Photoshop Advanced Layer Tips (next)

Source: Internet
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Advanced | Tips Photoshop 6 introduces another way to use masks for multi-tier images--layer groups, which are extended in Photoshop 7. Adding layer groups is not only easy to manage layers, but it can create masks that affect multiple layers. For example, in the following image, the layer group contains 4 layers (two flower layers and two edge layers). To add a mask to these 4 layers at once and target the layer group, select the layer and the layer mask to show all. This layer mask is the same as any other layer mask (the information in the hidden layer group is smeared in black, displayed in white), but it does not target a layer, but it acts on all the layers in the layer group. When you use masks for all layers in a layer group, you can quickly and flexibly change the image in the group by simply targeting the mask of the layer group. All other options that you can use for a generic mask can also be used for layer group masks, including hiding, displaying, deactivating, throwing, applying, changing, editing, and manipulating them. (Figure 31)

To hide the small number of flowers in a layer group, we create a gradient on the left and right sides of the image group mask to hide the images in the layer group. Using layer groups makes editing a lot easier. For example, changing the small flower on the right simply drags the new layer into the group, places it in the right place, and deletes the unwanted layer. After you create a mask in a layer group, the layers in the new join group are automatically affected by the mask. To remove a layer from the group but still remain in the image, simply drag the layer off the Layer group icon in the Layers panel. (Figure 32)

Layer groups are also often used to separate different versions of images to suit customer needs. For example, an ad may require multiple versions of different languages, creating a layer group to place all the text of a language, and changing the type of text after the layer group is copied becomes another form, which saves time and money. In addition, in this way, you can show customers two (or more) different versions of the image by simply opening or closing the layer group. In this example, the English and French characters each have a layer group, which shows only English, while French is hidden. (Figure 33)

Layer groups are also a powerful authoring tool. Duplicating layer groups allows you to easily experiment with different compositing, layout, and creativity. When you are authoring a large image that contains multiple layers, using layer groups is less likely to confuse layers than modifying them directly on normal layers, and you don't have to risk not being able to memorize the original settings and the correct history state, simply copy the layer group, then close the original layer and work in the copy. If the result of the change does not satisfy you, delete the copy layer group. Of course, this workflow works well when creating low-resolution images, which can slow down the software and make it less efficient in multiple, high-resolution images. However, the duplicate layer group cannot be dragged to the layers panel by dragging the copy directly on the Layer palette, and you can choose Copy Layer group from the Palette options, right-click menu, or Layer menu. (Figure 34)

Layer groups provide an additional blending mode that differs from individual layers-through mode. This pattern provides additional options for controlling how layers within a layer group interact. One of the things that goes through a pattern is that you can make the adjustment layer in the Layer group not limited by the layer group, but also in other layers outside the layer group. (Note: In this example, to see the overall image, we deactivate the mask of the layer group) in order to render the image and make some adjustments to the color, we have added hue/saturation and curve adjustment layer to the layer group. We're only going to affect two small daisies, but the background image is also affected by adding adjustment layers. (Figure 35)

To limit the effect of adjustment layers on layers outside of a layer group, note the special blending mode that the layer group displays on the layers panel-through. By default, the blending mode for the new layer group is through. Now target the layer group and change its blending mode from through to normal. This limits the two adjustment layers to work only on the layers in the layer group, but not on the background (or any other layer outside the Layer group). (Figure 36)

Assigning additional blending modes to a layer group also creates an effect that is different from applying the same blending mode to each individual layer. In the image below, all the circles are in a separate layer in the Layer group, and their layer blending mode is set to multiply. You can see how these layers interact with each other under the layer group. For example, the blending mode of the top layer affects all of the following layers, including the background layer outside the layer group, and the second layer underneath the top layer also affects all layers underneath it (Figure 37).

