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Grawe zufolge streben alle Organismen nach Konsistenz, d. Sie sind u. Diese lassen sich unterteilen in:. Ccs4 der Regel sind beide Systeme продолжение здесь aktiv und der Organismus strebt nach einer optimalen Bilanz zwischen allen aktivierten motivationalen Zielen. Diskordanz liegt dann vor, wenn Schemata bzw. Ziele untereinander in Konflikt geraten, d. Auf der dritten Ebene werden die motivationalen Ziele mit den realen Wahrnehmungen abgeglichen Ebene des Erlebens illusteator Verhaltens.
Hieraus resultieren u. Ist das Ziel Konsistenz erreicht, kommt es zu positiven Emotionen. Grawe geht zudem davon aus, dass eine Therapie dann wirkungsvoll ist, wenn die Konsistenzerfahrung gesteigert wird. Dies geschieht auf zwei Arten:. Sichtbar gemacht werden kann dies u. Kommentar schreiben.
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Error code: ''. Adobe Illustrator not updated. Just download Firefox 4 and seem to lack the 'home' icon, you know, the icon on the toolbar that I can click back to the home page. Where is it, I want to go back. Hello I just bought X Q Everything works fine, but the only thing bothering me. It doesn't seem strange or its ok? F Toshiba Qosmio requests have stopped working all of a sudden. Hello can someone help me? Applications of my Toshiba Qosmio F toshiba stopped working.
Including Toshiba bulletin board, blu - ray, toshiba reeltime player tohsiba, etc I don't know why and when it doesn't work anymore Please someone help me. I click OK and then I get a second pop saying window Rundll How can I get this file corrected. I do not know if you fixed it yet but that's what I did to solve the same problem. Adobe repair tool worked great. I need emergency assistance. Thank you Ok. I am back. You may receive a "0xF0F4" error code when you try to install the updates on the Windows Update Web site or from Microsoft.
Important This section, method, or task contains steps that tell you how to modify the registry. However, serious problems can occur if you modify the registry incorrectly. Therefore, make sure that you proceed with caution. Point Type. Area Type. Formatting Type. The Character Panel. The Paragraph Panel. The OpenType Panel. The Area Type Tool. Type on a Path Tool. Vertical Type Tools. The Vertical Type Tool. The Vertical Area Type Tool. Vertical Type on a Path Tool. Wrapping Text Around an Object.
Warping Text with Envelope Distort. Make With Warp. Make With Mesh. Make With Top Object. Fitting a Headline. Spell Check. Show Hidden Characters. Change Case. Inserting Glyphs. Using Smart Punctuation. Converting Type to Outlines. The Transformation Tools.
The Rotate Tool. The Scale Tool. The Shear Tool. The Reshape Tool. The Move Tool. The Free Transform Tool. The Transform Panel. Transform Menu Commands. The Reshaping Tools. Applying Patterns. Pattern Libraries. Creating Patterns. Expanding Patterns. Editing Patterns. Transforming Patterns. Applying Gradients. Gradient Libraries. The Gradient Panel. Saving Gradients. The Gradient Tool. The Symbols Panel. Symbol Libraries. Creating Custom Symbol Libraries.
Working with Symbols. Creating Your Own Symbols. Editing Symbols. Deleting Symbols. The Symbolism Tools. Mapping Symbol Art to 3D Objects. Contents Integrating Illustrator Symbols with Flash. Copying Symbols to Flash. Exporting Symbols to Flash. Importing Symbols in Flash. The Graph Tools. Inputting Data. Adding Your Own Data. Importing Spreadsheet Data. Editing Graphs. Changing the Graph Type. Updating Graph Data. Customizing Graphs.
Selecting and Editing Parts of a Graph. Applying Custom Graph Designs. Creating Blends. The Blend Tool. Blend Options. Editing Blends. Blend Menu Options. Clipping Masks. Creating a Clipping Mask. Editing Clipping Masks. Releasing Clipping Masks. Creating Clipping Masks from Compound Shapes. Compound Paths. Creating a Compound Path. Editing a Compound Path. Releasing a Compound Path. The Transparency Panel. The Transparency Panel Options Menu.
