Page 1 Chapter 1: Copyright...
Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo...
Page 3: Table Of Contents
........101 Chapter 5: Adobe Stock Photos Adobe Stock Photos .
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Version Cue alternates ..........148 Editing and synchronizing ofﬂine ﬁles .
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Chapter 11: Making color and tonal adjustments Color and tonal corrections ........273 Viewing histograms and pixel values .
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Chapter 15: Using channels and spot colors Channels ............438 Adding spot colors .
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OpenType character features ........556 Formatting paragraphs .
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viii Chapter 24: Printing Printing from Photoshop ......... . 710 Printing with color management .
Page 9: Installation And Registration
To learn more about activation, visit the Adobe website at www.adobe.com/activation/main.html. Start the product to access the Activation dialog box. (If you’ve just installed Adobe Creative Suite or Adobe Photoshop®, the Activation dialog box appears automatically.) Follow the on-screen instructions.
Page 10: Adobe Help Center
“To navigate Help” on page 4 To check for updates Adobe periodically provides updates to software and to topics in Adobe Help Center. You can easily obtain these updates through Adobe Help Center. An active Internet connection is required. Click the Preferences button In the Preferences dialog box, click Check For Updates.
Page 11: Using Help
The complete documentation for using your Adobe product is available in Help, a browser-based system you can access through Adobe Help Center. Help topics are updated periodically, so you can always be sure to have the most recent information available. For more information, see “To check for updates” on page 2.
Page 12 To view Help for a product, choose the product name from the Help For menu. (To view only topics that apply • across all Creative Suite products, choose Adobe Creative Suite.) • To expand or collapse a section, click the blue triangle to the left of the section name.
Page 13 “To use bookmarks” on page 6 Search tips Adobe Help search works by searching the entire Help text for topics that contain all of the words typed in the Search box. These tips can help you improve your search results in Help: If you search using a phrase, such as “shape tool, ”...
Page 14: Tips And Training
To change the view By default, Adobe Help Center opens in Full view. Full view gives you access to the Product Help, Expert Support, and More Resources sections. Switch to Compact view when you want to see only the selected Help topic and you want to keep the Help window on top of your product workspace.
Page 15 These tutorials are also available in the complete, printable, PDF version of the Help contents, included on the Resources and Extras CD. To use these tutorials with the product, select the tutorial you want from the Contents pane in Adobe Help Center, and click the View icon to switch to Compact view.
Page 16 “Other resources” on page 9 Technical information The Technical information folder on the Resources and Extras CD included with your Adobe product includes several useful documents in PDF, fully searchable and optimized for printing. These documents provide conceptual and reference material on various in-depth topics, such as scripting, transparency, and high-end printing. For complete developer documentation and resources, visit the Developers area of the Adobe website at http://partners.adobe.com/public/developer/main.html.
Page 17 Visit the Training area of the Adobe website for access to Adobe Press books; online, video, and instructor-led training resources; Adobe software certification programs; and more. Visit the Adobe user forums, where users share tips, ask questions, and find out how others are getting the most •...
Page 18: What's New
Print with the simplified printing interface for color management. (See “To synchronize color settings across Adobe applications” on page 254.) Manage files and versions as a single user or in a small workgroup. Integrate with Adobe Bridge Version Cue® 2.0 to manage files for your Photoshop and Adobe Creative Suite projects.
Page 19 Align the content of layers as you move them using guidelines that appear only when you need them. Smart Guides (See “About guides and the grid” on page 60.) Integrated Adobe Online Services Access and download professional Adobe Stock Photos and share and print online with Adobe Photoshop Services. (See “About Adobe Stock Photos” on page 103.)
Page 20 File Browser Adobe Bridge handles all the tasks that you previously did in the File Browser. Flagging is now handled by the star ratings. Files previously flagged are now marked with one star. In Bridge, Control+D (Windows) or Command+D (Mac OS) now duplicates an image rather than deselecting it in the thumbnail view.
Page 21: Tutorials
Tutorials Below you will find a list of tutorials that will help you get started using Adobe Photoshop quickly. Before going through the tutorials, it’s helpful to know how to create and save documents. See “To create a new image” on page 191 and “To save changes to the current file”...
Page 22 ADOBE PHOTOSHOP CS2 User Guide 2. Create a new Levels adjustment layer. Choose Layer > New Adjustment Layer > Levels and click OK in the New Layer dialog box. Rather than working directly on the image, we are going to make the tonal correction in an adjustment layer. Working in an adjustment layer leaves the original image untouched so you can discard your changes and restore the original image at any time.
