A Legal Copy of Photoshop CS6 Is Your Deal of the Day

A Legal Copy of Photoshop CS6 Is Your Deal of the Day
Adobe Photoshop CS6 is the industry-standard image editing software. It's a verb. For some projects — say, making unbelievable hi-res versions of scenes from Metroid — there's no substitute. But like most professional software, it's crazy expensive.

If you're a bona fide student, you can pick up a student version of Photoshop CS6 for $320. But for the rest of us, if you want a legal copy, you're looking at software that could very well cost more than your laptop. It makes sense to buy CS6 on sale. Right now, Officemax has a 20% off code that — surprise! — even works on expensive software, including Photoshop CS6. The code SAVE20 knocks the price of a retail copy down to $560, which is a historically notable price. Pick it up, and get shoopin'. [Officemax via Fatwallet]

Note: The Officemax code works on a lot more than just Photoshop, including the whole Adobe Creative Suite, Office, and Windows.

Layer Styles on Groups -Group Clipping Masks

Layer Styles on Groups
Layer styles can now be applied to groups in the same way they can be applied to bitmap, vector and type layers. There’s many reasons why this is an awesome feature, but my main use for it will probably be to apply more layer styles to objects — you can now have two or more drop shadows by nesting layers inside groups and applying layer styles to the groups. In my opinion, this is a far better technique than using Smart Objects for the same purpose, because this will allow documents to scale and maintain quality (Smart Objects don’t, depending on how you’ve created them).

Group Clipping Masks

Layers can now be clipped to groups, allowing for some pretty wild masking possibilities. Use in abundance and in combination with group layer styles to impress and confuse your CS5-using friends.

Photoshop CS6 improvements

Photoshop CS6 improvements
The Photoshop CS6 beta is includes a ton of big and small improvements over previous versions. Here are the ones that matter to me, as an interface designer.
Layer searching
Search for layers by layer type, name, effect (layer style), blending mode, colour or by large range of attributes. Want to find all layers that have a pattern overlay layer style? Just search for effect and overlay. CS6’s improved searching should make traversing 1000+ layer documents a whole lot easier.

Vector pixel snapping
Pixel snapping behaviour has been drastically improved in Photoshop CS6, negating the need for some of the janky workflows required when editing vector points in CS5.
There’s two main settings to control everything, Align Edges and Snap Vector Tools and Transforms to Pixel Grid.
Align Edges snaps the edge of entire objects to the pixel boundary, while maintaining the relationship of non-edge points. This means crisp edges, without rounding any of the inner points. It can be found in the Options Bar and is enabled on a per-layer basis. If my description doesn’t make sense, don’t worry. It’s easier to use than it is to explain.
Snap Vector Tools and Transforms to Pixel Grid controls all vector creation and editing. All vector tools can now snap to pixel boundaries, including the pen and ellipse tools (yep, pixel snapped circles). For me, these changes alone are worth the upgrade price. Snap Vector Tools and Transforms to Pixel Grid can be found in Preferences under the General tab. My only complaint would be that the setting is pretty well hidden. It’s actionable though, so that’s exactly what I’ve done. If you’d like to enable and disable it via a keyboard shortcut, download our Bjango Actions and use F15 to enable snapping and shift-F15 to disable it.

Photoshop CS6: Restoring & Blending Images

Photoshop CS6: Restoring & Blending Images

This workshop is especially for people who want to learn to create photo collages and for those who are interested in refurbishing digital images of aging photographs. Designed for people with some experience using Photoshop, this workshop delves more deeply into Photoshop image-editing strategies and practices. Participants will learn the most beneficial way to modify images, using channels and masks to preserve and edit their work. While doing the exercises, participants will save and re-use complex pixel selections, colorize grayscale photographs, learn the best method to create collages, and explore the ways Photoshop digitizes color.

The North Korean being an epic Photoshop fake

It is a picture which was supposed to show the might of the North Korean army; one problem – it has been accused of being an epic Photoshop fake.