Creating Opacity Masks. Printing with Transparency. Flattening Artwork. Blending Modes. Special Effects. Applying Effects. Document Raster Effects Settings. Illustrator Effects. Photoshop Effects. Apply Last Effect and Last Effect. Third-Party Plug-ins for Illustrator. Adding Plug-in Preferences. Finding Third-Party Plug-ins.
The Appearance Panel. Adding Strokes and Fills. Adding Effects. Duplicating Strokes, Fills, and Effects. The Graphic Styles Panel. Graphic Styles Libraries. Applying Graphic Styles. Creating Graphic Styles. Saving Graphic Styles.
Editing Graphic Styles. Breaking the Link to Graphic Styles. Deleting Graphic Styles. Live Paint. The Live Paint Bucket Tool. Editing a Live Paint Group. The Live Paint Selection Tool. Live Trace. Tracing Options. Creating a Tracing Object. Converting Tracing Objects into Vector Art. Logo Design. Postcard Design. Editorial Illustration. Magazine Ads. Business Card Design. Stationery Design. Book Jacket Design. T-Shirt Design. Scrapbooking Design.
Designing Web Layouts. Pixel Preview. Slicing Images. Creating Slices. Adjusting Slices. Creating Buttons and Rollover Images. Creating Image Maps. Creating SVG Files. Optimizing Web Graphics. The Flash Text Panel. Saving Mobile Content. Printing Basics. Document Setup. Printing Composites. Print Dialog Box Options.
Printing Color Separations. Process Color Separations. Spot Color Separations. Printing Your Color Separations. Creating Custom Print Presets. Barbara Zuckerman. Janet Allinger. Chris Reed. Heidi Udvardy. Susan Hunt Yule. Thank you to all my dear friends in New York City and to Scott Carson, Megan Hefflin, and the other teachers and staff at Noble Desktop, each of you help to make every trip to Manhattan a special one.
Thank you to all my family and friends around this great country of ours, you know who you are. Adobe Illustrator is the number-one vector graphics program being used today by professionals. This program is the essential tool for graphic artists, video production artists, web and interactive designers, and professionals in other industries who use graphics to communicate ideas visually in print, on the Web, in motion graphics, and via mobile devices.
Adobe Illustrator CS4 is superior in design features to prior versions of the program. It has better integration with other Adobe applications and a new and improved workspace layout, plus several new and enhanced drawing tools and controls.
Who this Book Is For This book is written for illustrators, artists, designers, hobbyists, scrapbookers, craftspeople, and anyone else who wants to take their illustrations, drawings, sketches, page layouts, web designs, patterns, craft projects, and artwork into the computerized vector-art world of Illustrator.
The Structure of this Book How to Do Everything: Adobe Illustrator CS4 introduces and explains all facets of the Illustrator workspace with full-color graphic examples and screenshots to illustrate key concepts and tasks. The book takes you step by step through the process of creating various types of illustrations, and demonstrates professional techniques, shortcuts, and solutions.
Even if you have never used any illustration or graphics programs. This book is divided into four parts with a bonus gallery profiling professional illustrators at the end. Part I - Illustrator Basics The first part of this book teaches you the basics of Illustrator, including getting a workspace orientation, learning how to set up and create new documents, and finding out how to use all the general drawing, painting, selection, and arrangement tools.
Part II - The Basics and Beyond The second part goes into more advanced basic training about working with colors and swatches, using type effectively, transforming and reshaping your objects, exploring the world of patterns and gradients, working with symbols and integrating artwork with Flash, and designing custom business graphs.
Learn about creating logos, editorial illustration, print layouts, T-shirt designs, book jackets, and crafts. Web topics include web layouts, buttons and image maps, and slicing and optimizing web graphics. The last chapter delves into printing topics so you can learn how to best prepare your work for print.
Learn about their personal backgrounds and interests, and their favorite keyboard shortcuts. Each profile includes a short bio and samples of their artwork created in Illustrator. How to Make Best Use of this Book This book can be read from front to back or as a general Illustrator reference guide.
I would strongly urge new users read the book from beginning to end in a linear fashion since the chapters teach skills that successively build on one another. Introduction For more experienced Illustrator users, feel free to skip around from chapter to chapter to discover new information as you need it. Each chapter is written to teach you how to best use the workspace, tools, and commands in Illustrator to quickly comprehend new information and start performing new tasks.