Page 23 ADOBE PHOTOSHOP CS2 User Guide 5. Adjust the midtones. The middle input slider (the gray triangle below the histogram) adjusts the gamma, or contrast, of the midtone values. It moves the midtone (level 128) and changes the intensity values of the middle range of gray tones without significantly altering the highlights and shadows.
Page 24 ADOBE PHOTOSHOP CS2 User Guide 7. Finish up. When you’ve made all your adjustments, click OK to close the dialog box and accept your changes. Because you’ve used an adjustment layer, you can reopen the dialog box and see the adjustments you made. You can readjust any of the settings.
Page 25 ADOBE PHOTOSHOP CS2 User Guide 1. Fix the red eye. Zoom in so that you can easily see the problem area. Select the Red Eye tool in the toolbox and click in the red area of the eye to correct it. If you aren’t satisfied with the result, choose Edit > Undo and try again using a different Pupil Size and Darken Amount setting.
Page 26 ADOBE PHOTOSHOP CS2 User Guide Select areas in an image Adobe Photoshop has selection tools tailored for different selection tasks. In this tutorial, you’ll learn some good uses for these tools. 1. Use the Magic Wand tool to select the background.
Page 27 ADOBE PHOTOSHOP CS2 User Guide 2. Invert your selection. Because the background is easy to select, inverting the selection is a simple way to select the object. Choose Select > Inverse. Notice that the selection border changes to outline the object.
Page 28 1. Open an image in Photoshop. Choose File > Open, or double-click a thumbnail in Adobe Bridge. By default, the Layers palette should be visible. If not, choose Window > Layers. The Layers palette displays each layer...
Page 29 ADOBE PHOTOSHOP CS2 User Guide 2. Convert the background layer. You need to convert the background to a regular layer if you want to use transparency in the layer. In the Layers palette, double-click the background layer. Click OK in the New Layer dialog box.
Page 30 ADOBE PHOTOSHOP CS2 User Guide 4. Add a stroke effect. Click Add A Layer Style at the bottom of the Layers palette, and select Stroke from the menu. Select Stroke on the left side of the Layer Style dialog box, and make changes to the color, size, position, opacity, and blend mode of the stroke.
Page 31 ADOBE PHOTOSHOP CS2 User Guide 7. Add a text layer. In the Layers palette, click the top layer. Select the Text tool, and then click in the image. The I-beam cursor appears. In the options bar, change text size, font, style, or color to your liking. When you add text, Photoshop automatically places it on its own layer, where you can edit it separately from the rest of the image.
Page 32 Add shapes to an image Adobe Photoshop makes it easy to add shapes to an image: you can draw them using a variety of shape tools or select from a large assortment of predrawn shapes. You can arrange vector shapes on separate layers for easy modification and overlay effects.
Page 33 ADOBE PHOTOSHOP CS2 User Guide 2. Select the Rectangle tool. Select the Rectangle tool from the toolbox and then click the Shape Layers icon in the options bar. Now, the Rectangle tool creates a vector shape on a new layer. (Adjacent options let you create a path or a rasterized shape on the current layer.)
Page 34 Preset Type pop-up menu, and then click Load. Navigate to the Custom Shapes folder (default path: Adobe Photoshop CS2/Presets/Custom Shapes) and select All. Click Load to load the full set of custom shapes. This loads all the predrawn shapes into the Custom Shapes palette.
Page 35 Manager dialog box, make sure that Patterns appears in the Preset Type pop-up menu, and then click Load. Navigate to the Patterns folder (default path: Adobe Photoshop CS2 /Presets/Patterns) and select the patterns you want. Click Load to add the selected patterns to the list of patterns in the Preset Manager, and then click Done to close the Preset Manager dialog box.
Page 36 ADOBE PHOTOSHOP CS2 User Guide Print with color management The Photoshop Print With Preview feature helps you achieve predictable results when you print your photos. In this tutorial, you’ll learn how to adjust color management settings for the best possible prints. To follow these steps, you must have an ICC profile for your printer and paper type.
Page 37 ADOBE PHOTOSHOP CS2 User Guide 2. Set color management options. Choose Color Management from the pop-up menu below the preview thumbnail. Under Print, select the Document option. The image’s current profile is listed here. You want Photoshop to handle the color conversion to the printer’s color space, so choose Let Photoshop Determine Colors from the Color Handling pop-up menu under Options.
