The document discusses various techniques for correcting and enhancing digital images in Adobe Photoshop, including removing grain, healing imperfections with tools like the Spot Healing Brush, filling areas with Content-Aware Fill, adjusting lighting and colors using tools like Levels and Curves, correcting images for print by converting color modes and managing color profiles, and working with high dynamic range images.
The document discusses various techniques for correcting and enhancing digital images in Photoshop CC including removing grain, using healing tools, adjusting lighting and color, converting color modes, and working with HDR images. Key tools covered are the spot healing brush, clone stamp, content-aware fill, levels, curves, color balance, and exposure adjustments.
The document discusses various aspects of graphics used in multimedia. It describes how still images can be generated as bitmaps or vector drawings. Common file formats like JPEG, GIF and PNG are explained. Color models including RGB, HSB and CMYK are covered. Graphics are an essential part of conveying information in multimedia as images can be more effective than text alone. Elements of graphics such as lines, shapes, color and texture are also summarized.
Images are an important element in multimedia. There are two main types of images: bitmaps, which use pixels to represent color information, and vector images, which use mathematical coordinates. Various tools can be used to create and edit images, including bitmap software, 3D modeling programs, and image capture and editing features. Color is a key aspect, with different color models and palettes used depending on the intended display and use of the images.
Image editing applications allow users to crop, touch up, and organize digital photos into albums and slideshows, though they typically have fewer filters than professional programs like Photoshop. Cropping removes outer parts to improve framing or change aspect ratios. Resizing and compressing optimize file sizes for intended uses after editing. Correcting and sharpening or softening are global corrections often applied to digital images. Layers, selections, resolution, image size, and color mode are key terms related to editing digital images.
This document provides an overview of key photography concepts including pixels, megapixels, resolution, color modes, histograms, and preparing images for print in Photoshop. It defines pixels and megapixels, explains how to calculate megapixels from image dimensions. It also outlines the differences between screen and print resolution, RGB and CMYK color modes, and how histograms can be used to analyze image exposure. The goal is for the learner to understand these essential digital photography and editing fundamentals.
This document provides tips for using Photoshop for photojournalism work, including importing photos, organizing archives, using tools and shortcuts, performing non-destructive edits through layers and masks, batch editing with actions, and benefits of shooting in RAW format. Key steps outlined are importing photos from camera into Bridge, renaming files, rating and sorting, creating an organized archive system, performing adjustments like levels, curves and color balance on layers, using layer masks to selectively apply edits, and setting up reusable actions.
This document discusses color panels in Adobe Photoshop and how to properly use color in image editing. It describes the Swatches panel, which stores colors for reuse, and the Color panel, which is used to select and refine colors. It also covers extracting colors from images using the eye dropper tool, changing opacity levels, and considerations for using RGB or CMYK color modes depending on the intended use of the image.
The document discusses various techniques for correcting and enhancing digital images in Photoshop CC including removing grain, using healing tools, adjusting lighting and color, converting color modes, and working with HDR images. Key tools covered are the spot healing brush, clone stamp, content-aware fill, levels, curves, color balance, and exposure adjustments.
The document discusses various aspects of graphics used in multimedia. It describes how still images can be generated as bitmaps or vector drawings. Common file formats like JPEG, GIF and PNG are explained. Color models including RGB, HSB and CMYK are covered. Graphics are an essential part of conveying information in multimedia as images can be more effective than text alone. Elements of graphics such as lines, shapes, color and texture are also summarized.
Images are an important element in multimedia. There are two main types of images: bitmaps, which use pixels to represent color information, and vector images, which use mathematical coordinates. Various tools can be used to create and edit images, including bitmap software, 3D modeling programs, and image capture and editing features. Color is a key aspect, with different color models and palettes used depending on the intended display and use of the images.
Image editing applications allow users to crop, touch up, and organize digital photos into albums and slideshows, though they typically have fewer filters than professional programs like Photoshop. Cropping removes outer parts to improve framing or change aspect ratios. Resizing and compressing optimize file sizes for intended uses after editing. Correcting and sharpening or softening are global corrections often applied to digital images. Layers, selections, resolution, image size, and color mode are key terms related to editing digital images.
This document provides an overview of key photography concepts including pixels, megapixels, resolution, color modes, histograms, and preparing images for print in Photoshop. It defines pixels and megapixels, explains how to calculate megapixels from image dimensions. It also outlines the differences between screen and print resolution, RGB and CMYK color modes, and how histograms can be used to analyze image exposure. The goal is for the learner to understand these essential digital photography and editing fundamentals.
This document provides tips for using Photoshop for photojournalism work, including importing photos, organizing archives, using tools and shortcuts, performing non-destructive edits through layers and masks, batch editing with actions, and benefits of shooting in RAW format. Key steps outlined are importing photos from camera into Bridge, renaming files, rating and sorting, creating an organized archive system, performing adjustments like levels, curves and color balance on layers, using layer masks to selectively apply edits, and setting up reusable actions.
This document discusses color panels in Adobe Photoshop and how to properly use color in image editing. It describes the Swatches panel, which stores colors for reuse, and the Color panel, which is used to select and refine colors. It also covers extracting colors from images using the eye dropper tool, changing opacity levels, and considerations for using RGB or CMYK color modes depending on the intended use of the image.
The document outlines 8 basic steps for photo editing in Adobe Photoshop Elements 6: 1) Rotate and crop the image, 2) Fix flaws using the clone stamp tool, 3) Expand the tonal range using levels, 4) Add contrast using curves, 5) Adjust color using levels, 6) Improve sharpness with unsharp mask, 7) Save the edited file, and 8) Compare the original and edited images. Each step provides instructions for using specific tools and adjustments to enhance the photo.
Photoshop is a graphics editing program used to create and modify digital images. It was created in 1988 by Thomas and John Knoll and can be used for tasks like photo retouching, image manipulation, and graphic design. Digital images are made up of tiny colored squares called pixels that combine to form the full image. Photoshop uses RGB color channels, with each channel having 256 shades, to produce over 16 million possible colors in an image. It remains the leading software for image editing and is part of the Adobe Creative Suite.
This document provides instructions for converting a vector image to a bitmapped image and applying special effects in CorelDRAW 10. The tutorial covers opening a vector logo file, converting it to a bitmap, and then applying two special effects - a tile effect to multiply the image on a grid, and a page curl effect to give the image the appearance of peeling wallpaper. Screenshots illustrate the results of each effect. The document concludes by mentioning additional effects and editing options in CorelDRAW and Corel PHOTO-PAINT.
There are two main types of computer graphics - raster images composed of pixels and vector images composed of paths. Raster images are better known as bitmaps and use a grid of pixels that can be different colors, while vector images use mathematical relationships between points and paths to describe an image. Bitmaps are best for photos while vectors are better for things like illustrations and layouts due to remaining smooth at any size.