With a little know-how and a few clicks of your mouse, you can learn to draw nearly anything your mind can imagine! This chapter will introduce you to the workspace, tools, and panels. The Welcome Screen The Welcome Screen, shown in Figure , is persistent and appears when you first open Illustrator and remains visible even if no documents are open in the workspace. Click a link and the corresponding file or web site opens.
The Workspace With the exception of a few minor platform-specific interface differences and keyboard commands, Illustrator looks and. This book includes keyboard commands for both Windows and Mac, such as the following keyboard shortcuts: Windows Shortcuts. Inside the workspace, the gray bar at the top of the screen is called the Application bar. This bar is comprised of two parts: the Menu bar on top and the Control panel below. Figure shows an example of the Control panel in support of the Selection tool.
Use the various features inside the Control panel to customize your tools and edit your work as you create it. The Status Bar The status bar is located at the bottom left edge of the artboard. When visible, this area displays three special features: the current magnification of the artboard or zoom level , artboard navigation buttons, and an information display area, as seen in Figure Use the dropdown menu button to adjust the zoom setting.
When more than one artboard is detected, the first, previous, next, and last buttons become active, allowing you to quickly jump to or select the desired artboard in the workspace. The Artboard The artboard is the active rectangular area in your workspace that defines what will be printed, as shown in the example in Figure Different projects can often require different configurations of panels and tools within the workspace.
In Illustrator, you can create and save your own custom layouts and reuse them at any time. To save your own custom workspace, first set up the. Select Window Workspace Save Workspace.
In the Save Workspace dialog box that opens, type in a name for this new workspace and click the OK button. To use the new workspace, select its name from the Window Workspace menu. By default, the dock is collapsed. To expand it, click the tiny left-facing double arrows once at the top of the dock. Panels are grouped into families of similar tools. For example, the Swatches panel is grouped with the Brushes and Symbols, as shown in Figure Most panels share certain features, such as a button bar at the bottom, a flyout options menu, and the ability to expand, collapse, and be docked to the right edge of the workspace.
N Align This panel allows you to align objects. N Appearance This panel lets you view, build, and apply attributes to objects such as multiple fills, multiple strokes, transparency, and effects. N Attributes Use this panel to view overprinting information and any web URLs associated with a selected object. N Brushes This panel lets you select a brush type. N Color Use this panel to select and apply color to your work. N Document Info Use this panel to view file information such as artboard size, color mode, font details, and ruler units.
N Gradient This panel lets you apply and adjust gradients. N Graphic Styles Use this panel to view, create, and apply custom graphic styles. N Pathfinder This panel allows you to apply transformations to add, subtract, trim, intersect, exclude, and merge objects.
N Stroke Use this panel to adjust stroke settings such as weight, miter limit, alignment, dashed line, and cap and join shape. N Swatches This panel displays preset color, gradient, and pattern swatches, custom swatches, and swatch libraries. N Symbols This panel displays preset vector symbols and symbol libraries. It also lets you define and work with new custom symbols. N To open a panel, select the panel by its name from the Window menu or use the keyboard shortcut listed next to the panel name in the Window menu.
When a panel is opened, a checkmark will appear next to the panel name in the Window menu. N To dock and undock panels, click and drag a panel by its tab to the new desired location, which can be inside the existing panel group, into another panel group, into the dock as its own panel group, or outside the dock. N To adjust the height of some of the panels within the dock, place your cursor above the dark gray divider line between any two panel groups, then click and drag when you see the vertical double-sided arrow.
N To reset the panel locations to their default layout positions, press the new Workspace button on the Control panel or select Window Workspace and choose the Basic or Essentials layout from the submenu, as seen in Figure N Transform Use this panel to apply transformations, such as scaling, rotating, and shearing, to selected artwork.
N Transparency This panel lets you adjust the opacity of selected objects, apply blending modes, and apply special opacity settings to grouped objects. Not only can you undock any panel or panel group from the docking area and put them back again, you can also completely close and reopen panels as needed, adjust the width, height, and appearance of any panel both inside and outside the dock, and drag on the tabs within a panel group to change the order of their display within the group.
Panel tab Input field. The Tools Panel The Tools panel, seen in Figure , can be expanded, collapsed, hidden, visible, docked, and undocked for freefloating placement in your workspace. To see a tooltip displaying the name and keyboard shortcut of a tool such as P for the Pen Tool , hover your mouse over any of the tool icons. You can also do any of the following:.