Page 38 ADOBE PHOTOSHOP CS2 User Guide In this tutorial you learned how to print your image using a printer profile. You’ll also want to learn how to preview and adjust your image using softproofing to get the results you want from your printer. For more information, see...
Page 39: Work Area Basics
Chapter 3: Work area Work area basics About the Welcome window When you launch Photoshop or ImageReady, the Welcome window automatically appears. Select the options in this window to learn about Photoshop or ImageReady by reading tutorials or by viewing a movie about new features. In Photoshop, you can also learn how to set up a color management system.
Page 40 Information on the amount of data in the image. The number on the left represents the printing Document Sizes size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format. The number on the right indicates the file’s approximate size, including layers and channels.
Page 41 ADOBE PHOTOSHOP CS2 User Guide The time it took to complete the last operation. Timing The name of the active tool. Current Tool Option for adjusting the preview image for viewing 32-bits-per-channel high dynamic range 32-bit Exposure (HDR) images on your computer monitor. The slider is available only when the document window displays an HDR image.
Page 42 HTML-editing applications from within Photoshop and ImageReady. When you install Photoshop or ImageReady, Adobe graphics-editing and HTML-editing applications currently on your system are added to the Jump To submenu. You can add more applications, including non-Adobe applications, to the Jump To submenu.
Page 43: Palettes And Menus
ADOBE PHOTOSHOP CS2 User Guide To add an application to the Jump To submenu Create a shortcut (Windows) or an alias (Mac OS) for the application you want to add to the menu. Drag the icon for the shortcut or alias into the Jump To Graphics Editor folder or the Jump To HTML Editor folder, located in the Helpers folder inside the Photoshop program folder.
Page 44 ADOBE PHOTOSHOP CS2 User Guide Using palettes A. Click to collapse or expand a Mac OS palette B. Click to collapse or expand a Windows palette C. Click to display the palette menu • To make a palette appear at the front of its group, click the palette’s tab.
Page 45 ADOBE PHOTOSHOP CS2 User Guide Click a palette’s tab to use the palette in the palette well. The palette remains open until you click outside it or click the palette’s tab again. Docked palette in the palette well To enter values in palettes, dialog boxes, and the tool options bar Do any of the following: •...
Page 46 ADOBE PHOTOSHOP CS2 User Guide Using different kinds of pop-up sliders A. Click to open pop-up slider box. B. Drag slider or angle radius. (Photoshop) You can also “scrub” some pop-up sliders. For example, if you hold the pointer over the word “Fill” or “Opacity”...
Page 47 ADOBE PHOTOSHOP CS2 User Guide Note: You can also delete an item in a pop-up palette by holding down Alt (Windows) or Option (Mac OS) and clicking the item. To customize the list of items in a pop-up palette Click the triangle in the upper right corner of the pop-up palette to view the palette menu.
Page 48: Tools
Other tools in the toolbox allow you to change foreground/background colors, go to Adobe Online, work in different modes, and jump between Photoshop and ImageReady applications.
Page 49 ADOBE PHOTOSHOP CS2 User Guide Toolbox overview Selection tools Painting tools Annotation, measuring, and Rectangular Brush (B) navigation tools Marquee Pencil Elliptical Marquee Notes Color Single Column Replacement Audio Annotation Marquee History Brush Eyedropper Single Row Art History Brush Marquee...
Page 50: Selection Tools Gallery
ADOBE PHOTOSHOP CS2 User Guide Selection tools gallery Tools marked with an asterisk are available in Photoshop only. The marquee tools make The Move tool moves selec- The lasso tools make free- The Magic Wand tool selects rectangular, elliptical, single tions, layers, and guides.
Page 51 ADOBE PHOTOSHOP CS2 User Guide The Clone Stamp tool paints The Pattern Stamp tool* The Eraser tool erases pixels The Background Eraser with a sample of an image. paints with part of an image and restores parts of an im- tool* erases areas to trans...
Page 52 ADOBE PHOTOSHOP CS2 User Guide Painting tools gallery Tools marked with an asterisk are available in Photoshop only. The Brush tool paints brush The Pencil tool paints hard- The Color Replacement The History Brush tool* strokes. edged strokes. tool* replaces a selected color paints a copy of the selected with a new color.
Page 53 ADOBE PHOTOSHOP CS2 User Guide Annotation, measuring, and navigation tools gallery Tools marked with an asterisk are available in Photoshop only. The annotation tools* make The Eyedropper tool sam- The Measure tool* measures The Hand tool moves an im notes and audio annotations ples colors in an image.