HOW TO MAKE YOUR AUTODESK® REVIT® DRAWINGS AND PRESENTATIONS LOOK GREATmurala12
This document provides tips for improving graphics and presentations in Autodesk Revit. It discusses options for adjusting the visual display of models, like using silhouettes, transparency, and different surface styles. It also covers using backgrounds like skies, photos, and gradients in views. Additional topics include combining phases for coordination, modifying element appearances for design options, and adjusting shadow and lighting settings. The document promises to share more techniques for non-rendered presentations and provides contact information for additional details.
TIPS AND TRICKS TO MAKE YOUR DRAWINGS AND PRESENTATIONS LOOK GREATmurala12
This document provides tips and tricks for making Autodesk Revit drawings and presentations look great. It discusses using object styles and view specific overrides to modify graphic properties like line weights, materials, and patterns at both the project and individual element levels. It also touches on techniques like adding callouts, images, and artwork to cover sheets to enhance visual communication and interest. The full document will share more advanced Revit graphic tools and capabilities across additional sections.
The document discusses the Android interface and how to design responsive Android apps. It covers the main screens of Android like the home screen and recent apps screen. It also discusses the app bar, navigation patterns, view collections, colors and animations that make up the Android design language. The document emphasizes designing for different screen densities and using density-independent pixels. It concludes with tips like using touch feedback, avoiding splash screens, utilizing empty states and following material design patterns and resources.
This document provides an overview of animation, including its definition, how it works biologically and psychologically, different types of animation spaces (2D, 2.5D, and 3D), animation techniques like cel animation and computer animation, common file formats used for animation, and tips for making successful animations. It discusses the animation process, how cel animation uses keyframes and tweening, how computer animation is similar but generates more frames automatically, and emphasizes using animation sparingly and properly compressing files for web display.
DAY 2 - Starting in Photoshop (Images and Layers)Sef Cambaliza
The document provides instructions for basic image editing and layer functions in Adobe Photoshop, including how to create and open images, resize layers, save files, and work with layers. Key layer functions covered are arranging layers, duplicating layers, renaming layers, deleting layers, merging layers, adjusting layer blending and opacity, and using adjustment layers.
This presentation covers some of the basics of color gamut, including the differences between sRGB and Adobe RGB and different steps photographers and designers should take to get the most out of their photos and imagery.
DAY 1 - Introduction to Photo Editing and Photoshop CS6Sef Cambaliza
Photo editing is the process of altering digital or analog images. It involves basic techniques like cropping, resizing, correcting, sharpening, and softening images. Adobe Photoshop CS6 is a tool that allows users to create, modify, combine, and optimize digital photos. It was created in 1987 and later purchased by Adobe in 1988. Photoshop uses layers, selections, resolution, and color modes to edit images. The Photoshop window displays menus, tools, panels, and more to help users modify photos.
This document provides information about the photo editing software Adobe Photoshop. It discusses the origins and developers of Photoshop, its various versions since 1990, and the operating systems it supports. The document also outlines some of Photoshop's key features, including photo restoration and manipulation, working with colors and shapes, text, and images.
This document provides an introduction to using Adobe Photoshop. It discusses what Photoshop is, how it can be used for publications, websites, and video/digital materials. It also covers starting Photoshop, the interface including menus and tools, understanding layers and how to work with layers, common file formats like JPEG and TIFF, creating image archives, and image resolution. The document serves as a beginner's guide for getting familiar with the Photoshop environment and basic image editing and manipulation tasks.
This document discusses image selection and editing. It defines what an image is, including two-dimensional photographs and three-dimensional statues. It describes how images can be captured optically or manually rendered. The document then discusses image editing, both traditional analog techniques like photo retouching as well as digital editing software. It explains how image size refers to resolution in pixels and megapixels. Compressed file formats like JPEG can reduce file size but also decrease image quality the more an image is compressed. The document concludes by defining resolution and pixel resolution, noting that smaller pixel sizes capture more image detail for higher resolution.
The document discusses the selection tools in Adobe Photoshop CS6. It describes several tools for making selections including the marquee, lasso, quick selection tool, and magic wand. It explains how to move, crop, transform and modify selections. Common selection techniques are covered such as selecting all or inverting a selection.
This document provides an introduction to using Adobe Photoshop for photography. It discusses key skills like asset management, file types and sizes, cropping tools, and dodging and burning tools. It also covers transferring images into Photoshop, opening and browsing files, checking file sizes, and using selection, zoom and adjustment tools to manipulate images. The document concludes with instructions on saving edited files separately from originals.
The document provides information about Adobe Photoshop software. It discusses the origins of Photoshop which was created in 1987-1988 by Thomas Knoll, Glen Knoll and John Knoll. It summarizes key features introduced in versions 1.0 through 7.0 such as layers, paths, save for web, healing brush etc. It also contrasts vector and raster images, noting that vector images are resolution independent while raster images are constructed of pixels and resolution dependent.
DMD is software that allows moving display manufacturers and designers to design displays digitally rather than with physical graph paper. It allows loading fonts and images to create binary files for electronic displays. The software provides tools to set display attributes, add text or images to a grid, edit designs by cutting, copying and pasting portions of the grid, and save designs in a format readable by microcontroller code.
Photoshop is Adobe's photo editing, image creation, and graphic design software. The software provides many image editing features for raster (pixel-based) images as well as vector graphics. ... Photoshop is used by photographers, graphic designers, video game artists, advertising and meme designers.
This document provides an overview of various tools and features in Adobe InDesign, Illustrator, and Photoshop CC for graphic design projects, including how to work with swatches, layers, effects, text formatting, exporting to PDF, and flattening transparency when outputting files. It discusses topics like creating and managing swatches, hiding and locking objects, applying gradients and effects, formatting text, setting up baselines grids, and options for exporting and compressing PDFs in a way that preserves image quality and transparency.
This document provides an overview of various tools and features for graphic design in Adobe CC software like InDesign, Illustrator, and Photoshop. It discusses topics such as creating and formatting text, working with graphics and images, exporting to PDF, and managing transparency when outputting or flattening files. The document offers brief explanations and tips for tools like the swatches panel, layers, effects, baselines grids, and exporting with transparency settings.
The document discusses graphic design concepts like compositing images, managing layers, and creating complex selections in Adobe Photoshop. It covers topics such as different file formats, resolution, making selections using various tools, transforming and masking layers, and preparing Photoshop files for print output.
The document outlines 8 basic steps for photo editing in Adobe Photoshop Elements 6: 1) Rotate and crop the image, 2) Fix flaws using the clone stamp tool, 3) Expand the tonal range using levels, 4) Add contrast using curves, 5) Adjust color using levels, 6) Improve sharpness with unsharp mask, 7) Save the edited file, and 8) Compare the original and edited images. Each step provides instructions for using specific tools and adjustments to enhance the photo.
Photoshop is a graphics editing program used to create and modify digital images. It was created in 1988 by Thomas and John Knoll and can be used for tasks like photo retouching, image manipulation, and graphic design. Digital images are made up of tiny colored squares called pixels that combine to form the full image. Photoshop uses RGB color channels, with each channel having 256 shades, to produce over 16 million possible colors in an image. It remains the leading software for image editing and is part of the Adobe Creative Suite.
