份份份份 ADOBE PHOTOSHOP CS Simple Quick Steps, Quick Results Over 250 essential solutions steps Easy-to-follow instructions Find it, do it-fast orLess Micah Laker Christopher Schmitt
Credits Acquisitions Editor Project Coordinator Sharon Cox Nancee Reeves Development Editor Graphics and Production Specialists Scott amerman Beth brooks Jennifer Helene Technical Editor LeAndra hosier Ramona pruitt Kristin mcmullan Lynsey Osborn Copy Editor Heather Pope Travis henderson Quality Control Technicians Editorial Manage Kathryn A Malm Angel Perez Vice President Executive Group Publisher Book Designer Richard Wadley Kathie s Schnorr Vice President and Executive Publisher Proofreading and Indexing Robert Ipser TECHBOOKS Production Services Vice President and Publisher Joseph B Likert Executive Editorial Director Mary bednarek
Credits Acquisitions Editor Sharon Cox Development Editor Scott Amerman Technical Editor Ramona Pruitt Copy Editor Travis Henderson Editorial Manager Kathryn A. Malm Vice President & Executive Group Publisher Richard Swadley Vice President and Executive Publisher Robert Ipsen Vice President and Publisher Joseph B. Wikert Executive Editorial Director Mary Bednarek Project Coordinator Nancee Reeves Graphics and Production Specialists Beth Brooks Jennifer Heleine LeAndra Hosier Kristin McMullan Lynsey Osborn Heather Pope Quality Control Technicians John Greenough Angel Perez Book Designer Kathie S. Schnorr Proofreading and Indexing TECHBOOKS Production Services
Acknowledgments om Micah Laker: This book would not have been possible if it werent for the hard work and efforts of a number of people First, a thank you goes out to David Fugate from Waterside for getting things rolling, and to Michael Morrison for providing the introduction(as well as being an amazing author and game developer) Second, much appreciation goes out to my co-author, Christopher Schmitt, and the Wiley team, namely Sharon Cox, Scott Amerman, and Ramona Pruitt, who worked hard to shape this book and No acknowledgment would be accurate without an incredibly heartfelt thank-you to my wife, the beauti- ful and amazing Carrie Patton Laaker Her support and assistance in making and completing this book have been tremendous. Thank you the Rev. Dr. Damon May family and friends for all their love and support through the erdl especially Special thanks go out to couldn't picture a more wonderful, encouraging bunch, and their support has been unwavering rg.You ry Laaker, Sarah Tom Emery, Amanda Laaker, and Aaron Steckelb Also, a huge thank-you is extended to all the amazing teachers I've learned from and been challenged by t the University of Kansas and Omaha Public Schools, especially Patrick Dooley, Barry Fitzgerald, Tom Eblen, Kim Cooper, Mike Krainak, and Kathleen Bradley, amongst dozens of other downright incredible people. It is fantastic, supportive, and challenging teachers like these who continue to make our public And, of course, I want to express my thanks to the good folks at Adobe Systems, Inc (especially Kevin Cheng for his eleventh-hour help), for continuing to develop and refine the legacy of the Knoll brothers, whose product is truly a staple of my livelihood (www.laaker.com/fund)andtheHeiferProject(www.heifer.org)throughtheAPennyADayprogram ormoreinformationaboutthisprogrampleasevisitwww.apennyaday.com
Acknowledgments From Micah Laaker: This book would not have been possible if it weren’t for the hard work and efforts of a number of people. First, a thank you goes out to David Fugate from Waterside for getting things rolling, and to Michael Morrison for providing the introduction (as well as being an amazing author and game developer). Second, much appreciation goes out to my co-author, Christopher Schmitt, and the Wiley team, namely Sharon Cox, Scott Amerman, and Ramona Pruitt, who worked hard to shape this book and make it a reality. No acknowledgment would be accurate without an incredibly heartfelt thank-you to my wife, the beautiful and amazing Carrie Patton Laaker. Her support and assistance in making and completing this book have been tremendous. Thank you. Special thanks go out to my family and friends for all their love and