Page 54 ADOBE PHOTOSHOP CS2 User Guide To use a tool Do one of the following: Click a tool in the toolbox. If there is a small triangle at a tool’s lower right corner, hold down the mouse button to • view the hidden tools. Then click the tool you want to select.
Page 55 ADOBE PHOTOSHOP CS2 User Guide About tool pointers In most cases, the pointer for a tool is the same as the icon for that tool; you see that pointer when you select the tool. The default pointer for the marquee tools is the cross-hair pointer ;...
Page 56 ADOBE PHOTOSHOP CS2 User Guide Using the options bar The options bar appears below the menu bar at the top of the work area. The options bar is context sensitive—it changes as you select different tools. Some settings in the options bar (such as painting modes and opacity) are common to several tools, and some (such as the Auto Erase setting for the Pencil tool) are specific to one tool.
Page 57 ADOBE PHOTOSHOP CS2 User Guide Do one of the following: Click the Create New Tool Preset button • • Choose New Tool Preset from the palette menu. Enter a name for the tool preset, and click OK. To change the list of tool presets Click the triangle to open the Tool Presets pop-up palette menu and choose one of the following: Shows all loaded presets.
Page 58: Viewing Images
ADOBE PHOTOSHOP CS2 User Guide To duplicate an image in ImageReady Using duplicates in ImageReady lets you experiment and then compare several versions of the optimized image to the original. Open the image you want to duplicate. Do one of the following: •...
Page 59 ADOBE PHOTOSHOP CS2 User Guide (Photoshop) Dragging an image in Full Screen mode Do one of the following: • To display the default window, with the menu bar at the top and scroll bars on the side, choose View > Screen Mode >...
Page 60 ADOBE PHOTOSHOP CS2 User Guide To use the Navigator palette You use the Navigator palette to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the window.
Page 61 ADOBE PHOTOSHOP CS2 User Guide To magnify by dragging Select the Zoom tool. Drag over the part of the image that you want to magnify. Dragging the Zoom tool to magnify the view of an image The area inside the zoom marquee is displayed at the highest possible magnification. To move the marquee around the artwork in Photoshop, begin dragging a marquee and then hold down the spacebar while dragging.
Page 62 ADOBE PHOTOSHOP CS2 User Guide To view images in multiple windows The document window is where your images appear. You can open multiple windows to display different images or different views of the same one. A list of open windows appears in the Window menu. To bring an open image to the front, choose the file name from the bottom of the Window menu.
Page 63 ADOBE PHOTOSHOP CS2 User Guide Without Match Zoom And Location (top), and with Match Zoom And Location (bottom) selected Select the Zoom tool or the Hand tool. Select one of the images, hold down the Shift key, and click in or drag an area of an image. The other images are magnified to the same percentage and snap to the area you clicked.
Page 64 ADOBE PHOTOSHOP CS2 User Guide The Opacity value of the pixels beneath the pointer • The hexadecimal value of the color beneath the pointer • • The position, in the indexed color table, of the color beneath the pointer The x and y coordinates of the pointer •...
Page 65 Displays information on the amount of data in the image. The number on the left represents the Document Sizes printing size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format. The number on the right indicates the file’s approximate size including layers and channels.
Page 66: Rulers, The Grid, And Guides
ADOBE PHOTOSHOP CS2 User Guide To change measurement units, click the cross-hair icon in the Info palette and choose from the menu. Rulers, the grid, and guides About rulers Rulers help you position images or elements precisely. When visible, rulers appear along the top and left side of the active window.
Page 67 Using columns is convenient when you plan to import an image into a page-layout program, such as Adobe InDesign®, and you want the image to fit exactly within a certain number of columns.
Page 68 ADOBE PHOTOSHOP CS2 User Guide To measure between two points Select the Measure tool Drag from the starting point to the ending point. Hold down the Shift key to constrain the tool to 45˚ increments. To create a protractor from an existing measuring line, Alt-drag (Windows) or Option-drag (Mac OS) at an angle from one end of the measuring line, or double-click the line and drag.
Page 69 ADOBE PHOTOSHOP CS2 User Guide See also “To create slices from guides” on page 573 To show or hide a grid, guides, or smart guides Do one of the following: (Photoshop) Choose View > Show > Grid. • • Choose View > Show > Guides.
Page 70 ADOBE PHOTOSHOP CS2 User Guide To move a guide Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. (This option does not work with the Hand tool or the Slice tool Position the pointer over the guide (the pointer turns into a double-headed arrow).
Page 71 ADOBE PHOTOSHOP CS2 User Guide To specify what to snap to Choose View > