From the Filter menu, choose Artistic > Rough a color ﬁle. Pastels or > Underpainting; Distort > Glass; Sketch >...
Page 313: Tips For Creating Special Effects
ADOBE PHOTOSHOP 5.0 User Guide Tips for creating special effects Create backgrounds By applying effects to solid- color or grayscale shapes, you can generate a Try the following techniques to create special variety of backgrounds and textures. You might effects with ﬁlters.
Page 314: Improving Performance With Filters
You can use these techniques to improve performance: Choosing a ﬁlter effect Try out ﬁlters and settings on a small portion of • The Adobe Photoshop ﬁlters fall into 14 general an image. categories. In addition, third-party ﬁlters appear Apply the effect to individual channels—for •...
Page 315 ADOBE PHOTOSHOP 5.0 User Guide Blur ﬁlters Soften a selection or an image. Blur Pixelate ﬁlters Sharply deﬁne a selection by ﬁlters are useful for retouching. They smooth clumping pixels of similar color values in cells. transitions by averaging the pixels next to the hard For more on the Color Halftone ﬁlter, see...
Page 316 CHAPTER 13 Using Filters Sketch ﬁlters Add texture to images, often for a Other ﬁlters Let you create your own ﬁlters, use 3-D effect. The ﬁlters also are useful for creating a ﬁlters to modify masks, offset a selection within an ﬁne-arts or hand-drawn look.
Page 319: Saving And Exporting Images
“Using plug-in Saving ﬁles modules” on page 36. Adobe Photoshop provides several ways to Type a ﬁlename, and choose a location for save ﬁles: the ﬁle. Click Save.
Page 320 Setting preferences for saving ﬁles Selecting this option makes the ﬁle available to The Saving Files Preferences dialog box lets you applications that can support only the Adobe specify whether to include the following features Photoshop 2.5 ﬁle format. when saving ﬁles: Click OK.
Page 321 In Mac OS, you can add ﬁle information Selecting this option makes the ﬁle available to to ﬁles in any format. applications that support only the Adobe Photoshop 2.5 (or earlier) ﬁle format. To enter information about a ﬁle: Click OK.
Page 322 Mark as Copyrighted. Enter a instructions for the image. copyright notice, and specify the URL if infor- Note: To print the caption under an Adobe mation about an image can be found on a Web Photoshop image, choose File > Page Setup, and site.
Page 323 “About ﬁle formats” on page 321. Note: Only ﬁles that were created in Adobe Note: If you plan to export an image to Adobe Photoshop 5.0 support color samplers, editable type Illustrator or Adobe PageMaker for four-color...
Page 324 CHAPTER 14 Saving and Exporting Images If you are saving to the DCS format, follow these JPEG to use the fastest encoding method. JPEG • guidelines when choosing a DCS option: encoding compresses the ﬁle by discarding some image data, thus reducing the quality of your The DCS 1.0 format creates ﬁve ﬁles: one for •...
Page 325: Exporting Images
To specify image quality ﬁles for online display and exporting paths to and compression, enter a value between 0 and 10, Adobe Illustrator (see “Exporting paths to Adobe or choose an option for Quality, or drag the slider. Illustrator” on page 328).
Page 326 Transparency Index Color box. Choose a color, as described in “Using the Choose File > Export > GIF89a Export. Adobe Photoshop Color Picker” on page 218, and click OK. Select a background transparency preview: Note: The Transparency Index Color is used only to To preview the background transparency as the •...
Page 327 ADOBE PHOTOSHOP 5.0 User Guide Specify a color palette: If dissatisﬁed with the results, hold down Alt (Windows) or Option (Mac OS), and click Reset to For Palette, choose Exact to create a palette using • restore the colors in the image. Repeat steps 4 and the colors in the image.
Page 328 • box. Specify a color, as described in “Using the eyedropper-plus tool ( ), and click the desired Adobe Photoshop Color Picker” on page 218, and areas in the preview or the desired swatches. The click OK. selected colors appear highlighted in the swatches.
Page 329: About File Formats
JPEG, You can use various ﬁle formats to get images into PDF, and PostScript language ﬁle formats. JPEG and out of Adobe Photoshop. Graphic ﬁle formats compression provides the best results with differ in the way they represent graphic infor- continuous-tone images, such as photographs.
Page 330 The DCS 2.0 format supports multichannel ﬁles saved in ﬁle formats that create previews but and CMYK ﬁles with a single alpha channel and are not supported by Adobe Photoshop (such as multiple spot channels; the DCS 1.0 format QuarkXPress ).