The North Korean propaganda campaign has become increasing aggressive over the last couple of weeks.

Earlier this week it repeated threats to target US military bases, a move dismissed as designed to raise tensions and intimidate.

And an image of hovercrafts landing on a beach during a military exercise was released by the North Korean Central News Agency [KCNA} and picked up by other news agencies this week, reports The Telegraph.


The image released by North Korean news agency, KCNA, which appears to show hovercraft have been copied and pasted.

However, news agencies killed off distribution of the image with the respected Agence France-Presse insisting ‘excessive digital alteration’ had taken place.

The AFP photo editor, Eric Baradat, told The Telegraph "various anomalies" had taken place.

“Usually a very simple examination with our software dismisses KCNA pictures but they tend to be better with Photoshop recently,” he said.

Writing in Atlantic magazine, Alan Taylor believes at least two and possibly three of the hovercraft have been copied and pasted on. While another craft was suspicious because of its "soft edges, lack of visible wake, and color oddities".

Did North Korea photoshop its hovercraft?

Did North Korea photoshop its hovercraft?
It appears North Korea has doctored pictures of its military to make it look more impressive than it is – and not for the first time

The images of North Korean military hovercraft landing on a desolate beach were supposed to portray a disciplined, combat-ready army ready to launch or repel an attack at a moment's notice.

As South Korea and the US continued their controversial joint military exercises in the region, the North's official news agency this week distributed photographs showing the communist state playing war games of its own.

The hovercraft image, however, may have been doctored to make the exercise appear more menacing than it really was.

The photo, which was widely carried in the international media on Tuesday, shows several hovercraft coming ashore at an undisclosed location on North Korea's east coast the previous day.

A couple of dozen troops units of the Korean people's army and navy can be seen running ahead of one of the craft, apparently to be "repelled" by soldiers positioned behind a bank at the edge of the beach.

Writing in the Atlantic magazine's In Focus section, Alan Taylor said he believed the photo, issued by the Korean Central News Agency and distributed to media organisations by Getty Images, had been digitally manipulated.

Taylor said several of the eight hovercraft in the photo appear to be digital clones, speculating that at least two of them had simply been copied and pasted elsewhere. Another craft raised suspicions due to its "soft edges, lack of visible wake, and color oddities".

Two of the near hovercraft, boxed in red, appear to be the same hovercraft, digitally manipulated. It appears that two in the distance, boxed in purple, are also unnaturally similar

Resizing one of the hovercraft so they are the same size, the similarities become even more evident

Again resizing the hovercraft that are in the foreground, the similarities are obvious. On the right hand image, at the front of the hovercraft missing pixels are clearly visible

This isn't the first time that North Korea has been accused of doctoring images for propaganda effect.

A photograph taken at the December 2011 funeral of the state's previous leader, Kim Jong-il, was allegedly altered after the original showed half a dozen men, who appear to be TV journalists, looking away from the main spectacle.

In the manipulated version, the errant men, their camera and footprints had been digitally removed, giving the impression that all eyes were on Kim's funeral cortege as it passed ranks of mourners in the capital, Pyongyang.

The discrepancy was only noticed because the men were clearly visible in a photo taken at almost exactly the same moment by Japan's Kyodo news agency.

Receding Type Effect

Receding Type Effect

This technique is written for Photoshop CS6, but can easily be accomplished in prior versions.

The type treatment on the cover of the “Best of 2012” iPad version of Photoshop User magazine displays type that appears to be receding into the distance.  The entire effect is created using a few clever layer styles and a gradient overlay.  Today, I’ll show you how to produce this sweet look.

Step 1: Create a New FileChoose File > New.  Plug in dimensions of 1536 pixels wide x 1760 pixels high with a resolution of 72 pixels/inch.  Set the background color to white.

Click OK.  Press Command-I (PC: Control-I) to invert the white background to black.

Step 2: Create the Most Distant Type LayerWe’ll begin building the most distant type so that drop shadows from closer type layers fall on top of the distant type, helping to sell the receding effect.  Press “D,” then “X” to set white as the Foreground color.  Activate the Horizontal Type tool and click near the lower left corner of the document.  Type the number “20” and click the large check icon in the Options Bar.  Press Command-T (Control-T) to invoke Free Transform.  While pressing Shift, drag a corner handle to enlarge the type.  Press Return (PC: Enter) to commit the change.  With the Type tool still active, visit the Options Bar and change the font to something bold and blocky like Arial Black.  To compress the space between the numbers, open the Character panel (Window>Character) and reduce the Tracking value to around -50.  While in the Character panel, stretch the type vertically by changing the Vertical Scale value to 150%.

The result should look something like this.

Now let’s complete the year so that it reads “2012.”  Press Command-J (PC: Control-J) to duplicate the “20” type layer.  Activate the Move tool and drag the duplicate type to the right.  Choose the Type tool and click-and-drag over the digits to highlight them.  Type “12” and click the big check icon in the Options Bar.  Press Command-T (Control-T) to invoke Free Transform.  While holding Shift, drag a corner handle to enlarge the type.  Press Return (PC: Enter) to commit the change.

Let’s add a gradient to the “12” to jazz it up a bit.  Click the “fx” icon at the base of the Layers panel and choose Gradient Overlay.  Click on the black to white gradient to open the Gradient Editor.  Double-click the left black Color Stop to open the Color Picker.  Choose a rusty brown color.

Press OK.  Double-click the right white Color Stop.  Go with a bright yellow color.

Press OK three times.  You should now have something that looks like this.

To make the type appear as though it is fading into the distance, let’s partially cover it with a dark gradient.  Click the Create a new layer icon at the base of the Layers panel.  Press “D” to set black as the Foreground color.  Activate the Gradient tool.  Open the Gradient Picker in the Options Bar and choose the Foreground to Transparent option.

Ensure that you have a Linear Gradient set to 100% opacity.  While pressing Shift, click-and-drag from the base of the “1” to its top.  The resulting gradient should look like this.

Step 3: Create the Next Level of TypeNow we’ll add the “Best of” type.  Activate the “20” layer and press Command-J (Control-J) to duplicate it.  In the Layers panel, drag the duplicate layer above the gradient layer.  Using the Move tool, drag the duplicate type so that it rests just above the “20.”  Activate the Type tool and drag over the numbers.  Type “best” and click the big check icon in the Options Bar.  Press Command-T (PC: Control-T).  While holding Shift, scale the type until it nestles nicely above the “20.”  Press Return (PC: Enter).  In the Character panel, increase the Vertical Scale to 200%.

The “best” type will look better if it mirrors the gradient appearance of the “12” layer.  To borrow the gradient, press Option (PC: Alt) and drag the “Gradient Overlay” effect name from the “12” layer to the “best” layer.

To add dimensionality to the effect, let’s add a drop shadow to the “best” layer.  In the Layers panel, double-click on the “Gradient Overlay” effect name associated with the “best” layer.  Click on the words “Drop Shadow.”  Set the angle to 90 degrees, the Distance to 89 px, and the Size to 16 px.  Notice how this makes the word “best” appear as though it’s floating above the type below.

Press OK.  To create the word “of,” as in “best of,” press Command-J (PC: Control-J).  Move the duplicate type to the right and change it to “of.”  Use Free Transform to scale it down.  To make it pop a bit more, visit the Layers panel and drag the “Gradient Overlay” effect name associated with the “of” layer to the trash icon.