This document provides instructions for converting a vector image to a bitmapped image and applying special effects in CorelDRAW 10. The tutorial covers opening a vector logo file, converting it to a bitmap, and then applying two special effects - a tile effect to multiply the image on a grid, and a page curl effect to give the image the appearance of peeling wallpaper. Screenshots illustrate the results of each effect. The document concludes by mentioning additional effects and editing options in CorelDRAW and Corel PHOTO-PAINT.
There are two main types of computer graphics - raster images composed of pixels and vector images composed of paths. Raster images are better known as bitmaps and use a grid of pixels that can be different colors, while vector images use mathematical relationships between points and paths to describe an image. Bitmaps are best for photos while vectors are better for things like illustrations and layouts due to remaining smooth at any size.
HOW TO MAKE YOUR AUTODESK® REVIT® DRAWINGS AND PRESENTATIONS LOOK GREATmurala12
This document provides tips for improving graphics and presentations in Autodesk Revit. It discusses options for adjusting the visual display of models, like using silhouettes, transparency, and different surface styles. It also covers using backgrounds like skies, photos, and gradients in views. Additional topics include combining phases for coordination, modifying element appearances for design options, and adjusting shadow and lighting settings. The document promises to share more techniques for non-rendered presentations and provides contact information for additional details.
TIPS AND TRICKS TO MAKE YOUR DRAWINGS AND PRESENTATIONS LOOK GREATmurala12
This document provides tips and tricks for making Autodesk Revit drawings and presentations look great. It discusses using object styles and view specific overrides to modify graphic properties like line weights, materials, and patterns at both the project and individual element levels. It also touches on techniques like adding callouts, images, and artwork to cover sheets to enhance visual communication and interest. The full document will share more advanced Revit graphic tools and capabilities across additional sections.
The document discusses the Android interface and how to design responsive Android apps. It covers the main screens of Android like the home screen and recent apps screen. It also discusses the app bar, navigation patterns, view collections, colors and animations that make up the Android design language. The document emphasizes designing for different screen densities and using density-independent pixels. It concludes with tips like using touch feedback, avoiding splash screens, utilizing empty states and following material design patterns and resources.
This document provides an overview of animation, including its definition, how it works biologically and psychologically, different types of animation spaces (2D, 2.5D, and 3D), animation techniques like cel animation and computer animation, common file formats used for animation, and tips for making successful animations. It discusses the animation process, how cel animation uses keyframes and tweening, how computer animation is similar but generates more frames automatically, and emphasizes using animation sparingly and properly compressing files for web display.
DAY 2 - Starting in Photoshop (Images and Layers)Sef Cambaliza
The document provides instructions for basic image editing and layer functions in Adobe Photoshop, including how to create and open images, resize layers, save files, and work with layers. Key layer functions covered are arranging layers, duplicating layers, renaming layers, deleting layers, merging layers, adjusting layer blending and opacity, and using adjustment layers.
This presentation covers some of the basics of color gamut, including the differences between sRGB and Adobe RGB and different steps photographers and designers should take to get the most out of their photos and imagery.
DAY 1 - Introduction to Photo Editing and Photoshop CS6Sef Cambaliza
Photo editing is the process of altering digital or analog images. It involves basic techniques like cropping, resizing, correcting, sharpening, and softening images. Adobe Photoshop CS6 is a tool that allows users to create, modify, combine, and optimize digital photos. It was created in 1987 and later purchased by Adobe in 1988. Photoshop uses layers, selections, resolution, and color modes to edit images. The Photoshop window displays menus, tools, panels, and more to help users modify photos.
This document provides information about the photo editing software Adobe Photoshop. It discusses the origins and developers of Photoshop, its various versions since 1990, and the operating systems it supports. The document also outlines some of Photoshop's key features, including photo restoration and manipulation, working with colors and shapes, text, and images.
This document provides an introduction to using Adobe Photoshop. It discusses what Photoshop is, how it can be used for publications, websites, and video/digital materials. It also covers starting Photoshop, the interface including menus and tools, understanding layers and how to work with layers, common file formats like JPEG and TIFF, creating image archives, and image resolution. The document serves as a beginner's guide for getting familiar with the Photoshop environment and basic image editing and manipulation tasks.
This document discusses image selection and editing. It defines what an image is, including two-dimensional photographs and three-dimensional statues. It describes how images can be captured optically or manually rendered. The document then discusses image editing, both traditional analog techniques like photo retouching as well as digital editing software. It explains how image size refers to resolution in pixels and megapixels. Compressed file formats like JPEG can reduce file size but also decrease image quality the more an image is compressed. The document concludes by defining resolution and pixel resolution, noting that smaller pixel sizes capture more image detail for higher resolution.
The document discusses the selection tools in Adobe Photoshop CS6. It describes several tools for making selections including the marquee, lasso, quick selection tool, and magic wand. It explains how to move, crop, transform and modify selections. Common selection techniques are covered such as selecting all or inverting a selection.
This document provides an introduction to using Adobe Photoshop for photography. It discusses key skills like asset management, file types and sizes, cropping tools, and dodging and burning tools. It also covers transferring images into Photoshop, opening and browsing files, checking file sizes, and using selection, zoom and adjustment tools to manipulate images. The document concludes with instructions on saving edited files separately from originals.
The document provides information about Adobe Photoshop software. It discusses the origins of Photoshop which was created in 1987-1988 by Thomas Knoll, Glen Knoll and John Knoll. It summarizes key features introduced in versions 1.0 through 7.0 such as layers, paths, save for web, healing brush etc. It also contrasts vector and raster images, noting that vector images are resolution independent while raster images are constructed of pixels and resolution dependent.
DMD is software that allows moving display manufacturers and designers to design displays digitally rather than with physical graph paper. It allows loading fonts and images to create binary files for electronic displays. The software provides tools to set display attributes, add text or images to a grid, edit designs by cutting, copying and pasting portions of the grid, and save designs in a format readable by microcontroller code.
Photoshop is Adobe's photo editing, image creation, and graphic design software. The software provides many image editing features for raster (pixel-based) images as well as vector graphics. ... Photoshop is used by photographers, graphic designers, video game artists, advertising and meme designers.
This document provides an overview of various tools and features in Adobe InDesign, Illustrator, and Photoshop CC for graphic design projects, including how to work with swatches, layers, effects, text formatting, exporting to PDF, and flattening transparency when outputting files. It discusses topics like creating and managing swatches, hiding and locking objects, applying gradients and effects, formatting text, setting up baselines grids, and options for exporting and compressing PDFs in a way that preserves image quality and transparency.
This document provides an overview of various tools and features for graphic design in Adobe CC software like InDesign, Illustrator, and Photoshop. It discusses topics such as creating and formatting text, working with graphics and images, exporting to PDF, and managing transparency when outputting or flattening files. The document offers brief explanations and tips for tools like the swatches panel, layers, effects, baselines grids, and exporting with transparency settings.