N To hide or show the Tools panel, select Window Tools. N To use a tool, click its icon to select it. N To undock and move the Tools panel into the workspace, click and drag it from its top tab.
N To toggle between single column and double column display, click the double arrow in the tab bar at the top of the Tools panel. Flyout Menus Each of the tools that has a tiny black triangle next to it has a flyout menu beneath it containing a family of similar tools. To see the flyout menu, like the one shown in Figure , click and hold your mouse on that tool.
When the flyout menu appears, select any of the other tools by releasing your mouse when your cursor is floating above the desired tool. N With the flyout menu showing, drag your pointer over the tiny black arrow at the right edge of the tearoff menu to detach the flyout menu onto your artboard. To tearoff any of the flyout menus, drag your mouse to the tearoff bar on the right edge of the flyout menu, as shown in Figure After you release your mouse, the tearoff menu will appear as its own moveable and closeable mini Tools panel.
Tools and Tool Options This section will give you a quick overview of the Tools panel. Figure shows you a complete listing of all the available tools on the Tools panel including all of the tools hidden in each of the flyout menus. N Magic Wand Used to make selections based on object fill and stroke color, stroke weight, object opacity, and blending mode. See Chapter 4. See Chapter 3.
N Type Used to add text to the artboard. See Chapter N Line Segment Used to make line segments, spirals, and grids. N Rectangle Used to draw primitive shapes such as rectangles, rounded rectangles, ellipses, polygons, stars, and flares. See Chapter 5. N Scale Used to scale a selected object. N Warp Used to warp transform a selected object. See Chapter 2. N Slice Used to cut selected artwork into slices prior to optimizing graphics for the Web.
See Chapters 3 and Stroke and Fill Tools N Used to specify the stroke and fill color for any selected object or path. Hallo liebe Community, ich hoffe es kann mir jemand einen entscheidenden Tipp zur Behebung meines Problems geben:. Allerdings nicht immer immer. Nur wenn ich das Bild skaliere, wenn ich rein oder raus zoome.
How do I open an indesign CS6 file as a copy in attempts to retrieve the error code 4 message I am receiving? Right clicking does not give the option to open as a copy. I'm out of business. I've been trolling the forums and have tried all the recommendations safe boot, trash preferences, new user, etc. The new version of InDesign I think has set us back countless hours.
The program we've built our business on is no longer usable C4 didn't do this: I have display performance set to the highest of the 3 settings.
I place a photo over a text box early in my large document. I plan to then set text wrap so the text goes over the photo. Even if this situation is avoided through a lower display performance setting, this gotcha will bite me and kill time until I learn to place photos outside the text box. Any suggestions in the mean time? I mainly use Photoshop, Indesign and Illustrator on Windows and noticed all 3 programs behave differently when it comes to using a secondary monitor.
Photoshop : Once you've dragged the main window to the secondary monitor, next time you start the program it shows the splash screen on the secondary monitor and remembers the position of all the windows.
Illustrator : Once you've dragged the main window to the secondary monitor, next time you start the program it still shows the splash screen on the primary monitor but it remembers the location of all the windows. Indesign : Once you've dragged the main window to the secondary monitor, next time you start the program it still shows the splash screen on the primary monitor and ignores the position of the main window, putting it back on the primary monitor behind all the panels I have put there so I need to move around things in order to drag it back to the secondary monitor.
I don't mind Illustrator showing the splash screen on the primary monitor but Indesign is a real drag! Why can't it just open its main window on the secondary monitor where I left it when I quit my previous session?
Having all 3 programs behave differently is ridiculous. If Photoshop and Illustrator can open the main window on my secondary monitor then why can't Indesign? Please help. I am not in Preview mode. I'm not in Overprint Preview. I was a bit earlier, but now am no longer. I am running CS5. I'd like to copy ID only and not the rest of CS to another computer. Is this possible, or must they all be copied? Indesign As soon as I close the Hyperlinks window the delay goes away.
I can edit the links by using the dropdown menu, without the delays, but it's slow and requires many more actions. Since I have InDesign CC, when writing numbers in arabic all I get is boxes, while switching to English types numbers as it's supposed to be.. Was the problem from the beginning?