Step 4: Add a MastheadNo publication cover is complete without a masthead.  Here, we’ll create a magazine called Lighting Effects.  Activate the “20” layer and press Command-J (Control-J).  In the Layers panel, drag the duplicate layer above the “of” layer.  Using the Move tool, drag the duplicate type so that it is positioned just above the “best” type.  Activate the Type tool and change “20” to “Lighting.”  Scale the masthead until it fits the horizontal dimension of the document.  In the Character panel, increase the Vertical Scale to 200%.  While holding Option (PC: Alt), drag the Drop Shadow layer effect from the “of” layer to the “Lighting” layer.

To complete the masthead, we need to add the word “EFFECTS.”  Duplicate the “Lighting” layer and drag the type so that it is positioned below “Lighting.”  Using All Caps, change it to “EFFECTS.”  Scale the type until it fits below the “i” and “n” in “Lighting.”  Change the font from Arial Black to Arial.  Finally, change the color to a medium gray.  Here’s the completed cover.

New technique is written for Photoshop CS6.Compositing Unruly Hair

Compositing Unruly Hair

This technique is written for Photoshop CS6, but can be accomplished in prior versions.

Compositing wispy strands of hair is tricky business. In today’s tutorial, we’ll explore strategies for capturing and compositing models that make the process uncomplicated and fun.

Let’s begin with several recommendations for successfully capturing a subject:

$#x2022; Light the model with three lights…a main light, and two edge lights with modifiers (such as egg crate grids) that create noticeable rim light along the edges of the subject.

$#x2022; Use a seamless white backdrop.

$#x2022; It’s best to shoot medium to dark-haired models on a white or very light gray background. To accomplish this, either move the model close to the seamless white backdrop and/or light the backdrop.

$#x2022; It’s best to shoot light-haired models on a dark gray background. In this scenario, it’s crucial to add rim light along the edges of the hair. To achieve a dark gray background, move the subject farther away from the backdrop.

Let’s examine which blend modes are best to use based on the model’s hair color in relation to the density of the background:

$#x2022; Best-case scenario –

If the hair is dark and the background is white or very light gray, Multiply blend mode works extremely well (as you’ll see in a moment).

$#x2022; Other workable, but less-desirable scenarios –

If the hair is light and the background is medium to dark gray, Screen and Overlay blend modes have potential.

If the hair is dark and the background is medium to dark gray, Hard Light, Multiply, and Overlay blend modes have potential.

Now let’s explore how to put this knowledge to use in a real-world wispy-hair compositing situation.

(Note: Both images used in this tutorial are courtesy of Shutterstock).

Step 1: Select the Subject, Add a Mask, and Import into the Background
In this example, the subject was selected using the Quick Selection tool, a mask was added, and the subject was imported into the background scene with the mask intact. Notice how the edges of the model’s hair look like she received a haircut from a five-year old.

Step 2: Use Refine Mask to Begin Bringing Believability to the Hair
Activate the subject layer and press Command-J (PC: Control-J) to duplicate the layer. Name the duplicate layer “Refine Mask Hair.” Turn off visibility for the original subject layer.

Activate the “Refine Mask Hair” layer mask thumbnail and choose Select>Refine Mask. Set the View menu to On Layers (L). Drag the Radius slider far to the right (in this example, all the way) until small wisps of hair appear. Notice how the hair looks much better, but still not believable.

Set the Output To menu to Layer Mask and press OK.

Step 3: Use a Blend Mode to Further Tame the Wisps
Now is when we will put a blend mode to work to finish the process. Activate the subject layer. Press Command-J (PC: Control-J) to duplicate it. Name the duplicate layer “Blended Hair.” Turn on the layer’s visibility. Right-click on the “Blended Hair” layer mask and choose Delete Layer Mask.

Since this is a dark-haired model in front of a white backdrop, change the blend mode from Normal to Multiply. Wow! Notice how this immediately solves the hair edge problem and produces a completely believable blend.

Note: Keep in mind that different model/backdrop scenarios require different blend modes. For advice on which ones to use, see the introduction. In this scenario, the job is done, but in cases of other blend modes you may have to add a mask to the “Blended Hair” layer and paint away light gray areas. If masking alone does not work, consider opening the Layer Style dialog and using the Blend If sliders to blend away gray areas. Remember to hold Option (PC: Alt) while dragging the inner half of a Blend If slider to produce a smoother blend.

Step 4: Fix the Subject’s Hairless Edges
The original subject layer contains the best mask for the model’s hairless edges (e.g. arms, legs, and clothing). To put this mask to use where we need it, turn on visibility for the original subject layer. Activate its mask and grab a soft-edged black brush at 100% opacity. Using a large brush, paint over the hair so that only the “Blended Hair” and “Refine Mask Hair” layers are having an effect in this critical region.

Here’s the unrefined look…

…and here’s the finished look.

Photoshop Of Horrors: The Gap Models Are Violent!

Photoshop Of Horrors: The Gap Models Are Violent!

Up there is an image from The Gap, promoting a “new season” and “new essentials,” with the implication being that their brightly colored pants qualify as such.

This is also one of those Photoshop of Horrors that creeps up on you. You search the image, looking for what’s wrong, and you become convinced there’s nothing wonky going on.

…Then you notice how the guy on the far right has his elbow practically inside the wrist of the guy behind him.

And you pause, and you think it’s not so bad, and then you realize you can’t unsee it and it becomes deeply distracting. Because guy in the front is elbowing guy in the middle so hard that his arm is liquifying.

Go figure.

Using Channels to Make Better Selections in Adobe Photoshop

Using Channels to Make Better Selections in Adobe Photoshop

In this tutorial, Stephen Burns shows you how to make clean masks for difficult selections by using channels.

This entry was posted in Tools, Tutorials, Videos. Bookmark the permalink.

Decorated Wood Text Effect

Tutorial Assets

1-  Wood Pattern Background patterns.
2-  Janda Manatee font.
3-  Patterns 21 by Ransie3.
4-  Floral Fabric Patterns by sofi01.
5-  Diagonal Noise pattern by Christopher Burton.
6- gradient-shapes for Photoshop by ilnanny.

Step 1Create a new 1152 x 864 px document, then duplicate the Background layer.

Double click the Background copy layer to apply the following Layer Style:

Gradient Overlay:  Change the Blend Mode to Multiply, the Style to Radial, the Scale to 150%, and click the gradient box to create it.

The gradient uses two colors: #ffffff to the left, and #3f3f3f to the right.

Pattern Overlay: Choose the “Melamine-wood-002″ pattern from the “Wood Pattern Background” pack.

This will create a simple dark wooden background.

Step 2Create the text in All Caps using the font “Janda Manatee”. The color is White,  the font size is 250 pt, and the Tracking value is set to 25 to avoid any overlapping.

Duplicate the text layer twice so that you have two copies.

Step 3Open the ” VF_r03.jpg” image from the ” Patterns 21″ pack, then go to Image -> Adjustments -> Levels, and change the Gamma value to 0.75.

This will darken the pattern a bit. You can use bigger values if you want it to be lighter, and smaller values to darken it even more.

Now go to Edit -> Define Pattern, and type in a name for the pattern. Here, the same name is used with an additional (2) at the end.

Step 4Double click the original text layer to apply a simple Drop Shadow effect. Change the Distance to 10, the Spread to 10, and the Size 29.

This will add a simple shadow.

Step 5Double click the first text layer copy to apply the following Layer Style:

Bevel and Emboss: Change the Style to Stroke Emboss, the Technique to Chisel Hard, the Depth to 144, the Size to 6, the Gloss Contour to Guassian – Inverse, check the Anti-aliased box, change the Highlight Mode to Soft Light and its color to # 96918c, and change the Shadow Mode color to #2a1b00.

The Stroke Emboss style requires the Stroke effect to be active in order to make a difference, so just continue changing the values and when the Stroke effect is applied you’ll be able to check the result.