However, if you return all individual layers to normal mode and change the blending mode of the layer group from through to multiply, all the layers in the layer group will be treated as a single composite layer, with the blending mode of the selected layer group interacting with the image below. It is equivalent to flattening all layers within a layer group before blending mode changes in the layer group, resulting in layers that are not interacting with each other in the layer group, and can only work on layers other than the layer group. (Figure 38)

four, Shape layer

A shape layer includes a vector path that can vary in size, size, and complexity. It is created by the Shape tool or pen tool. Shape tools include rectangular tools, elliptical tools, rounded rectangle tools, polygon tools, line tools, and flexible custom tools. By default, the newly created shape layer contains a solid-color fill layer and a vector mask that defines the shape. You can easily change the fill color of the layer or fill it with a gradient or pattern. Before you add a shape layer, select a shape tool, or the pen tool, in the Tools Options bar, set the drawing style to shape layer, select the foreground color to fill the shape layer, and then drag the mouse in the image to draw the vector mask path. When finished, the path is immediately populated with the foreground color. In the image below, we have selected a custom shape as a vector mask and will change the layer blending mode and opacity of the shape layer. (Figure 39)

Most of the time, the shape of a fit is difficult to meet our requirements, you can create a new custom shape and add it to a preset shape. First use the Pen tool or use a variety of shape tools to draw the desired path shape, click on the corresponding button to add or subtract the combination path, specify overlapping shape interaction mode. After you are satisfied with the shape, choose Define Custom Shapes from the Edit menu to name them. All path areas in the image are defined as new shapes. If there are intersecting paths, the new shapes will be their combination, and if one path is completely surrounded by another larger path, the new shape will be defined in a larger path. After you've defined it, select the Custom Shape tool and click the Drop-down triangle next to the shape you want to create to find the shape you just created from the list of shapes. Note that after you select the Custom shape tool, there are two small triangles in the tool options, the first is the Geometry option for the Shape tool, which restricts the selected shape and the second is the preset shape selection. (Figure 40)

Another way to define a shape is to copy and paste the path from the Adobe Illustrator. In contrast, illustrator control over vector shapes is more accurate than Photoshop. For example, draw a simple path in illustrator and select and copy it to the Clipboard. Then, in Photoshop, select the edit > Paste command and choose Paste as path or paste as shape layer to create a separate path or a shape layer. Then use the method just to define it as a new shape and add it to the library for future use. In this way, you can easily add a logo logo in Photoshop image, even put it into action, the image batch processing. (Figure 41)

After the shape layer is created, you can change the content of the fill layer by changing the layer content command, which allows the shape to be filled with any gradient, pattern, or change the shape layer to an adjustment layer, adjusting the layer below in the vector mask area. In the following illustration, the content of the shape layer is changed to a gradient fill, and the inner shadow effect in the layer style is used to add some depth to the shape. (Figure 42)

Five, type layer

A text layer is another type of layer in Photoshop. Photoshop 7 does not make significant adjustments to the word tool system, and basically follows the PS6 style. Because characters are made up of pixels and have the same resolution as the image file, and the display displays the image as a grid, the character zooms in on the edge even if it is a vector text. But you know, before the grid, the text is vector. Adding a text layer is simple, just select the Text tool and click on the image, and Photoshop will automatically create a text layer. The Text Entry dialog box is canceled from Photoshop 6.0, and is entered directly on the screen instead. In the tool options, you can select a variety of text options, such as fonts, font style, text size, anti-aliasing, text alignment, color, and so on. Text colors can also be set by changing the foreground color, starting with Photoshop 6, a new feature of the Text tool, which is that you can use different colors in a batch of text. In general, the text tool selected and the following image are reversed color, so you can not correctly judge the color applied to the appropriate. You can hold down CTRL (Win)/cmd (MAC) +h, hide the selection, do not let the inverse color affect your view. (Figure 43)

Clicking on the Character Palette button in the toolbar will show the character and paragraph palette, where you can set more options for the text. In addition to the options available in the Control tool options, the character palette controls the formatting of characters such as line spacing, spacing, horizontal scaling, vertical scaling, kerning between selected characters, kerning, baseline offsets, and so on. In addition, you can also set the text in pseudo bold, pseudo italic, all uppercase letters, small caps, superscript, subscript, underline, strikethrough these special text formatting. Click on the right side of the small triangle, you can also choose to change the text direction and other options, so that text emissions more suitable for image needs. When you work with OpenType fonts, you can use them in text if the font provides a combination of words and old style printing numbers. In this example, we made a little change in the kerning and kerning of these letters, and revive the text size of the uppercase R to make it different from the rest of the letters. (Figure 44)