I am setting up a new document in indesign but for some reason my width and height are not in cm. Switch Editions? Mark channel Not-Safe-For-Work? Are you the publisher? Claim or contact us about this channel.
As with all other panels in Photoshop, if the Navigator panel is not visible, you can select it Tip from the Window menu at the top of the interface to reveal it in all of its navigational glory. Tools Instead of using keyboard shortcuts to toggle navigational tools, you can select them from the Tools panel on the left side of the interface.
You can select the Zoom tool which looks like a magnifying glass, shown next to zoom in and out. To change the view of your image, you can select the Hand tool in the Tools panel, right above the Zoom tool. Once you select the tool, simply drag your image around to change your view. The Application Bar Mentioned briefly earlier in this chapter, the Application bar is a new feature that provides quick access to commonly used tools.
This is used for temporarily rotating your image. As with the Hand tool, this only changes your view, not the image itself. In previous versions of Photoshop, you might find enclosed in the package a sheet listing all shortcuts.
But this list is absent from recent versions. A few versions ago, Photoshop introduced the ability to customize keyboard shortcuts. Instructions on how to do that were provided earlier in this chapter. However, by going to Edit Keyboard Shortcuts, you can get a list of all keyboard shortcuts in addition to customizing them.
Be aware that not all keyboard shortcuts will be on this list. The bulk of our study in this chapter will be about layers. Layers are perhaps the most critical element of Photoshop and can greatly increase your efficiency and the quality of your final product. Your ability to use Photoshop well will largely depend upon your ability to use layers well. I usually like to start my projects, especially artistic projects, with a brand-new document.
This way I can ensure that my document is set up to the correct specs for output. If you start with an existing project that is too small, it might be impossible later to make it large enough to print.
At first this dialog box can be intimidating as you glance around at all the empty fields. And Photoshop also has your back.
Photoshop understands that this is a little overwhelming to new users. It also knows that even if you are a total pro and know exactly what you should put in every field, it gets tedious filling out all this technical info.
These presets are nicely arranged into a variety of categories based on different workflows. Figure shows the drop- down list of presets. People in the video world, web graphic designers, print graphic designers, those who create content for mobile phones and portable devices, those in the film industry, photographers, and many more use Photoshop on a daily basis. And for each of them, Photoshop has document presets ready to get them started.
Each preset also has a variety of sizes to choose from that are common to that medium or industry. For example, if you were to select the Web preset and then click the Size drop-down list, you would be presented with most common computer screen resolutions, as well as some sizes useful for web graphics.
You can change the unit of measurement to a variety of units. The default unit of measurement in Tip the United States is inches. For web and video documents, inches are irrelevant. The Truth about Resolution The term resolution is tossed around a lot these days. It is quite possible to have an image that is high resolution, but is still low quality. What Are Pixels? When Photoshop refers to resolution, it refers to how many pixels are in a given area.
So, before we understand resolution, we need to learn a little about pixels. Name Your Stuff! Better to accept the fact that naming files and layers is just a part of life, and name your Photoshop documents. The fewer pixels in a given area like images. When there are more pixels in an image, they will be smaller and less conspicuous, and the resolution will be higher. Resolution on a computer screen is expressed in pixels per inch ppi. This is because computer monitors have pixels. Printers and scanners often print and scan using dots or lines.
When we refer to the resolution of these and other such devices, we use the terms dpi dots per inch and lpi lines per inch. People often mistakenly use the terms dpi and lpi when referring to computer files, even though computer screens have neither dots nor inches. However, most monitor specs read in terms of pixel dimensions, not dot dimensions. The Bottom Line per Inch You must keep in mind resolution when you are creating your documents in Photoshop. Just because you tell Photoshop that you want to create a document that is 8.
How many pixels are in those inches? For onscreen graphics and images, or for images intended for video or 3D programs, 72 ppi is the standard, because that is the resolution of computer monitors and TV screens.
Printed documents require smaller pixels to look clean, so the standard is usually about ppi. Even though ppi is a fairly common standard, you should never assume anything. I once designed a CD cover for an independent punk band, and I assumed that ppi would be fine.
However, their CD production house recommended I create the art at ppi— twice the resolution that I was planning on. When asking your printing agency about resolution, be sure that you get the resolution for your Tip computer document, not the resolution of their printer. The first person you ask about this may not know the correct answer. What they might be tempted to tell you is the resolution of their printer, which may be something like lpi. In most cases, this does not translate to document resolution.