support through the years, especially the Rev. Dr. Damon & Mary Laaker, Sarah & Tom Emery, Amanda Laaker, and Aaron Steckelberg. You couldn’t picture a more wonderful, encouraging bunch, and their support has been unwavering. Also, a huge thank-you is extended to all the amazing teachers I’ve learned from and been challenged by at the University of Kansas and Omaha Public Schools, especially Patrick Dooley, Barry Fitzgerald, Tom Eblen, Kim Cooper, Mike Krainak, and Kathleen Bradley, amongst dozens of other downright incredible people. It is fantastic, supportive, and challenging teachers like these who continue to make our public education institutions a treasure. And, of course, I want to express my thanks to the good folks at Adobe Systems, Inc. (especially Kevin Cheng for his eleventh-hour help), for continuing to develop and refine the legacy of the Knoll brothers, whose product is truly a staple of my livelihood. As an expression of my gratitude for having all these wonderful people in my life, all after-tax profits I have received from this book’s advance will go to the Rev. Dr. Damon & Mary Laaker Scholarship Fund (www.laaker.com/fund)and the Heifer Project (www.heifer.org) through the A Penny A Day program. For more information about this program, please visit www.apennyaday.com
Acknowledgments From Christopher Schmitt I recall the first time I used Photoshop. While being filled with awe at such an amazing tool, I also had a head full of questions about the many Photoshop commands and features available That's why i want to thank Micah for helping to co-write this educational tool. Through his invaluable contributions, we have created a truly wonderful educational tool to eliminate those types of questions for new users as well as old I'm thankful for the steering by David Fugatcna pruitt. heir support helped guide the book to what you from Scott Amerman. Sharon Cox and romar see in your hands ne A special thanks to Mat, Brook, and Tim at Gen X Images for their support and stock photo contribu- tions It's always great to have excellent source material when demonstrating a complex application like Thanks,too,toRichardGrillotti(www.rg.org)fordonatingdigitalphotographssoIcouldworkonthe Camera Raw task as well some fresh new images for a few of the filter pages And for helping me to keep my feet firmly planted on the ground, a special thanks to Dee Alley, Dave and Margot Schmitt, and the rest of my family. Thank you
From Christopher Schmitt: I recall the first time I used Photoshop. While being filled with awe at such an amazing tool, I also had a head full of questions about the many Photoshop commands and features available. That’s why I want to thank Micah for helping to co-write this educational tool. Through his invaluable contributions, we have created a truly wonderful educational tool to eliminate those types of questions for new users as well as old. I’m thankful for the steering by David Fugate at Waterside as well as the hard work and contributions from Scott Amerman, Sharon Cox, and Romana Pruitt. Their support helped guide the book to what you see in your hands now. A special thanks to Mat, Brook, and Tim at Gen X Images for their support and stock photo contributions. It’s always great to have excellent source material when demonstrating a complex application like Photoshop. Thanks, too, to Richard Grillotti (www.rg.org) for donating digital photographs so I could work on the Camera Raw task as well some fresh new images for a few of the filter pages. And for helping me to keep my feet firmly planted on the ground, a special thanks to Dee Lalley, Dave and Margot Schmitt, and the rest of my family. Thank you! vi Acknowledgments
