Advanced Photoshop 6 for Compositing and Effects
(A Lecture Course):

9:00 - 10:45 General Issues, Selection and Layer Techniques:

General Issues: tips and tricks with the Photoshop Tool, Navigator, Layers, Channels, Info, Picker, Paths, Brushes, History, Actions and Batch Processing palettes as well as learning the new Photoshop 6 features. (Chapters 3, 4, 5 & 12)

Selection & Layer Techniques: advanced selection techniques using the selection tools and the Pen tool along with Channels, Threshold and Levels masks with Gaussian Blur; creating and editing Layer Masks to allow infinite changes. (Chapters 10, 11, 26, 33)

11:00 - 12:30 Advanced Compositing Techniques:

Advanced Compositing Techniques: advanced hard and soft edge masks, image compositing and automated knockout techniques; all Layers features including Adjustment Layers, Clipping Groups, Layer Masks, Layer Options, Linking, Merging, Layer Effects, Flatten, Reordering and Drag & Drop; using Layers to set up Photoshop files to quickly show your clients unlimited variations of a composite or effect. The APDA magazine example from Photoshop 4 Artistry. (PS 4 Artistry Apda)

The McNamaras (Seamless Composites and Color Correction of People): the ultimate retouching and color correction challenge as you move six smiling heads from other exposures into this initially imperfect family portrait to end up with everyone smiling. Resizing and rotating the heads with Free Transform, blending them together using layer masks, and using adjustment layers with the new Color Sampler so you can continue to tweak the color of each head and the original group shot until they all match. (Chapter 34)

The Portable Computer Ad (A Complex Composite Production Ad): Creating a color add for a portable computer from a black and white shot of the computer with nothing on the screen. Placing an Illustrator created cereal box, creating shadows and a textured background on the screen as well as screen grabs of a Tool palette and Menu bar. The image is composited with layers in such a way that the background, color of the computer, and image on the computer screen can easily change as you show the ad and its variations to your clients. Here we use the new Measure tool to measure angles, move linked layers from one document to another, then Free Transform them to fit within an angled window. (Chapter 40)

12:30 - 1:30 Lunch

1:30 - 3:00 Blend Modes and Special Effects, Inter Application Integration:

Blend Modes and Special Effects: detailed explanations of the Blend Modes in all the tools (Painting tools, the Fill command, Layers, Calculations and Apply Image); the many variations and uses of the Apply Image and Calculations commands are demonstrated and demystified (Chapter 36)

Posterize, Bitmaps, Textures and Patterns: creating texture and pattern effects using Posterize, Bitmaps, Layers and Patterns. (Chapter 38)

Transformation of Images, Layers, Paths, and Selections: using Photoshop 6's enhanced Free and Numeric Transforms of Selections, Paths, and Layers. (Chapter 17)

Integration via Photoshop, Painter, Illustrator and Quark: Using layers to set up your Photoshop files to show unlimited variations of a composite or effect quickly, without losing any of those variations. Using the Layers palette and Layer options, including Clipping Groups, Linking, layer masks, Blend modes, opacity. Using the new Photoshop 6 Text editing, Layer effects, Bevel, Shadow, and transformation abilities. Combining positive and negative versions of the same image using Multiply, creating neon text with the Blend modes and placing it using Layer options, combining Illustrator text with Photoshop drop shadows, and saving as EPS from Illustrator for more creative control and higher-quality PostScript text output. (Chapters 35 & 37)

3:15 - 5:00 Creating Web & Multimedia Images, Other Shadow Effects, Larger Images:

GIF verses JPEG: Creating and comparing GIFs and JPEGS and seeing how they look on 8-bit versus 24-bit systems. Choosing between system palettes, the Web palette, and adaptive palettes. Creating adaptive palettes that work for a group of images. Comparing the GIF89a Export with the improved Photoshop 6 Index Color, Color Matching and Preserve Exact Color features to see how to get the best GIF for every situation. (Chapters 42, 43)

Creating Small Transparent GIF Composites: Scanning images at a larger size and then color correcting, sharpening, and creating knock-outs using that larger image. Compositing a jacket with a separate collar image to create the "invisible man" look. Resampling the image down, sharpening again, and creating transparent GIFs using the GIF89a Export filter. Testing and correcting your transparent GIFs with various sample Web page background colors. Learning when to have aliased versus anti-aliased edges on your transparent GIFs and how to convert between the two. (Chapter 44)

Drop Shadows: Photoshop 6's new drop shadow layer effects as well as using Layers, masks and Blend Modes to create shadow effects on text and other objects; adding new backgrounds while keeping existing shadows; creating shadows in the black channel only. (Chapter 41)

For the lecture exercises, Barry uses examples (chapter numbers marked above in parens) from the 3rd edition of his full color book, Photoshop 6 Artistry, a Master Class for Photographers, Artists and Production Artists. This book is rated as "The best book for learning Photoshop" and has in depth step-by-step exercises and course images on the book's CD. The material taught in class is also written down in the book!

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Advanced Photoshop 6 for Compositing and Effects please e-mail us.