Page 331 ADOBE PHOTOSHOP 5.0 User Guide The Graphics Interchange Format (GIF) is the ﬁle The Amiga Interchange File Format (IFF) is used ™ format commonly used to display indexed-color for working with Video Toaster and transferring graphics and images in hypertext markup ﬁles to and from the Commodore Amiga system.
Page 332 Mac OS ﬁle’s resource fork—for example, an navigation features such as electronic links. For applications’ splash screen or the contents of the more information on PDF and Adobe Acrobat, see Scrapbook. The PICT Resource format supports the Electronic Publishing Guide included on the RGB ﬁles with a single alpha channel, and...
Page 333 ADOBE PHOTOSHOP 5.0 User Guide PIXAR Sub optimizes the compression of images with • even horizontal patterns or blends. The PIXAR format is designed speciﬁcally for exchanging ﬁles with PIXAR image computers. Up optimizes the compression of images with •...
Page 334: Placing Photoshop Images In Other Applications
CHAPTER 14 Saving and Exporting Images CMYK images saved in Scitex CT format often When you save an Adobe Photoshop image in have extremely large ﬁle sizes. These ﬁles are TIFF, you can choose to save in a format that can generated for input using a Scitex scanner.
Page 335 ADOBE PHOTOSHOP 5.0 User Guide Using clipping paths Values can range from 0.2 to 100. In general, a ﬂatness setting from 8 to 10 is recommended for When printing a Photoshop image or placing it in high-resolution printing (1200 dpi to 2400 dpi),...
Page 336 To use the Paths to Illustrator module: high-resolution printer. In Adobe Photoshop, draw a path or convert an You can simplify a clipping path in the existing selection into a path; then save the path.
Page 337 ADOBE PHOTOSHOP 5.0 User Guide Open the path in Adobe Illustrator as a new ﬁle. Once in the container application, an image can be You can now manipulate the path or use the path double-clicked for editing in Photoshop. When to align Adobe Illustrator objects.
Page 338 Paste the Photoshop image into your word- processor ﬁle. Double-click the image in your word-processor application to launch Adobe Photoshop (if it is not already running), and open the image for editing. When you have ﬁnished making changes, close the Photoshop ﬁle to update the image in your...
Page 341: Printing: An Overview
Chapter 5, work canvas” on page 59). “Reproducing Color Accurately.” By default, Adobe Photoshop prints a composite Note: If you experience difﬁculties printing from of all visible layers and channels. To print an...
Page 342 CHAPTER 15 Printing Negative Prints an inverted version of the image. For a color illustration of a printed page, see Unlike the Invert command in the Image menu, ﬁgure 5-1 on page 224. the Negative option converts the output, not the The Page Setup dialog box may include these on-screen image, to a negative.
Page 343: Selecting Halftone Screen Attributes
ADOBE PHOTOSHOP 5.0 User Guide Selecting halftone screen Border Lets you print a black border around an image, specifying its width in the unit of attributes measurement you choose. Halftone screen attributes include the screen Lets you print any caption text entered in...
Page 344 Emerald controller, make sure that the Use To deﬁne the screen attributes: Accurate Screens option is selected in the Auto In Mac OS, choose Adobe Photoshop 5.0 from Screens dialog box (or in the Halftone Screens the menu in the Page Setup dialog box.
Page 345: Additional Printing Options
File > Print (Windows), or when you choose File > Print and then choose Adobe Photoshop 5.0 from the dialog box menu (Mac OS). These options let you print only a selected area of an image, print multiple separation ﬁles, and transfer image data...
Page 346: Converting The Color Space Of Images While Printing
Choose File > Print. may need to overprint them slightly to prevent On the Macintosh, choose Adobe Photoshop tiny gaps from appearing when the image is 5.0 from the dialog box menu.
Page 347: Using Monotones, Duotones, Tritones, And Quadtones
This section uses the term duotone to refer to colors are spread outward (not choked) to duotones, monotones, tritones, and quadtones. compensate for misregistration on the press. Adobe Photoshop uses standard rules for trapping: About duotones All colors spread under black.
Page 348 Specify the type of image, the ink colors, the color box and the color name in the text box. (See duotone curves, and the overprint colors for the “Using the Adobe Photoshop Color Picker” on duotone image. These options are described in the page 218.) following sections.
Page 349 Specifying overprint colors curve. When you specify two values along the Overprint colors are two unscreened inks printed curve, Adobe Photoshop calculates intermediate on top of each other. For example, when a cyan ink values. As you adjust the curve, values are prints over a yellow ink, the resulting overprint is automatically entered in the percentage text boxes.
Page 350 Select the channel you want to examine in the apply these settings to other grayscale images. Channels palette. In addition, the Adobe Photoshop program Choose Edit > Undo Multichannel to revert to includes several sample sets of duotone, tritone, Duotone mode.
Page 351: Printing Color Separations
Exporting duotone images to other Short Pantone Names. (This step is not necessary applications if you are exporting to Adobe Illustrator 7.0 or Adobe PageMaker 6.5.) To prepare a duotone image for exporting to a page-layout application, save the image in EPS If the image is a duotone, convert to Multi- format.
Page 355: Automating Tasks
Chapter 16: Automating Tasks dobe Photoshop lets you automate tasks You can display actions in the Actions palette in by grouping a series of commands into a either list view or button view. In list view, sets can single action. For example, you can create be expanded to display actions, which in turn can an action that applies a series of ﬁlters to be expanded to display individual commands.
Page 356 Paths, Channels, Layers, and History cally saved in the ﬁle Actions Palette.psp palettes can be recorded. (Windows) or Actions Palette (Mac OS) located in the Adobe Photoshop Settings folder within the Actions created in Photoshop 4 are compatible • Photoshop folder.
Page 357 ADOBE PHOTOSHOP 5.0 User Guide To create and record an action: Important: When recording the Save As or Save a Copy commands, do not enter a ﬁlename. If you Open a ﬁle. enter a ﬁlename, Photoshop records the ﬁlename and In the Actions palette, click a set or an item uses that ﬁlename each time you run the action.
Page 358 CHAPTER 16 Automating Tasks An inserted command is not executed until the To insert the Undo, Cut, Copy, Paste, or Clear • action is played. No values for the command are command, enter its name. Choosing any of these recorded in the action, so the ﬁle remains commands from the menu applies the command unchanged when the command is inserted.
Page 359 ADOBE PHOTOSHOP 5.0 User Guide If you want the option to continue the action To turn on or disable modal controls for all • without stopping, select Allow Continue. commands in an action or set, click the column to the left of the action or set name.
Page 360: Playing Actions
CHAPTER 16 Automating Tasks Playing actions APPLYING AN ACTION When you play an action, Photoshop executes the series of commands as you recorded them. But you can begin with any command, exclude commands, or play a single command in an action. If you have inserted a modal control in your action, you can specify values in a dialog box or reapply a modal Original...
Page 361 ADOBE PHOTOSHOP 5.0 User Guide To play a single command in an action: Batch processing Select the command you want to play. The Batch command lets you play an action on a folder of ﬁles and subfolders. If you have a digital...
Page 362: Editing Actions
CHAPTER 16 Automating Tasks For Action, choose the desired action. For Errors, choose an option: For Source, choose Folder to play an action on Stop for Errors to suspend the batch process • ﬁles (including subfolders) already stored on your until you conﬁrm the error message.
Page 363 ADOBE PHOTOSHOP 5.0 User Guide To move an action to a different set: Record the additional commands. In the Actions palette, drag the action to a different Click the Stop button to stop recording. set. When the highlighted line appears in the Note: You can also insert nonrecordable commands desired position, release the mouse button.
Page 364 CHAPTER 16 Automating Tasks To delete a set, action, or command: If desired, type a new name for the action, choose a color for the action button, or assign a In the Actions palette, select the set, action, or Function key, Shift-Function key, Ctrl-Function command you want to delete.
Page 365: Organizing Sets Of Actions
ﬁle Default Actions in the Required folder within Adobe Photoshop Settings folder within the the Photoshop folder. Adobe Photoshop folder. If this temporary ﬁle is lost or removed, any unsaved actions you may To replace a set of actions: have created will be lost. Be sure to use the Save...
Page 366: Using The Automate Commands
Additional information on OLE and AppleScript applying this command. is available in the Technical Solutions database on the Adobe Web site. If you have further questions Fit Image ﬁts the current image to the width • about OLE, contact Microsoft Corporation. For...
Page 369: Troubleshooting
For additional technical and troubleshooting • On Windows, remove all items from the StartUp • information, browse through the Adobe technical folder (located in Windows/Start Menu/ notes on the application CD-ROM. Programs/StartUp). Then restart in Safemode (Windows 95) or in VGA mode (Windows NT).
Page 370 To deactivate the preferences ﬁle in Windows, compatibility information. rename the Adobe Photoshop 5 Prefs.psp and the Color Settings.psp ﬁles (located in your Check for the current video driver (Windows only) Photoshop\Adobe Photoshop Settings directory).
Page 371: Setup And Performance Problems
Use a disk utility, such as To deactivate the preferences ﬁle on the Norton Utilities or Scandisk, to check whether Macintosh, drag the Adobe Photoshop Prefs ﬁle your hard disk contains bad sectors that may be (located in the Adobe Photoshop/Adobe causing the crashes.
Page 372 For more information on the scratch disk, see in “Before you call Adobe Technical Support” on Determining the amount of scratch disk space page 361. (Note that you will not be able to delete required in the online Help.
Page 373: Problems Starting Photoshop Or Opening Or Saving Files (Windows 95 Only)
Specify a different default printer. To do so, • choose Start > Settings > Printers from the When you start or work in Adobe Photoshop in Windows desktop. Then, right-click a PostScript Windows 95, one of these messages appears: printer other than the current default printer, and “Could not launch Photoshop because of a...
Page 374: Problems With Image Appearance
CMYK Setup dialog boxes. Depending on the For accurate color printing, it is essential to settings of these parameters, CMYK values calibrate your monitor and the Adobe Photoshop speciﬁed in RGB mode may separate as different program for the various factors that affect the values.
Page 375 ADOBE PHOTOSHOP 5.0 User Guide Rectangular space appears around Photoshop You might also be attempting to paint or ﬁll a images placed in other applications. layer that has the Preserve Transparency option selected. In this case, painting is limited to the All exported Photoshop images are bitmaps on a areas of the layer that contain pixels.
Page 377: Index
239 commands 351 Adobe Gamma control utility 3 as selection library 242 inserting modal controls 351 Adobe Gamma utility 6, 79, 82 calculating 273 inserting stops 350–351 Adobe Home Page 4 converting to spot color 247 playing 348, 352–354...
Page 378 Automatically Create First bit depth 68, 69 3-D rendering 189 Snapshot option 170, 353 bitmap images 41–42, 65, 67 Adobe Illustrator artwork 56, 57 average-key images 115, 129 Bitmap mode 65, 70 copying from Clipboard 57 duplicating channels in 242...
Page 379 blend tool. See gradient tool burn tool 192 file size of 239 blending modes Button Mode command 347 for color information 67 described 205–206 button view 347, 352 hiding and showing 241 for channel calculations 274 inverting 243 layer 271 layer mask 279 layer effects 286 Cache Level option 113...
Page 380 INDEX purging. See online help CMYK inks. See process color inks color balance adjustments 122–126 rasterizing images from 180 CMYK mode color mode for 109–110 saving contents when quitting color correction in 109–110 37, 180 contrast adjustments 119, 130 converting grayscale images clipping group 268, 275–276 to 65 diagnosing 122...
Page 381 99–101 Color Picker option 218, 221, 222 actions 351 converting for open images color pickers missing 363 100–101 Adobe Photoshop 218–219 recording 348 converting when printing Apple 222 Commands palette 167 images 338 choosing 221 Commodore Amiga system 323...
Page 382 INDEX Constrain Proportions and File layers 263 preferences 37 Size options 56 type 292–293 restoring palette positions 29 Constrained Aspect Ratio option credits 314 restoring tool settings 30 Crop command 58 Define Brush command 201 Contact Sheet command 358 Crop Marks option 334 Define Pattern command 213 Contents options 54 crop tool 31, 58, 59...
Page 383 Digimarc. See online help reading values in Info palette Embed Profiles option 99 Direct Cursors extension 367 embedding. See OLE, linking and saving and loading settings 342 embedding direct-selection tool 157 saving curves 341 embossing effect 286 disk cache setting. See online help specifying overprint colors 341 Emerald controller 336 disk drive.
Page 384 323 Flatten Image command 269 Fill with Neutral Color option 270 electronic documentation 324 flattened files 366 filling for Adobe Photoshop files flattening images 269 layers 211–213 314–317, 321–326 after converting modes 70 paths 161–162 for nonsupported previews 322 saving with layered file 312 selections 211–213...
Page 385 focus tools 191 GIF format converting to high-contrast black-and-white images 131 font family 295 compared to JPEG 235 converting to RGB mode 65 foreground color exporting indexed-color images to 319–320 definition 65 choosing 214, 216 exporting RGB images to for storing selections 239 editing with Color palette 215 317–319 halftone screen attributes...
Page 386 CMYK mode 64 loading 83 high-key 114 pixel distribution in 112 IFF format 323 importing 55–56 printable 115 Illustrator. See Adobe Illustrator importing or acquiring 55–56 specular 115 image previews 312–313 inverting 130 histogram 112–113 image resolution loading selections into 254–255 Histogram command 131 changing 49–50...
Page 387 Import command 52, 55 key type 112 Inner Glow effect 285 importing keyline effect 339 Inner Shadow effect 285 Adobe Illustrator files 55–56 keywords 314 Input Levels slider 117 anti-aliased PICT files 57 knock out 248 Insert Menu Item command 349...
Page 388 INDEX layers thumbnails 260–261 color model 65 adjustment 281–284 transparency 269 mode 67 backgrounds and 259 type 292, 294 Lab images blending modes 271 viewing 260–261 blending modes 272 blending range 272 Layers palette 179, 259–260 channel display 240 copying between images leading 296 264–265 converting to CMYK 97–99...
Page 389 Log Errors to File option 354 permanent 252–255 merging low-key images 114 saving and loading as alpha adjustment layers 284 channels 250 luminance 65 channels 244 saving as alpha channels 249 composite 113 layers 259, 268 saving selections in 249 Luminosity mode 206 Microsoft ICM CMS 81 selections as 254...
Page 390 New Layer button 263 Opacity option 31 New Snapshot button 171 open paths 152, 154, 155, 156 New View command 33 opening files package contents 3–4 New View option. See online help Adobe Illustrator 55–56 Page Setup dialog box 48, 333...
Page 391 363–364 Painting Cursors options 27 erasing 159 performance efficiency. See online help painting options 205–206 exporting paths as Adobe Illustrator documents 328 perspective, applying 184, 186 painting tools 27, 197–198 filling 161–162 Phosphors option 83 problems with 366...
Page 392 INDEX displaying color values 31 patterns, filling with 213 color selections 143 distribution in image 112 points 174 color values 107–109 explained 41 printers 365 files before opening 55 interpolating when resampling PostScript Color Management filters 301–302 49–51 option 338 images 312–313 lost during color correction 112 PostScript language file formats...
Page 393 59 raster images 41 printing inks Resolution option 189 rasterizing 179 colors 64 resolution, of type 291 Adobe Illustrator artwork 56, density 247 resolution. See image resolution, scan resolution, type impurities 89 resolution EPS, PDF file 56 printing performance. See online...
Page 394 INDEX Rotate Canvas command 183, 334 Save command 311 optimizing the dynamic range Rotate command 184 Save Palette Locations option 29 quality check 112–113 rotating 187 Save Path command 150 scan resolution 52–53 for landscape printing 334 Save Selection command 253 TWAIN interface 52 images 183, 184, 185–187 Save Swatches command 217...
Page 395 34 with black 251 softening edges of 147 zooming 35 adjusting 144–145 stroking 211–213 See also Adobe Photoshop Quick anti-aliasing 251 subtracting from 145 Reference Card, online help applying effects to 182–184 subtracting from channel 253 Show All Files option 55...
Page 396 INDEX Show Tool Tips option. See Spectrum color-table option 75 Stylize filters 308 online help specular highlight 115 stylus pressure options 190, showing. See hiding and showing 204–205 specular white 127 Similar command 146 stylus tablet 141 speed. See performance single column marquee tool 138 subpaths, selecting 157 spheres, creating 187–189...
Page 397 3-D transformations 187, 190 toning tools 192–193 transfer functions 95–96, 335 3D Transform filter 187, 190 tool overview. See online help Transform Path command 187 three-quartertones 121 tool pointers Transform Points command 187 Threshold command 131 changing appearance of 27 Transform Selection command 185, 187 Threshold mode (Levels) 116...
Page 398 See online help distribution Uniform Palette option 73 VLUT 106–107 Wrap Around option 304 Units & Rulers preferences 173 www.adobe.com 4 Unsharp Mask filter 128, 307 unsharp masking (USM) 128 Wacom tablet 204 URL 314 watermarks 57 zero origin 173...
Page 399 Production Notes This book was created electronically using Adobe p. 131: Cat Statue, p. 137: Button, p. 137: Key, FrameMaker . Art was produced using Adobe p. 137: Frame, p. 143: Flower Jar, p. 144: Flower, ® Illustrator and Adobe Photoshop. The Minion p.

Save PDF