You wouldn’t think that making gradients in Photoshop as a skill, but let me tell you that it’s quite easy to see the difference between a good gradient and a great one. In the sample above you’ll notice the lack of saturation and harshness in the “good” and “better” gradients and how natural and realistic the “best” gradient appears. 9rules Network’s Mike Rundle has a Gradient Tutorial to help you make more realistic, vibrant gradients.
Category: Photoshop
Work in RGB, view in CMYK
One thing I believe helps me get the results I see on screen when a job is printed is to work in the CMYK color space to begin with when starting a design job that includes images. Before I start adding or changing color or adding elements, I’ll switch to CMYK Preview mode in Photoshop. This gives me the added bonus of being able to use all of Photoshop’s editing and filter features that are only available in RGB mode. By doing this, I know what my image is going to look like when it’s converted to CMYK before printing. If you forget to switch to CMYK, or at least use the CMYK Preview mode, you run the risk of falling in love with the beautiful vivid color in your image, only to see it washed out and flat when printed.
Changing your brush in Photoshop
When you’re working with the brush tool in Photoshop there are a lot of shortcuts to make it a bit easier on you. The following shortcuts assume you already have the brush tool active. You can jump from one brush to another in the brush list simply by using the Arrow keys on your keyboard. Once you have a brush you like active, you can make the selected brush larger or smaller by using the Left [ and Right ] Bracket keys. If you have the Brushes drop down menu from the Control palette open, you can have it automatically close when you select your brush simply by double clicking the sized brush you want. This ONLY works in the Control Bar drop down menu, not the palette. Once you have your brush selected, you can use it to paint a straight line by holding down the Shift key. And if you really want to get some cool effects with your brush, go to your brushes palette and select your brush, then turn on or off some of the Dynamic Brush settings (the check boxes to the left of the brush.
Photoshop’s Layer Mask in brief
When working with layer masks in Photoshop, you start out with black as the color that hides and white as the color that reveals. To switch these without using the Toolbox to set your foreground color, press the X key on the keyboard to toggle the painting color between black and white.
Fade your healing brush results in Photoshop
If you’re using Photoshop’s Healing Brush, and the results are too dark for your taste, you don’t have to undo and start over, simply choose Edit>Fade Healing Brush and then lower the Opacity setting in the dialog box. The Fade menu item works on many tools and filters, so I encourage you to take a trip to the Fade menu item once in a while to see what you can do. Keep in mind that it only works on the last operation you made.
Photoshop brush previews without clicking
If you’re like me, you collect Brushes for use in Photoshop. And you don’t just collect good Brushes, you collect ALL Brushes you find! I have about 25 to 30 brushes that make perfect clouds, another 50 or so that give some nice industrial texture, yet more that simulate broken glass. Brushes are fantastic! The problem is finding the right one for the job. This usually involves a trip to the Brushes palette to preview them until I find the right one. As you can see in the picture at the right, I have the 39pixel brush selected, but I’m previewing the 59pixel brush circled in green. If you want to preview various brushes In the Brushes palette but get frustrated with clicking on each brush, then simply hover over a brush preset until the Tool Tip show up – then run your cursor over all the brush presets to see a Preview at the bottom of the Brushes palette without having to click on each individual brush. With all the “clicking” involved in your daily life, saving a few is a real treat!
Adjust your digital photos for printing
A lot of digital camera owners has difficulty understanding the relationship of resolution to physical dimensions of a photo. They just assume that low resolution means small photos and high resolution means huge photos. For that reason, they often times try printing their photos, only to find them print out clipped off or grainy. If you’re one of those folks, do the following. Go to Image>Image Size, uncheck the Resample Image checkbox and change the resolution to 250 to 300 dpi. What we’re doing here is telling Photoshop/Elements to reduce the image, but use all the pixels captured in the original sized image. Without unchecking the Resample Image checkbox, Photoshop would actually reduce the image AND throw away pixels – which of course degrades the image quality. An easy way to tell which of these methods you’ve done is to look at the file size in the bottom left corner of the document window. If the file size stays the same, you’ve done it correctly. If the file size gets smaller, then you forgot to uncheck the Resample Image box – thus, the image file size is smaller because there are less pixels.