The document discusses graphic design concepts like compositing images, managing layers, and creating complex selections in Adobe Photoshop. It covers topics such as different file formats, resolution, making selections using various tools, transforming and masking layers, and preparing Photoshop files for print output.
The document discusses various techniques for compositing images and artwork in Photoshop such as managing layers, creating complex selections, and saving files for print. It covers topics like vector graphics versus raster images, resolution, opening and cropping images, transforming and masking layers, and output file formats.
This document provides an overview of tools and functions for creating vector graphics in Adobe Illustrator. It discusses the different types of digital artwork like vector, raster, and line art. It then covers topics like creating and saving documents, using shape tools to draw basic shapes, applying fills and strokes, transforming and arranging objects using tools like Free Transform and align panel, using layers and sublayers to organize artwork, and grouping multiple objects. The document serves as a beginner tutorial for learning the basic Illustrator interface and tools for graphic design projects.
This document discusses basic graphic design and illustration tools in Adobe CC programs like InDesign, Illustrator, and Photoshop. It covers topics such as vector vs raster images, creating and saving documents, using shape and selection tools, transforming objects, working with layers and grouping, and drawing techniques like lines and pencil tools. The goal is to provide an overview of fundamental skills for graphic design projects and portfolios.
This document provides an overview of various tools and functions in Adobe Photoshop, Illustrator, and InDesign. It discusses vector and raster graphics, and how to create and save documents. It also describes how to use shape, selection, alignment and transformation tools to draw and manipulate objects. Layers, grouping, the pencil and line tools are also covered. The document serves as a tutorial for basic graphic design workflows in the three Adobe applications.
The document discusses complex selections in Photoshop, including how to create them, work with alpha channels, and refine selections by painting directly on the alpha channel. It also covers color channels, how they represent color in RGB and CMYK modes, and using filters and adjustments on channels. Additionally, it provides information on compositing images, checking for color shifts, and strategies for arranging composite elements. Finally, it discusses spot channels for special ink colors in printing.
The document discusses various tools and techniques for graphic design projects in Adobe InDesign, Illustrator, and Photoshop, including working with gradient meshes, type, and multiple artboards. It provides instructions for using tools like the mesh tool, eyedropper tool, and artboard tool, and covers formatting type, converting it to outlines, setting up page geometry, placing and printing files across multiple artboards.
The document discusses various tools and techniques for graphic design projects in Adobe InDesign, Illustrator, and Photoshop, including working with gradient meshes, outline mode, the eyedropper tool, appearance panel, point type, type formatting, converting type to outlines, using multiple artboards, spot colors, page geometry, placing files, and printing files. It provides instructions for using various tools and options related to these techniques.
The document discusses various tools and techniques for graphic design projects in Adobe InDesign, Illustrator, and Photoshop, including working with gradient meshes, type, and multiple artboards. It provides instructions for using tools like the mesh tool, eyedropper tool, and artboard tool, and covers formatting type, converting it to outlines, setting up page geometry, placing and printing files across multiple artboards.
This document discusses various tools and techniques for graphic design projects using Adobe CC software like Illustrator and Photoshop. It covers topics like creating and editing vector paths, pasting and arranging objects, using tools like the shape builder and blob brush, working with color modes and swatches, applying gradients, and combining shapes using the pathfinder panel. The final section discusses exporting and saving files as PDF.
This document discusses various tools and techniques for graphic design projects using Adobe CC software like Illustrator and Photoshop. It covers topics like creating and editing vector paths, pasting and arranging objects, using tools like the shape builder and blob brush, working with color modes and swatches, applying gradients, and combining shapes using the pathfinder panel. The final section discusses exporting and saving files as PDF.
The document discusses various tools and techniques in Adobe InDesign CC including importing and formatting text, working with color models and swatches, hiding and locking objects, using gradients, clipping paths, effects, threading type frames, exporting to PDF, and flattening transparency for print output. It provides information on projects, graphics, color management, layers, type formatting, anchored objects, baseline grids, and exporting options.
The document discusses various tools and techniques for painting and filling selections in Photoshop, including brushes, patterns, strokes, and eraser tools. It covers adjusting brush settings, creating custom brushes and patterns, and filling selections with the paint bucket or fill dialog box. The document also provides tips for exporting Photoshop files to PDF for print.
This document discusses various techniques for graphic design projects in Adobe CC software including Photoshop, Illustrator, and InDesign. It covers resizing and resampling images, creating vector shapes and paths, applying styles, effects, and filters, and developing custom artistic backgrounds. Specific topics include vector tools, clipping masks, built-in styles, layer styles, filters like Liquify, the Eyedropper tool, Gradient tool, Paint Bucket tool, blending modes, and printing considerations.
This document discusses various techniques for graphic design projects in Adobe CC software, including resizing and resampling images, creating vector shapes and paths, applying styles, effects, and filters, and developing custom artistic backgrounds. It provides information on vector tools, clipping masks, built-in styles, layer styles, filters, the eyedropper tool, gradient tool, paint bucket tool, blending modes, and printing.
This document provides an overview of key functions for working with templates, styles, tables, and preflighting and packaging jobs in Adobe InDesign, Illustrator, and Photoshop CC. It discusses topics such as opening template files, managing missing fonts and images, using the Links panel, applying paragraph and character styles, importing Excel and Word files, setting up tables, preflighting a document to check for errors, and packaging a job for output.
This document discusses color management techniques in Adobe CC applications like InDesign, Illustrator, and Photoshop. It covers assigning color profiles when opening files, placing files of different formats like TIFF and keeping color profiles embedded, previewing separations, tracking changes, searching text and object attributes, editing dictionaries and checking spelling, and creating color-managed PDF files.
This document provides an overview of key concepts for using Adobe InDesign CC including: creating and formatting text frames; placing and formatting images; vector drawing tools; layers and object stacking; color controls; and printing files. Key topics covered include frame geometry, selection tools, transforming and aligning objects, working with vector paths, grouping objects, and fitting images within frames. The document also distinguishes between raster and vector image types as well as resolution terminology.
This document provides instructions for creating a dimensional looking sphere in Photoshop using gradient tools and layer styles. The steps include:
1) Adding horizontal and vertical guides to center a new layer.
2) Drawing an elliptical selection using the guides and modifier keys to create a perfect circle.
3) Setting the foreground and background colors and choosing a radial gradient with multiple color stops to mimic the shading of a sphere.
4) Applying a drop shadow layer style to further enhance the three-dimensional appearance.
This document provides instructions for creating a gradient background in Photoshop using the gradient tool. It describes setting the foreground and background colors to dark blue and black. A radial gradient is dragged from the center to the right edge of the document. A new layer is filled with white and the Clouds filter is applied, then the layer mode is set to Multiply. Finally, noise is added at 20% to soften the artificial look of the background.
- In InDesign, images can be placed into rectangle frames that represent the size of the image. The image will initially appear at its actual size which may be larger than the frame.
- To improve image quality for preview, go to View > Display Performance > High Quality Display. This will make the image sharper without affecting how it prints.
- Adjusting the frame size only crops the image; the image content itself does not move or resize. Clicking the "Fit Content Proportionally" button fits the image within the frame without cropping.
The document discusses the basic shapes tool in Illustrator - the rectangle and ellipse tools. It explains how to create rectangles and ellipses using these tools, and how to modify the shapes by using modifier keys to draw perfect squares and circles. It also discusses how to set the size, change colors, adjust stroke weight and opacity, rotate objects, and select and modify anchor points and dimensions. The overall focus is on learning the basic functions of the rectangle and ellipse tools to create and modify simple shapes in Illustrator.
The document discusses the workspace elements in Creative Cloud applications like Illustrator, InDesign, and Photoshop. It explains that the default workspace contains common elements like the application bar, panels, tools, document window, and status bar. Users can customize workspaces and save multiple configurations for different tasks. The tools panel is one of the most important elements as it contains tools for creating and editing files. While the tools available vary between applications, the core tools are similar across Illustrator, InDesign, and Photoshop.
This document provides an overview of the Digital Imaging III course. The course advances students' graphic design skills using Adobe Illustrator, Photoshop, and InDesign. Students will learn to combine typography and images, and will develop portfolio projects from concept to final design. The course requires prerequisites, and students will master communication of ideas through graphic design. They will learn software tools and principles to create strong graphic designs for exhibition and publication. Students will complete assignments, quizzes, and develop a portfolio demonstrating their skills.
The document provides instructions for creating a new file in Photoshop by summarizing the options presented when clicking "Create New" such as setting the document size, orientation, color mode, and background color. It explains that the preset sizes include common print sizes like letter and legal. It also recommends setting the unit of measurement to inches and describes the color modes of RGB for digital work and CMYK for print.
The document provides instructions for creating a new document in Adobe InDesign and describes the various options and settings available when doing so. It explains how to restore default preferences, discusses the interface when starting a new document including preset sizes and templates, and goes through each section for setting up a new document such as dimensions, orientation, margins, bleed, and slug. It concludes by explaining that clicking "Create" will generate the new blank document file.
Creating an Illustrator document for VCP118-2Jerry Arnold
The document provides instructions for creating a new file in Adobe Illustrator. It describes the various options that appear when starting a new file, including selecting between templates or a blank document, choosing a page size and orientation, setting the number of artboards and bleed settings. It also explains the different color modes of RGB for digital/screen and CMYK for print, and provides recommendations for raster effect and document resolution settings based on intended use.
VCP 118-2 First class introduction informationJerry Arnold
VCP 118-2 is a digital imaging course that meets from 6:30-9:20pm on Wednesdays in room 114 of the Arts & Science building. The course advances graphic design skills using Adobe Illustrator, Photoshop, and InDesign. Students will combine typography and images, learn real-world skills, and develop portfolio pieces from concept to final design. Students must have passed VCP117, complete 90 hours of coursework over 13 weeks, and master communication, aesthetics, project development, and materials/processes using industry software and standards. The course aims to build graphic design skills and create a portfolio demonstrating technical and aesthetic competence.
This document provides information about the VCP 118-2 course being offered from January 30 to April 10, 2019 in Room 114 of the Arts & Science Building. The course focuses on combining typography and images using Adobe Illustrator, Photoshop, and InDesign. Students will further develop portfolio projects that demonstrate design principles and skills for graphic design careers. The course involves lectures, labs, homework and projects to help students master industry software and processes. Student work will be assessed through assignments, quizzes, and portfolio pieces suitable for exhibition.
This document provides an overview of key functions and tools in Adobe InDesign, Illustrator, and Photoshop CC for graphic design projects. It discusses how to set up documents with proper geometry, rulers, and guides. It also covers how to create and format frames, text, and images; transform, arrange, group, and align objects; work with layers; apply colors, strokes and fills; and print files. The goal is to introduce basic skills for laying out and preparing graphic design projects.
The document discusses the user interfaces of Adobe InDesign, Illustrator, and Photoshop CC. It describes the panels, tools, document views, and screen modes available in each program. These include panels like Tools and Pages, navigation tools like Hand and Zoom, viewing files through tabs and percentages, and full screen versus standard screen modes. The interfaces are customizable through workspaces and shortcuts to optimize workflows.
This document provides an overview of key functions and tools in Adobe InDesign, Illustrator, and Photoshop CC for graphic design projects. It discusses how to set up documents, place images and text, transform and arrange objects, work with layers, apply colors and styles, and print files. The document also explains functions for creating frames, vectors, and groups, as well as aligning, fitting, and formatting content.
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Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey ...SirmaDuztepeliler
"Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey Toward Sustainability"
The booklet of my master’s thesis at the Department of Architecture and Civil Engineering at Chalmers University of Technology. (Gothenburg, Sweden)
This thesis explores the transformation of the vacated (2023) IKEA store in Kållered, Sweden, into a "Reuse Hub" addressing various user types. The project aims to create a model for circular and sustainable economic practices that promote resource efficiency, waste reduction, and a shift in societal overconsumption patterns.
Reuse, though crucial in the circular economy, is one of the least studied areas. Most materials with reuse potential, especially in the construction sector, are recycled (downcycled), causing a greater loss of resources and energy. My project addresses barriers to reuse, such as difficult access to materials, storage, and logistics issues.
Aims:
• Enhancing Access to Reclaimed Materials: Creating a hub for reclaimed construction materials for both institutional and individual needs.
• Promoting Circular Economy: Showcasing the potential and variety of reusable materials and how they can drive a circular economy.
• Fostering Community Engagement: Developing spaces for social interaction around reuse-focused stores and workshops.
• Raising Awareness: Transforming a former consumerist symbol into a center for circular practices.
Highlights:
• The project emphasizes cross-sector collaboration with producers and wholesalers to repurpose surplus materials before they enter the recycling phase.
• This project can serve as a prototype for reusing many idle commercial buildings in different scales and sizes.
• The findings indicate that transforming large vacant properties can support sustainable practices and present an economically attractive business model with high social returns at the same time.
• It highlights the potential of how sustainable practices in the construction sector can drive societal change.
1. Adobe CC: The Graphic Design Portfolio
Project 6:
Museum Image Correction
Retouching digital
Images
Correcting lighting
problems
Correcting color
problems
Preparing images
for print
Working with HDR
images
2. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Removing Grain
Small visible artifacts
throughout
Often caused by
physical grain in
photographic film
Especially evident in:
– older photos
– scans of photographic
prints
– large areas of solid
color/low contrast
3. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Removing Grain (cont’d)
Gaussian Blur:
– Blurs entire image by a
specific amount (radius)
– Removes grain, but
also blurs detail
Sharpening:
– Increases contrast
along edges
– Restores areas of
detail after Gaussian
blur
4. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Healing tools
Spot Healing Brush tool
– Blends surrounding pixels
Healing Brush tool
– Blends pixels based on user-defined source
pixels
Patch tool
– Replaces pixels with other (user-defined) pixels
Clone tool
– “Paints” pixels from one area onto another area
5. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Healing Tools (cont’d)
Brush size, hardness are key
Option/Alt-click to define the
healing source (A)
Align the Healing Brush
source
– Off: source pixels always begin
at the original defined point (B)
– On: source pixels are relative to
tool cursor (C)
6. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Clone tool
Option/Alt-click to
define source
pixels
Click to replace
other pixels
Soft-edge brush:
– Blend old and new
areas without
noticeable edges
7. Remove elements from an image
Available in the Fill dialog box
Available as an option for the
Spot Healing Brush tool
Doesn’t work
well over
sharp edges
Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Content-Aware Fill
8. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Lighting
Different types of lights:
– Highlights
– Specular highlights
– Shadows
– Midtones (gammas)
9. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Brightness/Contrast
Brightness
– Apparent luminance
Contrast
– Tonal variation
throughout
Saturation
– Variation of
color away
from gray
10. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Levels
Tonal range
– Available tones in a
given color model
– Depicted in histogram
– Peaks show areas
of interest
– More tones = more contrast
– Extend image tones across
entire tonal range to increase
overall contrast
11. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Levels (cont’d)
Adjust entire image
or individual channels
Define highlight and
shadow points first
– Press Option/Alt while
dragging slider
– Dust your monitor to
see the first spots
Drag Gamma Input
slider to increase
contrast in half of
the image
12. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Exposure Adjustment
Intended for HDR images
Corrects apparent
under- or overexposure
issues
Exposure,
Offset, Gamma
Correction
13. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Color Correction
Color terminology
Gray balance
– Equal parts of primaries = neutral gray
Color Cast
Info panel
Color Sampler
tool
14. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Color Balance Adjustment
Correct based on
complementary colors
Subtract predominant
primary or add its
complement
Not as precise
as curves
adjustment
15. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Curves
Adjust input, output values
– Entire image
– Individual color channels
Use input sliders to correct
tonal range
Aim for neutral
gray values
Steeper curve =
More tonal range,
more contrast
16. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Additive vs. Subtractive Color
RGB (additive)
is for digital
CMYK
(subtractive) is
for printing
Gamut =
number of
available colors
in a particular
output model
17. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Color Management
Based on profiles
Translate color from one model to
another
LAB space is the “translator”
Out-of-gamut colors are converted
based on the defined rendering intent
18. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Color Management (cont’d)
Edit>Color Settings to define working profiles
Embedded image profiles
– Saved in file when created, scanned, or photographed
– As a general rule, don’t convert when opening/copying
View>Gamut Warning
View>Proof Colors
19. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Correction for Print
Correct in RGB, then convert
Correct to get the best-possible results in the
intended output space
Don’t rely on your eyes
View>Proof Colors View>Gamut WarningOriginal
20. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Correction for Print (cont’d)
Minimum
printable dot
Maximum
printable dot
Define targets in
the Curves dialog
box
then
Identify highlight
and shadow points
in the image
21. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Converting Color Models
Define output profile
Image>Mode>CMYK
Edit>Convert to
Profile
22. Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
Converting to Grayscale
Image>Mode>
Grayscale
Image>Adjustments>
Desaturate
Image>Adjustments>
Black & White
23. HDR = High Dynamic Range
32 bits per color channel allows
“infinite” color
File>Automate
> Merge to
HDR Pro
If saving for
CMYK print,
must be 8-bit
Adobe InDesign, Illustrator, & Photoshop CC: The Graphic Design Portfolio
HDR Images
Editor's Notes
With the increasing use of digital cameras in the hands of non-professionals, many images used in professional design jobs will require at least some assistance. This project highlights two of the most common tasks that a Photoshop artist might encounter in a professional environment: retouching and color correction.
The image in Stage 1 of this project requires a number of common retouching tasks associated with removing damage caused by improper storage. There is an entire industry built around restoring old photos, so you might find these skills useful either as part of the job — or even as the entire job.
We selected the various images in Stage 2 and Stage 3 of this project to illustrate a number of common color correction issues, from basic tools for adjusting overall contrast to more sophisticated options for correcting even a single color channel. These skills will be valuable for many types of graphic design projects, whether it is simply enhancing the overall appearance of a photo or creating a specific color match for retail product photography.
It is important to emphasize that correcting color for a print project depends largely on the gamut that is available in the defined output profile. Stage 4 of this project focuses on this issue.
In traditional photography, grain was the result of small particles in the film that are visible in the final print. Grain can be particularly evident in large areas of solid color (especially lighter colors, such as a face or a sky).
Removing grain is easily accomplished through a sequence of blurring and sharpening techniques. Basically, you slightly blur the entire image to remove the visible grain, then sharpen the image to restore the details that were blurred in the first step of the process.
Be stingy with how much blurring and sharpening you apply. If you blur the image too much, Photoshop simply will not be able to restore the detail that was present before blurring. Use only the amount of blurring that is absolutely necessary to remove the noise or grain.
On the other hand, sharpening can restore a lot of detail; however, too much sharpening can create halos at high-contrast edges that are possibly more offensive than the defect you wanted to remove in the first place.
Photoshop includes a number of different Blur filters, many of which are more useful for artistic effects.
The Gaussian Blur filter, used to retouch the photo in this project, also has a common functional purpose of removing noise and grain from an image. A very small-radius Gaussian blur can help to correct a number of small defects in an image without causing significant damage to areas of detail.
Three of the Sharpen filters —Sharpen, Sharpen More, and Sharpen Edges — allow no user control over the amount of sharpening that is applied.
After applying a Gaussian blur, sharpening helps to restore some of the detail in the image. The Smart Sharpen filter provides fairly extensive control over the sharpening process.
To avoid over blurring or over sharpening, some Photoshop artists actually prefer to use the blur/sharpen sequence multiple times — using very small blur (0.5-pixel radius or less) each time — to remove this type of defect.
As with so many different Photoshop tasks, there are a number of different ways to remove objects from an image.
These four tools each provide different types of retouching capabilities. It is a good idea to determine what you want to accomplish before you decide which tool will best work for that specific goal.
The Spot Healing Brush tool simply blends surrounding pixels in the area where you click. It is useful for removing small spots in areas of relatively solid color, but not usually appropriate for removing damage in areas with sharp detail.
The Healing Brush tool blends the color of pixels where you click with the color of pixels in the user-defined source. This tool has a similar function to the Spot Healing Brush tool, but you can define the color of pixels that will be blended to heal the damage where you click.
The Clone tool “paints” pixels from a defined source area — including an area of another image — onto another area. Because you can manually define the source pixels, this tool can be useful for healing damage along defined edges and other areas of detail.
The Patch tool copies entire sets of pixels in a selected area. It can be useful for removing damage in detailed areas because the application attempts to blend the edges of the original and the replacement pixels.
As with all tools, check the Options bar when you use a healing tool. The Spot Healing Brush, Healing Brush, and Clone tools are all based on a defined brush, which you can change using the Brush Preset picker.
For the Spot Healing Brush and Healing Brush tools, Photoshop automatically blends the edges of the brush diameter to avoid visible “spots” of healing. The brush hardness value is not as important a consideration as it is with the Clone tool. More importantly, you should use the smallest brush possible to repair the damage.
For the Healing Brush tool, the Aligned option can be tricky. If the option is turned off, the source pixels revert back to the original source every time you release the mouse button. (See Page 339 for a detailed explanation of the concept of alignment.)
With the Clone tool, changing the hardness of the brush edge determines exactly what will be cloned. For example, a Hardness of 100% means the clone brush might result in a hard-edge circle (based on the brush size) if the pixels where you click are even slightly different colored than the defined source pixels.
Reducing the hardness creates a soft-edge brush, which allows the cloned pixels to better blend into the surrounding area.
The Clone Source panel (explained on Page 343) can be useful for controlling exactly how the source pixels will be cloned, as well as previewing the potential result of the clone using a transparent overlay.
Tip: When using the Healing Brush or Clone tool, most professionals frequently resample the source when healing or cloning large areas of an image. This helps to minimize obvious patterns in the repaired areas.
The Content-Aware Fill option is sometimes called “magic” fill. The Adobe demo used to show a buffalo being removed from the middle of a grassy field, almost like magic. The application generates fill pixels based on the surrounding areas, so the random grass nicely filled in the spot where the buffalo used to be.
It is important to know, however, that this feature does not work well when trying to fill areas that include well-defined edges.
In the example of this project, you are using the option to fill in several scratched areas in a photo. You first clone the sharp edge of the man’s shoulder, then use Content-Aware Fill to fix the areas around the shoulder line without selecting any part of the high-contrast edge.
If you simply selected the entire scratch, including the shoulder, the application would have a very difficult time calculating the new pixels along the jacket edge; the results would not be as good as what you accomplished by first fixing the edge with the Clone Stamp tool.
Unless you are working with a professional photographer for all of your work, you will almost certainly find images that were captured in less-than-ideal lighting. Stage 2 of this project explores a number of adjustments that can improve these images.
Keep in mind that there is no substitute for good original photography. The adage “garbage in, garbage out” might be just a bit harsh, because Photoshop can help bad images — but the application isn’t magic; it can’t make something out of nothing.
Before you start trying to correct lighting — or any color issues, really — you should understand the basic terms related to lighting.
•Highlights are the lightest area of detail in an image.
•Specular highlights are areas of pure white, where there is no discernible detail. Examples include a lit bulb, or a sun glare off a lake surface.
•Midtones are the middle range of tones, halfway between the highlights and shadows. Midtones are also referred to as “gamma”.
•Shadows are the darkest areas of detail in an image.
You might also hear the terms quartertones, which are halfway between highlights and midtones; and three-quartertones, which are halfway between the midtones and shadows.
The Brightness/Contrast adjustment is a basic correction tool that can be useful for overall image problems; it does not provide extensive control over different image details.
Brightness is the overall apparent luminance of the image. Increasing brightness lightens all tones in the image; decreasing brightness darkens the entire image.
Contrast can be defined as the overall tonal variation in an image. Increasing the contrast increases detail throughout the image; decreasing contrast creates a less-detailed, often “muddy” appearance (especially in the midtone range).
Saturation, or the intensity of color, is closely linked to contrast. Undersaturation adds a gray cast to colors and reduces the apparent contrast; oversaturation results in a too-bright, almost neon appearance of colors.
Before you make adjustments in the Levels dialog box, you should understand the concept of tonal range.
Basically, there are a specific number of tones available in each color model; image quality suffers when an image does not take advantage of all the available tones.
The histogram is a visual depiction of an image’s tonal range; it can be viewed in both the Histogram panel and in the Levels dialog box. Peaks in the histogram also show concentrations of tones.
For example, the chef image in this project shows peaks near the highlight and shadow point. The valley in the center of the histogram indicates that the image does not have a lot of midtone pixels.
This distribution gives you an idea of which areas might benefit from an extension of the tonal range.
Using the Levels dialog box, you should first define the highlight and shadow point of an image. This allows the application to extend the image tones across the entire available tonal range.
Increasing the tonal range allows more variation, which increases image detail/contrast. Think of it like this:
There are 256 possible tones in the RGB color mode. Say an image histogram shows an image is only taking advantage of 200 of those tones (its original tonal range). If you extend the tonal range to the full 256 available tones, you allow 56 more tones to depict different details in the image.
After defining the highlight/shadow points, you can also drag the Gamma Input slider to extend the tonal range of either the highlight or shadow half of the tonal range. Again, more available tones means more contrast in that range of the image.
Keep in mind, however, that increasing the tonal range in one half of the image automatically decreases the tonal range in the other half. In other words, increasing the highlight range also decreases the shadow range and decreases the contrast in the shadow areas.
As with so many other issues, you have to consider what you want to accomplish, and where you are willing to make compromises. The shadow areas in the chef image are not as important as the highlights, so increasing the highlight range is an acceptable trade-off.
Although the exposure adjustment is intended for HDR images, it can also be used to correct overall under- or overexposure problems.
The Exposure slider affects the overall luminance of the image.
The Offset slider affects the highlight and shadow points; the white point is not changed.
The Gamma Correction slider adjusts the image midtones.
Stage 3 of this project focuses on color correction, which can be one of the most intimidating aspects of Photoshop.
Although you don’t need to be a color scientist to understand the process, you do need a basic grasp of color terminology terms to understand the concepts that are vital to color correction. The information on Pages 184-186 is very brief, but very important.
In the RGB color model, equal parts of each primary color creates a neutral gray. This is what we mean by the term gray balance — when all of the primary colors are equal, or balanced. If any of the primary colors has a stronger presence than the others, areas that should be neutral will show a marked color cast of that primary.
Any color cast will be most evident in neutral areas, but will also affect the entire image. Correcting any problems in gray balance will go a long way toward correcting the overall color in an image.
Reading the Info panel is the first step to finding color problems. The Color Sampler tool places markers, and the Info panel shows the color makeup of the pixel under each marker. When you place a marker in a known neutral area, you can quickly see what, if anything, needs to be corrected to achieve gray balance.
Using the principle of complementary colors, you can correct gray balance problems by either subtracting the predominant primary or adding its complement.
The Color Balance adjustment provides a basic interface for exactly this type of correction. The three sliders show the three complementary scales: cyan/red, magenta/green, and yellow/blue.
This adjustment is useful for a quick fix, but is not as precise as the Curves dialog box.
The Curves dialog box is another tool that suffers from the intimidation factor. It is one of the most powerful options for precise control of image color, but it should not be used without a basic understanding of the issues discussed up to this point.