Document Color The rest of the fields used to create a basic document pertain to color. As such, you should use this color mode when using Photoshop to create images for 3D programs, video games, motion graphics, web graphics, or anything that will have its final output on a computer monitor or TV screen. Use this color model for most jobs that will be commercially printed. Color Depth This is a huge can of worms. Until you get more proficient at Photoshop, leave this setting at 8 bit. In a nutshell, this refers to the number of possible colors.
A 2-bit image would contain only four colors. An 8-bit image can contain Scientists estimate that the human eye can perceive about 10 million colors. So, for now, 8 bit will be fine. Background Color Ah, finally some respite from the mentally intensive properties used to create a new Photoshop document. The Background Content drop-down list shown here essentially allows you to specify a background color for your document while you are creating it.
From this list, you can choose to create a White background layer, a Background Color that is the same color as the current background color in the Tools panel, or simply to create a Transparent background layer. Introduction to Layers As previously mentioned, layers are an integral part of using Photoshop effectively. They basically contain the various pieces of our documents. Think of the layers of a sandwich. But what if you wanted to remove the lactose from the Swiss cheese?
In Photoshop terms, we would say that they are on the same layer. If you add the paint strokes onto the same layer with the photo, and then you want to make changes later move them, recolor them, change their transparency, and so on , you would be in trouble.
It would be extremely difficult, and in some cases impossible. Not to mention that the pixels that you painted over would also be ruined and would need to be repaired, which would probably take half an eternity. On the other hand, if you create a new, blank layer and then paint on that, it would be extremely simple to adjust the paint stroke.
And painting on a new, separate layer would have the added benefit of leaving the pixels of your photo untouched. The Layers Panel The Layers panel is really the hub of our layers-centric workflow. Figure shows the Layers panel in all of its layered glory. If your Layers panel is not visible, you can retrieve it from the Window menu at the top of the interface. Notice in Figure that when you create a new document, a background layer is already created for you.
Photoshop actually offers several different types of layers: plain old layers, background Note layers, adjustment layers, text layers, smart object layers, and others.
If you have Photoshop Extended, you can also have 3D or video layers. How to. Fiddle with the Background Layer By default, when you open a file or create a new document in Photoshop, it automatically creates a background layer for you. This layer is locked to prevent you from accidentally performing certain changes to it, such as moving the layer or rearranging its layer order in the Layers panel.
In some instances you might want to edit your background layer directly not edit a copy. If you are exporting to another program or to video or 3D work, you may want transparent areas in your background layer, so that other objects may show through beneath the layers in the Photoshop document.
For whatever reason, if you want to unlock your background layer, simply double-click it. A dialog box will pop up asking you for the name of the layer and for a few other properties of the layer. The new default name is Layer 0, as shown here. You are then free to use the layer as you please. The icon looks like a notebook page about to be turned. The page-turning icon used to create a new layer can be seen throughout Photoshop and in almost all Tip Adobe applications.
It is a universal icon indicating that something new will be created. Remember this if you ever get stumped. This works if you want to create a new brush in the Brushes panel, a new style in the Styles panel, a 3D light in the 3D panel, and so on. The Layers panel will then show you that a new layer has been created. Photoshop automatically names it Layer 1.
If you create another new layer which you can do by using the same method , the default name will be Layer 2, and so on.
Or if the layer is already created, you can rename it by double-clicking exactly the name of the layer and typing the new name. How many layers can you have in one document? As many as your computer can handle. What Is That Checkerboard Pattern? But with the new layer that was created, you may have noticed that the layer thumbnail is a gray-and-white checkerboard pattern. What gives? It basically tells you that nothing is there.
You can change the size of the layer thumbnail by going to the fly-out menu of the Layers panel Tip and selecting Panel Options. From there, you can choose whether to make the thumbnail larger, smaller, or to hide the layer thumbnail entirely. Hiding the layer thumbnail can help speed things along if you have a really big project with a lot of layers, or if you are on a slow computer.
Just use the default Photoshop size from the Preset drop-down list, and make sure the Background Contents drop-down list is set to White. Next, make a new layer by clicking the Create A New Layer button in the bottom right corner of the Layers panel.
These two color swatches are the foreground and background color swatches. After clicking on that color swatch, we will meet an important new friend called the Color Picker see Figure In the center of the Color Picker, we have a tall, narrow bar from which to select the basic color.
You can drag the little arrows on the hue slider vertically, or you can simply click the color to use. Next, we need to go to the big square on the left to fine-tune this blue color. Now select the Brush tool by clicking it in the Tools panel, or by pressing B on your keyboard.
This turns your cursor into a paintbrush. Notice that the in Chapter 5. For now, make sure that your new, blank paint squiggle is on the new blank layer is selected, and just drag in your document to paint a layer we created, and not on the squiggle see Figure Create another new blank layer. Go back to the swatch in the Tools panel, and open the Color Picker again. This time, change the color in the narrow color bar from blue to green, and click OK to accept.
The layer with the green squiggle is on top of the layer with the blue squiggle in the Layers panel. And it also covers up the blue squiggle. But we can change this through the magic of layers. Simply click the layer with the green squiggle, and then drag it down below the layer with the blue squiggle see Figure This would be a great time to rename them discussed earlier in this chapter.
Another Project: Opacity and Layer Blending Another one of the features of using layers is that we can blend them together in interesting ways. The most simple and speedy way to blend layers together is by using opacity.
Opacity is the opposite of transparency. Combining Images Before we adjust opacity to blend layers together, we need to have layers to blend. Our first step is to open multiple images. I will then repeat that multiple files, they show up as tabs process to open the file dark image. To follow along, open in the Photoshop interface. Or you can just read and watch me work some sweet image-editing magic on these pictures.
These are displayed as tabs toward the top of the interface see Figure Click one of the tabs to switch documents. This is one of the new, cool features in Photoshop CS4. You have a couple of ways to do this. First, you can select one image and then copy and paste it onto the other one. In our example, we want to copy and paste the dark image on top of the light one. You can also select the entire image by going to the Select menu at the top and choosing All. Tip You can also copy and paste by choosing those options from the Edit menu.
To blend these by lowering the opacity of the top layer, click and drag on the word Opacity in the Layers panel. Figure shows what the project looks like now. Notice how the increased transparency of the dark image layer allows some of the light image beneath it to show through.
This allows for even more of the light image beneath to show through. The final result looks like the house is surrounded by early morning fog. Even if your only mission in Photoshop is to remove blemishes or annoying people from photographs, all photos essentially consist of variations in color.
Colors also have strange powers, with each color evoking different emotional responses. Just realize going into this chapter that it might feel a little incomplete.
Entire books have been written on most of the following subjects. I cover here only what you need to know to get started with Photoshop. The Essentials of Color Before we get into how to use color in Photoshop, we first need to look at what makes up a color. One color model that has always made sense to me is that of hue, saturation, and lightness.
We see this model often in Photoshop as well. These three properties refer to different elements of a color. You can choose among several ways of looking at color, and great variations in terminology exist.
What Is Hue? Hue is what most people probably think of when they think of color. So, even though red and pink are different colors, they still share the same hue. It uses the hue, Note saturation, and lightness model to adjust colors. Saturation is the intensity of a color. As we increase saturation, colors become more vibrant and intense.
As we desaturate colors, they become faded and washed out. Completely desaturating a color will produce gray. Figures and show a blue color with different levels of saturation.
Note that both of these blues have the same hue and lightness. The only thing that has changed is the saturation. What Is Lightness? Lightness is a self-explanatory color property. Increasing lightness makes a color lighter closer to white , while decreasing lightness makes a color darker closer to black.
One of the most common tasks in any image editing program is to make things a little brighter. In lower-budget image editing programs and sometimes even in Photoshop , when you brighten an image, it universally brightens every pixel. The reverse is also true; when you darken every pixel in an image, you also darken the brightest pixel, completely losing pure white.
Figures and show the same blue from Figure with varying amounts of lightness. Pastel colors are created by increasing lightness and decreasing saturation. But when certain colors are used in certain ways, they do influence us. Sound farfetched? In contrast to stop and danger signs, infomercials want your money, so they FIGURE The blue swatch try to create feelings of reliability and stability. This is typically from Figure with reduced done with blue, as it radiates professionalism and trust.
I used examples with these two colors intentionally, because they can evoke such powerful responses from people. Red and adjacent colors such as yellow and orange are referred to as warm tones. These are powerful colors that can create not only feelings of warning, but also passionate emotions such as anger or rage.
See Figure to see how warm colors can add to the intensity of art. Or we can add just a little tint of these colors to create warmth instead of heat. If we have a photo, we can tint it with a warm color to add a little warmth.
Did You Know? About Tinting Like many concepts in the world of color, tinting can be confusing because the term is often used in different ways. In painting, a tint of a color means a color mixed with white to lighten the color, and a shade of a color is a color mixed with black to make it darker. Using this definition, pink is a tint of red. Essentially, it means to subtly add a color to an entire image.
This has an effect similar to using a colored filter on a camera lens. Perhaps the most common type of tinting is seen in sepia-toned images, which are photos that are black-and-white with a faint, dark yellow tint to them think of the first part of the Wizard of Oz. This subtle addition of color to an entire image is the definition of tint that I will be using throughout this book unless otherwise specified.
Also, as with warm colors, how the temperatures make you feel is a good guide to how the colors should be used. Cool things like a breeze or ice cream are generally seen as calming and relaxing.
But cold things can create feelings of alienation or fear. Cool colors work the same way. Used with restraint, cool colors create a relaxed feel. Used more intensely, they can create feelings of isolation. Figure shows an image as is, and Figure shows it tinted with cool colors.
Does the image with the cool tint make you feel differently about it? What story does it tell that the original image does not? Because colder colors can create relaxed feelings, they are often the best choice for professional Tip circumstances, like bank logos and the already-mentioned infomercials. Examine Restaurant Logos The use of colors in restaurant logos is a great way to study the effect that colors have on us.
Notice that these logos are often the color of the foods that are served there. Most foods have earth tones, so it makes sense that red, yellow, and orange are used so often. These colors are also mostly found in comfort foods, which is another reason for these businesses to use them in their logos. Some restaurants want nothing to do with the greasy, unhealthy food served at these places. Instead they want to serve fresh food that caters to a more health-conscious audience.
So what color would you guess they would use in their logo? It is possible to create really intense art that has blue in it. These are just general guidelines. But remember that they are guidelines because they resonate with human nature, not because some ancient nerd arbitrarily made this stuff up. Using Colors Together A friend and hero of mine, noted illustrator Bruce Heavin, once said something very profound about color that has always stuck with me.
Like notes on a musical scale, colors become beautiful, ugly, intense, or out of place based on the colors that surround them. If we surround the pink heart with red hearts see Figure and more pink hearts, it would look like a card your mom might buy. The Color Wheel The color wheel see Figure is a way to view the relationships between all colors. If you plan on doing any kind of art or design with Photoshop, I strongly suggest picking up a physical color wheel. Although I like to have mine in hand, you can also view color wheels online.
Several different color wheels based on different models of color are available. Because the wheel shows color relationships, it becomes an invaluable help in choosing colors to paint or design with. If you get stuck while designing a web site, DVD menu, or digital art piece, you can try one of these color schemes.
These are also called the primary colors. Knowing that these colors are the base colors helps us as we start looking at other color relationships.
Using red, yellow, and blue together when they are bright and fully saturated is a very popular Tip color scheme when designing for an audience of young children. Secondary Colors When two primary colors are combined, the result is called a secondary color see Figure When experimenting with color schemes such as primary and secondary colors, you can achieve Tip a similar degree of visual harmony by using desaturated versions of the colors.
You can also try using lighter and darker versions of the colors. Complementary Colors Complementary colors are opposite each other on the color wheel. Check out schemes from complementary Figure to see some examples of complementary colors. See the figure caption for answers to the riddle. Another familiar set of complementary colors is blue and orange, used often in business Note web sites. Because of their high contrast when used together, complementary colors are best used sparingly, especially when fully saturated.
So do the world a favor, and use complementary colors prudently. Split Complementary Colors Split complementary colors are closely related to complementary colors. However, instead of using colors opposite each other on the color wheel, one color is chosen, and then both of the colors on either side of the complement are used.
In other words, instead of using the color across the wheel, it uses the colors next door to the color across the wheel.
See Figure for a diagram of how split complements are determined. Analogous colors are ones that are right next to each other on the color wheel. For example, looking at the color wheel, we see that violet, blue-violet, and blue are analogous colors.
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