Turn your images into pop-art
Turn your photos into Lichtenstein inspired pop art. This Photoshop tutorial will also show you how to create great-looking half tone shading! The tutorial states that it is for beginners to intermediate users, but I think “beginners” is stretching it a bit.
Easily apply scanlines to your images in Photoshop
One of the most popular techniques lately seems to be adding a pseudo-TV look to images, also called “Scanlines.” Here’s a down and dirty simple way to add some “tech/gritty” look to your image. The technique is used in a lot of movie posters and hi-tech imagery. Read on for a step-by-step tutorial on how to create scanlines quickly and easily. First, choose your image. High contrast images work best, but virtually any image will do. Here we have a fairly boring product photo. But we need to add “a little something” to spice it up for a Web site splash page. The first thing to do is make sure you’re working at 300 dpi. This technique will work with 72 dpi, but the effect won’t be the same. You can size it down later.
- Create a new layer
- Press “D” to reset your colors to black and white
- Hit Command + Delete (Backspace on some keyboards) to fill the new layer with white
- Go under Filter>Sketch>Halftone Pattern and choose 1 for size, 50 for contrast and Line for pattern type
- Your image should look something like this:
Now you could stop there, but the image may be “distorted” enough that your client isn’t happy. In this case, we want to see the keys on the phone more, and the image itself to be a little more dirty and have a little more contrast. To do that:
- Create a selection around the areas you want to adjust (in this case it was the keys and the screen
- Feather the edges around 5 to 10% (you can use whatever amount you like)
- Paste this selection on top of the scanline layer
- Set the layer style to Overlay and adjust the opacity to around 80% (you can adjust this amount to your liking)
Now we need to focus on the highlight area again. To do this:
- Make a copy of the layer we just worked on (the selection of the buttons)
- Command + Click on the layer to select it
- Go to Select>Modify>Contract and enter about 10-20% (again, you can use any amount, but we’re trying to reduce that selection by about 20%)
- Invert your selection and hit delete to get rid of the area outside the selection
- Set the layer style to Normal and the opacity to around 90%
We could stop here. But It’s still not “dirty” enough. Lets add some “distortion” to the scanlines. This portion is completely optional. If you want a “clean” look to your image, skip this step.
- Create a new layer on top of all the other layers
- Fill the layer with white by hitting Command + Delete again (your colors should still be the default black & white)
- Go to Filter>Noise>Add Noise and use 40% for the amount and set the check boxes for Gaussian and Monochromatic and hit OK
- Now make your layer style Multiply and the opacity around 20% (adjust to your liking)
Now you can just add text or other elements as you see fit. I chose to set the type layer to overlay and place the layer just above the original image layer. You could also adjust the colors to add some mood or action by using the Hue/Saturation (Command + U) dialog with the Colorize box checked. Now is the time to reduce the resolution for Web use. The reason you do that last is that if you start out with 72 dpi, the scanlines we created in the first steps will be too large.
Photoshop layers palette keyboard shortcuts
I’m not sure if I’ve posted these Photoshop layer palette shortcuts before, a quick search didn’t come up with anything, so here you go: Command + [ Moves the active layer down (below the layer below it) Command + ] Moves the active layer up (above the layer above it) Shift + Command + [ Moves the active layer from wherever it is in the order to just above the background layer or all the way to the bottom if you have no “background” layer) Shift + Command + ] Moves the active layer all the way to the top of the layer stack Option + ] Makes the layer above the active layer the new active layer Option + [ Makes the layer below the active layer the new active layer Shift + Option + ] Makes the top most layer the active layer Shift + Option + [ Makes the either the background layer or lowest layer the active layer