In Photoshop, you can also create text areas by selecting the Text tool and dragging it in the image, defining a rectangular box, starting typing in the box, or pasting text from the outside. The options for the paragraph text palette include: alignment, indent rules, adding spaces before and after paragraphs, kinsoku rules, spacing combinations, and hyphenation options. Click on the triangle to the right of the panel, there are more options to control the paragraph format, such as hanging punctuation, and so on. (Figure 45)

Another new feature of the Text tool is the creation of deformable text. This feature allows you to create multiple types of curved warp text. This simple twist, though not as accurate as the text-following path as in Adobe Illustrator, can provide some very characteristic bending effects. Click the Create deformable text button on the Text toolbar to open the Variant Text dialog box, which provides 15 different preset styles. Each style provides both horizontal and vertical deformations, setting different deformations by bending, horizontal twisting, and vertically distorting three parameters. Even after the transformation, the text layer remains fully editable, so don't worry about it breaking the text, you can do it or undo it at any time. The deformation can be done before and after the text input. After applying the deformation, the text-layer thumbnail on the layers panel will have the identity of the deformed text. (Figure 46)

Another feature of the text layer is that you can convert text to shapes or working paths (so that you can manipulate a character shape individually), and raster to apply effects based on raster images, such as filters. In this case, the execution layer > text is converted to a shape, and the text is converted to a shape layer. Use the Path selection tool to select the first letter D and H, and the last letter N to increase their height. After you convert text to a shape, and the text layer is replaced with a vector mask layer, you can edit the vector mask and apply a style to the layer, but you can't edit the text anymore. (Figure 47)

six, layer style

Although the layer style does not belong to the content of the layer itself, it also appears in the Layers panel, so we should pay enough attention to it. Layer styles give the image a variety of special effects based on not destroying layer pixels. Any type of layer in Photoshop, whether it's a normal layer, a type layer, a shape layer, or a variety of adjustment layers, can add a layer style. However, you cannot apply layer effects and styles to backgrounds, locked layers, or layer groups. Layer effects are linked to layer content, and the layer content is modified when you move or edit the content of the layer. In the previous exercise, you've found that layer styles can be added anytime, anywhere, without worrying about the layers being compromised. Layer styles are grouped into projections, lights, bevel, overlays, and strokes, and with these effects you can quickly change the appearance of the layer's content. To make it easier to manage and store these effects or their combinations, you can name and save a particular style in a style panel. This allows the combination style to be applied to other layers or images at any time, and is quick and easy. Access layer styles you can define different styles in the style panel by selecting a style type from the list, or by double-clicking the layer that you want to add a style to by using the layer's layer style. In the following example, we add a layer of text to the background. (Figure 48)

In the Layer Style dialog box, the left side is a list of styles, click on the name, and the right side of the dialog box appears with the options and preset values. Here, we add projection and bevel and emboss styles to the text layer. (Figure 49)

At the top of the Layer style panel option is the layer blending option, which determines how pixels in the layer are blended with the underlying image pixels. General blending options appear in the layers panel, such as blending mode, opacity. Advanced blending options appear only in the Layer style panel (PHOTOSHOP7 the fill opacity in the advanced blending options also appears in the Layers panel). Fill opacity is different from layer opacity, and layer opacity affects everything in the layer, including image pixels, the styles applied to the layer, and blending mode, while fill opacity affects only the pixels or shapes drawn in the layer, and the layer effect does not work. Many times, the fill opacity is used to create special effects. For example, in this example, we reduce the fill opacity in the text-layer blending option to 0%, so that the text layer only shows the projection and emboss style we just added, and the text itself becomes transparent. In PHOTOSHOP7, you can also change the fill opacity directly in the layers panel. (Figure 50)

You can also specify a color channel in the advanced blending options so that the mixed image is within the specified channel and the excluded channel is unaffected. By default, all channels are included when you mix layers or layer groups. Different types of images are edited, and the channels that can be selected are different. Only channels that are marked for selection can be used for blending. (Figure 51)

Although the same layer style panel, but the blending options are different from the layer style, we will focus on layer styles and blending options in another article.

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