Contour: Use the Rolling Slope – Descending contour, and check the Anti-aliased box.

Stroke: Change the Size to 4, the Fill Type to Pattern, and choose the “VF_r03 (2)” pattern.

Drop Shadow: Change the Distance to 11, the Spread to 8, and the Size to 10.

This will create the outer edges of the text, and add some more shadow.

Step 5Double click the second text layer copy to apply the following Layer Style:

Bevel and Emboss: Change the Technique to Chisel Hard, the Depth to 144, the Size to 6, check the Anti-aliased box, change the Highlight Mode to Soft Light, and the Shadow Mode color to #2a1b00.

Contour: Use the Cove – Deep contour, and check the Anti-aliased box.

Pattern Overlay: Choose the “VF_r03 (2)” pattern.

Outer Glow: Change the Blend Mode to Multiply, so that the glow acts as a shadow effect instead, then change the color to #988778 and the Size to 2.

Drop Shadow: Just use the default values.

This will create the main wood-like effect.

Step 6Ctrl/Cmd + Click a text layer’s thumbnail to create a selection.

Go to Select -> Modify -> Contract, and type in the value 10.

Create a new layer on top of all layers and call it “Pattern”. Pick the Paint Bucket Tool, set the Foreground color to White, and fill the selection. Then go to Select -> Deselect (Ctrl/Cmd + D) to get rid of the selection.

Change the “Pattern” layer’s Fill value to 0%, then duplicate it, and rename the copy to “Inner Shadow”.

Step 7Double click the “Pattern” layer to apply a Pattern Overlay effect. Change the Blend Mode to Multiply, choose the “mary-rore.jpg” pattern from the “Floral Fabric Patterns” pack, and change the Scale to 50%.

This will add the pattern to the inner part of the text.

Double click the “Inner Shadow” layer to apply an Inner Shadow effect. Change the color to #553c21, and the Size to 13.

This will give the text some more depth and make it even more 3D.

Step 8Set the Foreground color to #707070, pick the Rectangle Tool, and create a 16 x 21 rectangle on top of the edge of one of the letters.

Pick the Add Anchor Point Tool, then click once slightly over the center of each of the rectangle’s right and left sides to add two anchor points .

Pick the Direct Selection Tool, click and drag a rectangle to select the two anchor points you created, then press the keyboard’s Right Arrow key twice to move the anchor points 2 px to the right.

Step 9Double click the shape layer to apply the following Layer Style:

Bevel and Emboss: Just change the Size to 2

Texture: Use the “Diagonal Noise” pattern,  and change the Scale to 470.

Gradient Overlay: Choose the “Brass 70″ gradient found in the “RS_Metals.grd” file from the gradients pack.

This will give the shape a metallic appearance.

Step 10Duplicate the shape layer then make it invisible by clicking the eye icon next to it. Then select the duplicated shape layer, and go to Layer -> Rasterize -> Layer Style. This will rasterize both the shape and the layer style.

This is only available in Photoshop CS6. If you are using older versions, you’ll need to group the shape layer, then merge the group (Layer -> Merge Group).

Double click the rasterized shape layer and apply a Drop Shadow effect, by changing the Distance to 1.

This will add a simple shadow to the shape.

Duplicate the rasterized layer, then use the Move Tool to move it on top of another letter. You can as well go to Edit -> Transform -> Rotate to change the shape’s angle. Hit Enter/Return to accept any changes and get out of the Rotate Mode.

Repeat the same steps for the remaining letters. You decide where and how to place the small metal pieces, based on the letter you have, and the result you want to achieve.

Once you’re done, you can select all the metal pieces’ layers (Ctrl + Click each one of them), then group them (Layer -> Group Layers) to keep everything organized.

ConclusionThis is the final result. A quite interesting take on the classic wood text effect. You can try other patterns as well. Sometimes a small addition or a simple modification can make a very simple concept more interesting and different.