Page 4 - CC2018_PS_Look_Inside

Walk-Through
Walk-Through

Project Goals
Car Magazine Cover Each project begins with a clear description
Your client publishes a monthly This project incorporates the following skills: of the overall concepts that are explained
o Resizing and resampling supplied images
magazine for car enthusiasts. Your o Creating complex vector paths and shape layers
agency has been hired to take over in the project; these goals closely match the
the magazine design; you have been o Compositing images as Smart Objects
o Applying non-destructive styles, effects, and filters
tasked with designing the cover for
the next issue. o Developing a custom artistic background different “stages” of the project workflow.
Project Meeting e client sent me the main car image for
Every month, the magazine cover includes one
client comments main featured car, and three smaller images art director comments the rst redesign. It’s a little bit small, so we’ll The Project Meeting
related to other articles in the issue. In addition
have to do some manipulation to make it large
to those images and the magazine title, we also
enough to ll the cover space. e car also
needs to be knocked out of its background so
always include several text blurbs with teasers
for secondary articles in the issue, and a QR
it can be more prominent. A vector path will
code that links to the Web site.
work well to meet this goal because you can
We’re looking for a new way to present these
You’re going to use a combination of styles,
elements. Once we nalize a general layout,
lters, and e ects on the background and inset
we’ll use that layout going forward for every edit it at any time without losing quality. Each project includes the client’s initial
new issue. images. Photoshop’s Smart Object capabilities
e only thing we’re xed on in is the trim size, will be a signi cant advantage in this task comments, which provide valuable
because we can edit the e ects and lters if the
which is 8″ × 10″ with 1/8″ bleed allowance.
client isn’t thrilled with the initial e ort.
I’ve also already created a template in information about the job. The Project
Illustrator with the magazine nameplate and
text elements; we’ll repurpose the same le
every month with the di erent text for each Art Director, a vital part of any design
issue. You can place that le directly into
Photoshop as a linked le so that any last-
minute changes in the le will automatically
appear in the nal composite cover. workflow, also provides fundamental
advice and production requirements.
project objectives o Resize and resample an existing source
To complete this project, you will:
image
o Edit the canvas size
o Create a vector-based layer mask
o Create a vector shape layer
o Create a clipping mask
o Add texture to a shape layer
o Apply custom layer e ects Project Objectives
o Use the Filter Gallery Each Project Meeting includes a
o Liquify a layer
o Use the Eyedropper tool summary of the specific skills required
o Create a custom gradient
o Print a composite proof
to complete the project.
Real-World Workflow
Stage 1 Enlarging Source Files Projects are broken into logical lessons or
Any project that you build in Photoshop requires some amount of zooming in and out to various
“stages” of the workflow. Brief introductions at
view percentages, as well as navigating around the document within its window. As we show you
how to complete different stages of the workflow, we usually won’t tell you when to change your view
percentage because that’s largely a matter of personal preference. Nonetheless, you should understand
the different options for navigating around a Photoshop file so you can easily and efficiently get to
To review information from the Interface chapter, keep in mind that you have a number of
what you want, when you want to get there.
dational material required to complete the task.
As you complete the
options for navigating around a document: Note: the beginning of each stage provide vital foun-
• Click with the Hand tool to drag the image around in the document window.
exercises in this project,
use any of these methods
• Click with the Zoom tool to zoom in; Option/Alt-click to zoom out. to zoom in or out on
• Use the View Percentage field in the bottom-left corner of the document window.
different areas of the file.
• Use the options in the View menu (or the corresponding keyboard shortcuts).
• Use the Navigator panel. Use the FreeForm Pen tool
Resize and Resample the existing souRce image
This project — like many others you will build throughout your career — starts with The Freeform Pen tool creates a vector path based on where you drag the cursor. The
an existing image, which you will open and use as the basis for the rest of the project.
application creates anchor points and direction handles as necessary to create the shape
Whenever you start with an existing file, it’s best to evaluate what you already have
that you draw.
before you make any changes. 1. With magazine.psd open, show the image at 100% in the document Step-By-Step Exercises
1. Download Cars_PS18_RF.zip from the Student Files Web page. Ideally, you should work at 100% while you complete this exercise.
window.
2. Expand the ZIP archive in your WIP folder (Macintosh) or copy the archive 2. Choose the Freeform Pen tool (nested under the Pen tool) in the Tools panel. Every stage of the workflow is
contents into your WIP folder (Windows).
This results in a folder named Cars, which contains the files you need for this project.
You should also use this folder to save the files you create in this project.
3. In the Options bar, choose the Path option in the left menu.
3. In Photoshop, choose File>Open. Navigate to the file amg.jpg in the When you choose Path in the tool mode menu, the vector path that you draw is stored broken into multiple hands-on,
in the Paths panel.
WIP>Cars folder and click Open.
4. Choose View>Fit on Screen so you can see the entire image, and make sure 4. Open the Path Operations menu and choose the Combine Shapes option. Note: step-by-step exercises.
Path Operations menu
rulers are visible (View>Rulers).
only applies if you have a
5. Choose Image>Image Size. Choose Path in the The Pen Pressure option
Tool Mode menu.
pressure-sensitive graphics
The amg.jpg file is 253 wide by tablet. When this option
18.753 high, with a resolution of is turned on, higher
72 pixels/inch. Commercial printing pressure decreases the
typically requires 300 pixels/inch, so
this image would not be considered Width tolerance. Visual Explanations
“print quality” at its current size.
The first step is to resize the image
using the principle of effective Freeform Pen tool Wherever possible, screen shots
resolution to achieve the 300 pixels/
inch required for commercial These options define how a new path will interact with any existing paths. (Illustrator
printing. and InDesign users might recognize these as options from the Pathfinder panel.) are annotated so students
• New Layer, available when Layer is selected in the Tool Mode menu, creates a
new shape layer every time you draw a new path.
Project 2: Car Magazine Cover 91 • Combine Shapes adds new paths to an already selected path or shape layer. Each
path’s shape is maintained as a separate vector path. If you want a new path to can quickly identify important
include only areas inside the path you draw, you should choose this option before
you begin drawing a new path.
• Subtract Front Shape removes the area of secondary shapes from existing shapes.
• Intersect Shape Areas results in a shape that is only the area where a new shape information.
overlaps an existing shape.
• Exclude Overlapping Shapes is similar to Subtract; overlapping areas are
removed from the existing shape, but non-overlapping areas of the new shape are
filled with the shape color.
• The Merge Shape Components option, available when a single path contains
more than one shape, results in a single (possibly compound) shape. Any
overlapping paths are combined into one shape/path.
Project 2: Car Magazine Cover 99
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