About the authors Micah Laaker is the creative director of Fearless Concepts, an interactive design and development firm in New York. As head of the creative department, Micah leads the tual and visual direction of music and entertainment projects. Having worked in the interactive field for more than seven years, he has provided his entertainment, corporate, and not-for-profit clients with a range of graphic design, illus tration. and multimedia services. Micah was instrumental in the founding and operations of the research and development department at Iguana Studios, a leading New York-based design firm. Thanks to the resources of iguana and with the support of Adobe Systems, Inc., he was able to coordinate the development of the first commercial SVG (Scalable Vector Graphics)project: the redesign of Battle Bots. com. Supplementing this development, Micah has written extensively detailing practical applications of SVG, ncluding"SAMS Teach Yourself SVG in 24 Hours, "and continues to lecture and teach university classes about online vector graphics and interactive production technologies His clients have included the ACLU, Island Def Jam Music Group, Disney Channel, Sprint PCS Lockheed Martin, and Adobe Systems Micah has won numerous awards for both creative and Web development, including the 2002 London International Advertising Awards Gold Award and the 2001 Industrial Design Society of America's Industrial Design Excellence Gold Award YoucanreadmoreaboutMicah'sprofessionalworkandexperienceatwww.laaker.com. Christopher Schmitt has been involved in Web projects since 1993. He is the principal of Heatvision. com, Inc, a new media publishing and design firm in Tallahassee, Florida ristopher graduated in 1997 with a Fine Arts degree with emphasis on graphic Design from Florida State University. While an undergraduate, Christopher interned for both David Siegel and Lynda Weinman in the mid-90s, wrote for local newspapers about Web sites and design, and won the presti s High Five award chapterstoXml,HtmlXhtmLMagicHewroteDesigningCssWebpaGes(www.cssbook.com),a book about contemporary Web page layouts through Cascading Style Sheets, Dynamic HTML, PNG and SVg
About the Authors Micah Laaker is the creative director of Fearless Concepts, an interactive design and development firm in New York. As head of the creative department, Micah leads the conceptual and visual direction of music and entertainment projects. Having worked in the interactive field for more than seven years, he has provided his entertainment, corporate, and not-for-profit clients with a range of graphic design, illustration, and multimedia services. Micah was instrumental in the founding and operations of the research and development department at Iguana Studios, a leading New York–based design firm. Thanks to the resources of Iguana and with the support of Adobe Systems, Inc., he was able to coordinate the development of the first commercial SVG (Scalable Vector Graphics) project: the redesign of BattleBots.com. Supplementing this development, Micah has written extensively detailing practical applications of SVG, including “SAMS Teach Yourself SVG in 24 Hours,” and continues to lecture and teach university classes about online vector graphics and interactive production technologies. His clients have included the ACLU, Island Def Jam Music Group, Disney Channel, Sprint PCS, Lockheed Martin, and Adobe Systems. Micah has won numerous awards for both creative and Web development, including the 2002 London International Advertising Awards Gold Award and the 2001 Industrial Design Society of America’s Industrial Design Excellence Gold Award. You can read more about Micah’s professional work and experience at www.laaker.com. Christopher Schmitt has been involved in Web projects since 1993. He is the principal of Heatvision.com, Inc., a new media publishing and design firm in Tallahassee, Florida. Christopher graduated in 1997 with a Fine Arts degree with emphasis on Graphic Design from Florida State University. While an undergraduate, Christopher interned for both David Siegel and Lynda Weinman in the mid-90s, wrote for local newspapers about Web sites and design, and won the prestigious High Five award. He has written for Web Techniques, A List Apart, Digital Web, and Web Reference and contributed four chapters to XML, HTML XHTML Magic. He wrote Designing CSS Web Pages (www.cssbook.com), a book about contemporary Web page layouts through Cascading Style Sheets, Dynamic HTML, PNG, and SVG
About the Authors ChristopheralsocreatedtheWebDesignPad(www.designpad.com),amousepadsportingthefirst-ever look of the Web-safe colors in a true color wheel arrangement that was widely sold throughout the United StatesandabroadjustsohecoulduseoneforworkcO-moderatorofBabble(www.babblelist.com) a mailing list devoted to advanced Web design and development, Christopher continues to write about Web design and culture You can read more about Christopher's professional work and experience at www.christopherschmitt.com
Christopher also created the Web Design Pad (www.designpad.com), a mouse pad sporting the first-ever look of the Web-safe colors in a true color wheel arrangement that was widely sold throughout the United States and abroad, just so he could use one for work. Co-moderator of Babble (www.babblelist.com), a mailing list devoted to advanced Web design and development, Christopher continues to write about Web design and culture. You can read more about Christopher’s professional work and experience at www.christopherschmitt.com. viii About the Authors
Contents Acknowledgments About the Authors Introduction Part 1: Photoshop Basics Task 1: Setting File Handling Preferences Task 2: Recording Steps in the History Log Task 3: Setting Display and Cursor Preferences Task 4: Setting Transparency and Gamut Preferences Task 5: Setting Units and Rulers Preferences Task 6: Setting Guides, Grid, and Slices Preferences Task 7: Setting Plug-ins and Scratch Disk Preferences Task 8: Setting Memory and Image Cache Preferences 16 Task 9: Navigating the HTML-Based Help System Task 10: Determining Necessary Options to Create a New Image File Task 11: Viewing Images with the File Browser Task 12: Organizing Thumbnails in the File Browser Task 13: Managing Folders and File Names from within the File Browser Task 14: Importing Digital Camera Images Task 15: Importing a PDF Image Task 16: Adding Notes to Image Files Task 17: Adding Audio Annotations to Image Files Task 18: Using the Save, Save As, and Save for Web Option Task 19: Utilizing the PSD Format to Keep Layers and Effects Intact Part 2: The Work Area Task 20: Using the Toolbox, Options Bar, View Modes, and Jump Commands Task 21: Using and Editing Shortcut Keys Task 22: Using the Navigator, Info, and Histogram Palettes Task 23: Using the Floating Palettes, Palette Options, and the Palette Well
Contents Acknowledgments v About the Authors vii Introduction xix Part 1: Photoshop Basics 1 Task 1: Setting File Handling Preferences 2 Task 2: Recording Steps in the History Log 4 Task 3: Setting Display and Cursor Preferences 6 Task 4: Setting Transparency and Gamut Preferences 8 Task 5: Setting Units and Rulers Preferences 10 Task 6: Setting Guides, Grid, and Slices Preferences 12 Task 7: Setting Plug-ins and Scratch Disk Preferences 14 Task 8: Setting Memory and Image Cache Preferences 16 Task 9: Navigating the HTML-Based Help System 18 Task 10: Determining Necessary Options to Create a New Image File 20 Task 11: Viewing Images with the File Browser 22 Task 12: Organizing Thumbnails in the File Browser 24 Task 13: Managing Folders and File Names from within the File Browser 26 Task 14: Importing Digital Camera Images 28 Task 15: Importing a PDF Image 30 Task 16: Adding Notes to Image Files 32 Task 17: Adding Audio Annotations to Image Files 34 Task 18: Using the Save, Save As, and Save for Web Options 36 Task 19: Utilizing the PSD Format to Keep Layers and Effects Intact 38 Part 2: The Work Area 41 Task 20: Using the Toolbox, Options Bar, View Modes, and Jump Commands 42 Task 21: Using and Editing Shortcut Keys 44 Task 22: Using the Navigator, Info, and Histogram Palettes 46 Task 23: Using the Floating Palettes, Palette Options, and the Palette Well 48