You can adjust curves for the entire composite image, or for individual color channels.
The Curves dialog box shows the same histogram that you would see in the Histogram panel or the Levels dialog box. If the histogram does not take up the entire tonal range, you can adjust the Input sliders below the graph to extend the tonal range.
Clicking the graph adds a point to the curve. When a specific point is selected, you can define specific input and output values for that point. Again, aim for neutral grays; that can go a long way toward correcting overall color problems.
Keep in mind that the curve is a line; adjusting one area of the curve has an inverse affect on the opposite area of the curve. A steeper curve indicates increased tonal range, which increases contrast in that area. It follows, then, that flattening the curve decreases the contrast in that area.
For example, steepening the curve in the three-quartertone area causes the curve to flatten in the quartertone area. Contrast is increased in the three-quartertones, but decreased in the quartertones.
If you are designing for print, the conversion from RGB to CMYK can cause significant problems when the job is output. This is the focus of Stage 4 of this project.
At the very least, you should understand the difference between RGB and CMYK, and how the difference in gamut can cause problems. More specifically, you should understand that CMYK is the ultimate color model for most (if not all) commercial print design.
Color management, explained on pages 363–365, has the goal of consistent color output across various output devices in the design process. We tried to keep this information brief, but it is a crucial bit of knowledge for any designer who works in the print design world.
It is important to understand that the ultimate goal of color management is to best represent the ultimate output on various intermediate devices (monitor, proofing devices, etc.). This requires calibrated devices throughout the process; if you are using uncalibrated equipment, color management is still a best-guess scenario.
Color management is intimidating to many designers, especially new users. Remind students that they don’t need to be afraid of it. The most important thing is to be aware of the issues related to different color models, and translating color from one model to another.
Most importantly, students should understand that many RGB colors are not available in the CMYK gamut.
In Photoshop, applied color management means defining working profiles for the various color models.
•The working RGB profile tells Photoshop how you are seeing the color you work with on the canvas.
•The working CMYK profile tells Photoshop how the ultimate output process will create color.
This information is vital for Photoshop to effectively manage the conversion from one space to another, whether temporarily displaying it on your monitor or when converting an RGB file to CMYK.
An embedded image profile tells Photoshop how the capturing device defined color. As a general rule, you should not maintain embedded profiles, so Photoshop can correctly translate the colors in the image to the colors in your defined working profiles.
Two options in the View menu apply color management in Photoshop’s design environment, allowing you to preview the conversion from a file’s color space to the working output profile:
•Gamut Warning shows areas of an image that are outside the defined output profile’s gamut.
•Proof Colors shows you how colors (including out-of-gamut colors) will appear once converted to the defined output profile.
Remember: The RGB and CMYK color models have very different gamuts.
Most (if not all) of your source images will use the RGB color model. To print commercially, those images must be converted to the CMYK space. Because the CMYK gamut is so much smaller than the RGB space, some color shift will almost always occur during the conversion process.
Some people ask, “So why not convert to CMYK and then do all of your color correction?”
By taking advantage of the greater tonal range in the RGB space, you can achieve better contrast throughout the image. You can then determine where problems might occur during the color conversion, and correct only what is necessary. If you convert to CMYK first, you can lose detail in important areas before you ever begin the correction process.
Photoshop’s Proof Colors and Gamut Warning options (in the View menu) are both helpful here. Keep in mind, however, that both of these rely on accurate color profiles and calibration. Without those two things, you should never rely on your monitor to know what an image will look like when it is printed.
The physical limitations of the printing process require a few different adjustments when you prepare an image for commercial print output.
First, you should understand the ideas of the minimum printable dot and maximum printable dot (see Page 370). Basically, you have to identify the lightest highlight and the darkest shadow in an image, and tell Photoshop what ink components will be used to output those areas.
Remember: Highlights and shadows are defined as areas of detail; they do not refer to solid white or black areas with no discernible detail.
Total ink coverage requirements restrict the color makeup of the maximum printable dot. You simply can’t put down 100% of all four primary inks to create the darkest shadow; the paper would be oversaturated and tear (among other problems).
You can use the Curves dialog box to define the target highlight and shadow colors, and then identify those areas in the image by clicking with the associated eyedroppers.
After making these two corrections, you can easily see any other areas that should be corrected if you have the Gamut Warning turned on.
After you finish correcting an image based on the known CMYK parameters, you can safely convert the image color model.
The Image>Mode submenu provides all of the available options. When you choose one of these options, the image is converted based on the defined working profile for the color mode you select.
If you are not sure of the current working profiles, you can choose Edit>Color Settings to review or change them.
Say the defined working CMYK profile is U.S. Sheetfed Coated v2. Choosing Image>Mode>CMYK converts the colors in the image based on information in the U.S. Sheetfed Coated v2 profile.
You can convert the image mode to something other than the working profile by choosing Edit>Convert to Profile. Of course, keep in mind that the Proof Colors and Gamut Warning previews are based on the defined working profile by default. If you preview and correct to one profile and then convert to another, you can still get some unexpected results.
If you want to preview a profile that is not the active working profile, choose View>Proof Setup>Custom, and then choose a different profile in the Device to Simulate menu.
Although not technically a required part of this project, it would be an obvious omission not to include a brief mention of the issues related to converting a color image to grayscale. This topic is discussed in detail on Page 375.
There are many times when you need (or just want) to convert a full-color image to grayscale. As with any other mode conversion, you could simply choose the appropriate menu command and let the software perform the conversion. However, this is uncontrolled, and — in this case — is really not the best method for creating a grayscale image.
Simply changing the color mode flattens the three component channels into a single Black channel, using the average pixel value from the original channels. Contrast — and thus detail — are almost inevitably lost.
The Desaturate adjustment produces slightly better results, averaging the individual channel values and then using the same average value on each channel.
The Black & White adjustment is the best possible approach because you can carefully control the data that will be used on each color channel.
Both the Desaturate and Black & White adjustments maintain three component color channels; to create a “real” grayscale image, you then have to choose Image>Mode>Grayscale.
HDR (high dynamic range) images are becoming more common, especially as more consumer-lever cameras make it easier to capture the multiple exposures required for this type of image.
HDR images often have a surreal look because we are simply not used to seeing photos with this much color definition. As the the process gains wider acceptance in the mainstream market, HDR might become the standard instead of the exception. (Think about the difference in quality from an old home movie — if you have ever seen one — compared to a digital video.)
Stage 5 of this project explores the HDR capabilities that are built into the Photoshop interface. You can combine multiple exposures of the same scene to maximize detail in the composite image.
Keep in mind that an HDR image is 32-bit. If you are going to use an HDR image for print, you will eventually have to convert it to 8-bit. You can do this directly in the Mode menu of the Merge to HDR Pro dialog box, or by choosing Image>Mode>8 Bits/Channel in the primary Photoshop interface.
When you choose the 8-bit option (regardless of which method you use), you can experiment with the various settings to adjust the exact details in the image. The ultimate result is largely subjective.