Contents Task 24: Zooming in on Your Work with the Zoom and Hand Tools Task 25: Measuring Distance and Angles in Images with the Measure Tool 52 Task 26: Using Rulers and Setting Ruler Options 54 Task 27: viewing and Using Grids for Precision Work Task 28: Placing, Moving, and Locking Guides for More Precise Control Task 29: Using the Snap To Command with Grids and Guides Task 30: Undoing, Redoing, Stepping Forward and Backward Task 31: Using the History Palette to Revert to Previous States Task 32: Creating a Duplicate Window or New Document from Current State Task 33: Creating Tool Presets to Streamline your Workflow Task 34: Using the Preset Manager to Access and Organize All Preset Types Task 35: Customizing and Saving Your Workspace 72 Part 3: Color Essentials Task 36: Establishing and Customizing Initial Color Settings Task 37: Calibrating a Macintosh Monitor Task 38: Calibrating a Windows Monitor Task 39: Setting Foreground and Background Colors Using the Color Picker Task 40: Using the Color Palette to Choose Colors Task 41: Adding, Renaming, and Deleting Colors from the Swatch Palette Task 42: Creating, Saving, and Loading Swatch Libraries Task 43: Using the Eyedropper Tool to Sample Single Colors or Areas of Color Task 44: Using the Color Sampler Tool to Place Color Sample Readout Markers Task 45: Converting an Image into a Different Color Mode Task 46: Proofing Colors for Specific Outputs Task 47: Changing or Converting a Color Profile Part 4: Color Adjustments 101 Task 48: Determining Detail and Tonal Range of an Image with the Histogram Task 49: Using the Auto Adjustments for Quick and Simple Corrections Task 50: Specifying Auto Correction Options Task 51: Adjusting the Tonal Range of an Image Using Levels 11111 Task 52: Setting White and black Points Using Levels Task 53: Adjusting Color in an Image More Precisely with Curves Task 54: Using the Color Balance Command to Modify the Mixture of Colors Task 55: Using the Brightness/Contrast Command to Regulate Those Values within an Image 116 Task 56: Using the Hue/ Saturation Command to Alter the HSL Values in an Image 118
Task 24: Zooming in on Your Work with the Zoom and Hand Tools 50 Task 25: Measuring Distance and Angles in Images with the Measure Tool 52 Task 26: Using Rulers and Setting Ruler Options 54 Task 27: Viewing and Using Grids for Precision Work 56 Task 28: Placing, Moving, and Locking Guides for More Precise Control 58 Task 29: Using the Snap To Command with Grids and Guides 60 Task 30: Undoing, Redoing, Stepping Forward and Backward 62 Task 31: Using the History Palette to Revert to Previous States 64 Task 32: Creating a Duplicate Window or New Document from Current State 66 Task 33: Creating Tool Presets to Streamline your Workflow 68 Task 34: Using the Preset Manager to Access and Organize All Preset Types 70 Task 35: Customizing and Saving Your Workspace 72 Part 3: Color Essentials 75 Task 36: Establishing and Customizing Initial Color Settings 76 Task 37: Calibrating a Macintosh Monitor 78 Task 38: Calibrating a Windows Monitor 80 Task 39: Setting Foreground and Background Colors Using the Color Picker 82 Task 40: Using the Color Palette to Choose Colors 84 Task 41: Adding, Renaming, and Deleting Colors from the Swatch Palette 86 Task 42: Creating, Saving, and Loading Swatch Libraries 88 Task 43: Using the Eyedropper Tool to Sample Single Colors or Areas of Color 90 Task 44: Using the Color Sampler Tool to Place Color Sample Readout Markers 92 Task 45: Converting an Image into a Different Color Mode 94 Task 46: Proofing Colors for Specific Outputs 96 Task 47: Changing or Converting a Color Profile 98 Part 4: Color Adjustments 101 Task 48: Determining Detail and Tonal Range of an Image with the Histogram 102 Task 49: Using the Auto Adjustments for Quick and Simple Corrections 104 Task 50: Specifying Auto Correction Options 106 Task 51: Adjusting the Tonal Range of an Image Using Levels 108 Task 52: Setting White and Black Points Using Levels 110 Task 53: Adjusting Color in an Image More Precisely with Curves 112 Task 54: Using the Color Balance Command to Modify the Mixture of Colors 114 Task 55: Using the Brightness/Contrast Command to Regulate Those Values within an Image 116 Task 56: Using the Hue/Saturation Command to Alter the HSL Values in an Image 118 x Contents
Contents Task 57: Editing the Range of the Hue/Saturation Sliders 120 Task 58: Matching Colors between Images with the Match Color Command Task 59: Using the Replace Color Command to Change a Selected Color or Colors 124 Task 60: Using Selective Color to Increase or Decrease Specific Color Components 126 Task 61: Applying Gradient Mapping to Add a Stunning Color Effect to an Image Task 62: Using the Photo Filter Command 130 Task 63: Using the Shadow/Highlight Command 132 Task 64: Using the Invert Color Command to Inverse Color Values in an Image Task 65: Equalizing Levels of Brightness and Dark with the Equalize Command Task 66: Adjusting the Threshold to Get a High-Contrast, Black-and-White Image Task 67: Posterizing an Image to a Specified Number of Tonal Levels 140 Task 68: Using the Variations Command to Adjust Values with the Help of Thumbnail Views 142 Part 5: Selections 14 Task 69: Forming Basic Selections Using the Rectangular Marquee Tool Task 70: Using the Lasso and polygonal Lasso Tools to Make a Freeform Selection 1 Task 71: Outlining a High-Contrast Object with the Magnetic Lasso Tool Task 72: Select by Color with the Magic Wand Tool Task 73: Making a Selection by Color Range Task 74: Moving the Selection Marquee or Selection Contents 156 Task 75: Adding to or Subtracting from Selection Areas Task 76: Intersecting Selections to Create Unique Selection Shapes Task 77: Stroking a Selection to Make an Instant Frame for an Image Task 78: Using Inverse to Select a Complex Object with a Plain Background Task 79: Creating a Soft-edged Vignette Effect with Feathering Task 80: Creating a Border Selection Task 81: Modifying a Selection by Smoothing, Expanding, or Contracting 170 Task 82: Resizing or Reshaping a Selection with the Transform Selection Command 172 Task 83: Cropping an Image to a Selected Area 174 Task 84: Deselecting, Reselecting, and Deleting Selections 176 Task 85: Copying and Pasting a Selected Area into Another Image Task 86: Saving and Loading Selections for Later Us se Part 6: Path Essentials 183 Task 87: Creating a Simple Work Path Using the Pen Tool Task 88: Drawing Curves with the Pen Tool Task 89: Creating a Freeform Path
Task 57: Editing the Range of the Hue/Saturation Sliders 120 Task 58: Matching Colors between Images with the Match Color Command 122 Task 59: Using the Replace Color Command to Change a Selected Color or Colors 124 Task 60: Using Selective Color to Increase or Decrease Specific Color Components 126 Task 61: Applying Gradient Mapping to Add a Stunning Color Effect to an Image 128 Task 62: Using the Photo Filter Command 130 Task 63: Using the Shadow/Highlight Command 132 Task 64: Using the Invert Color Command to Inverse Color Values in an Image 134 Task 65: Equalizing Levels of Brightness and Dark with the Equalize Command 136 Task 66: Adjusting the Threshold to Get a High-Contrast, Black-and-White Image 138 Task 67: Posterizing an Image to a Specified Number of Tonal Levels 140 Task 68: Using the Variations Command to Adjust Values with the Help of Thumbnail Views 142 Part 5: Selections 145 Task 69: Forming Basic Selections Using the Rectangular Marquee Tool 146 Task 70: Using the Lasso and Polygonal Lasso Tools to Make a Freeform Selection 148 Task 71: Outlining a High-Contrast Object with the Magnetic Lasso Tool 150 Task 72: Select by Color with the Magic Wand Tool 152 Task 73: Making a Selection by Color Range 154 Task 74: Moving the Selection Marquee or Selection Contents 156 Task 75: Adding to or Subtracting from Selection Areas 158 Task 76: Intersecting Selections to Create Unique Selection Shapes 160 Task 77: Stroking a Selection to Make an Instant Frame for an Image 162 Task 78: Using Inverse to Select a Complex Object with a Plain Background 164 Task 79: Creating a Soft-edged Vignette Effect with Feathering 166 Task 80: Creating a Border Selection 168 Task 81: Modifying a Selection by Smoothing, Expanding, or Contracting 170 Task 82: Resizing or Reshaping a Selection with the Transform Selection Command 172 Task 83: Cropping an Image to a Selected Area 174 Task 84: Deselecting, Reselecting, and Deleting Selections 176 Task 85: Copying and Pasting a Selected Area into Another Image 178 Task 86: Saving and Loading Selections for Later Use 180 Part 6: Path Essentials 183 Task 87: Creating a Simple Work Path Using the Pen Tool 184 Task 88: Drawing Curves with the Pen Tool 186 Task 89: Creating a Freeform Path 188 Contents xi
Contents Task 90: Using the Magnetic Pen Tool to Trace a Path around an Object Task 91: Selecting Path Components with the Path and Direct Selection Tools Task 92: Adding and Deleting Anchor Points to Reshape a Path 194 Task 93: Using the Convert Point Tool to Change to Smooth or Corner Points 196 Task 94: Aligning and Distributing Path Components 198 Task 95: Filling and Stroking Paths 200 Task 96: Converting a Path to a Selection and Vice Versa 202 Task 97: Duplicating, Saving, and Deleting Paths 20 Task 98: Exporting a Path to Adobe lustrator 206 Part 7: Transformations 209 Task 99: Resizing and Resampling an Image Using the Image Size Command 210 Task 100: Increasing or Decreasing an Image's Canvas are 212 Task 101: Flipping an Image vertically or Horizontally 214 Task 102: Rotating an Image 216 Task 103: Eliminating an Unnecessary Image Area by Cropping 218 Task 104: Using the Trim Command to Crop Away Specified Outer Image Areas 220 Task 105: Scaling an Image or Image Al 222 Task 106: Skewing and Distorting an Image or Image Area One Corner at a Time 224 Task 107: Applying one-Point Perspective to an Image 226 Task 108: Working with Video Format Pixel Aspect Ratios 228 Part 8: Painting Essentials Task 109: Using the Brush Preset Picker to Choose and Load Brush Tips Task 110: Painting and Drawing with the brush and pencil Tools Task 111: Using the Color Replacement Tool Task 112: Using a Brush Blend Mode to Repair Red-Eye Task 113: Erasing a Portion of an Image or Layer with the Eraser Too Task 114: Controlling Boundaries While Erasing with the Background Eraser Tool Task 115: Using the Magic Eraser Tool to Erase an Area Based on a Range of Colors 24 Task 116: Filling Areas with Solid Colors or Patterns Using the Paint Bucket Tool Task 117: Adding Softness to a Chosen Image Area with the Blur Tool Task 118: Increasing the Clarity of an Area with the Sharpen Tool Task 119: Simulating a Fingerpainted Look Using the Smudge Tool Task 120: Highlighting an Image Area with the Dodge Tool Task 121: Applying the Burn Tool to Create Shading Effects in an Image Task 122: Changing Color Saturation with the Sponge Tool Options
Task 90: Using the Magnetic Pen Tool to Trace a Path around an Object 190 Task 91: Selecting Path Components with the Path and Direct Selection Tools 192 Task 92: Adding and Deleting Anchor Points to Reshape a Path 194 Task 93: Using the Convert Point Tool to Change to Smooth or Corner Points 196 Task 94: Aligning and Distributing Path Components 198 Task 95: Filling and Stroking Paths 200 Task 96: Converting a Path to a Selection and Vice Versa 202 Task 97: Duplicating, Saving, and Deleting Paths 204 Task 98: Exporting a Path to Adobe Illustrator 206 Part 7: Transformations 209 Task 99: Resizing and Resampling an Image Using the Image Size Command 210 Task 100: Increasing or Decreasing an Image’s Canvas Area 212 Task 101: Flipping an Image Vertically or Horizontally 214 Task 102: Rotating an Image 216 Task 103: Eliminating an Unnecessary Image Area by Cropping 218 Task 104: Using the Trim Command to Crop Away Specified Outer Image Areas 220 Task 105: Scaling an Image or Image Area 222 Task 106: Skewing and Distorting an Image or Image Area One Corner at a Time 224 Task 107: Applying One-Point Perspective to an Image 226 Task 108: Working with Video Format Pixel Aspect Ratios 228 Part 8: Painting Essentials 231 Task 109: Using the Brush Preset Picker to Choose and Load Brush Tips 232 Task 110: Painting and Drawing with the Brush and Pencil Tools 234 Task 111: Using the Color Replacement Tool 236 Task 112: Using a Brush Blend Mode to Repair Red-Eye 238 Task 113: Erasing a Portion of an Image or Layer with the Eraser Tool 240 Task 114: Controlling Boundaries While Erasing with the Background Eraser Tool 242 Task 115: Using the Magic Eraser Tool to Erase an Area Based on a Range of Colors 244 Task 116: Filling Areas with Solid Colors or Patterns Using the Paint Bucket Tool 246 Task 117: Adding Softness to a Chosen Image Area with the Blur Tool 248 Task 118: Increasing the Clarity of an Area with the Sharpen Tool 250 Task 119: Simulating a Fingerpainted Look Using the Smudge Tool 252 Task 120: Highlighting an Image Area with the Dodge Tool 254 Task 121: Applying the Burn Tool to Create Shading Effects in an Image 256 Task 122: Changing Color Saturation with the Sponge Tool Options 258 xii Contents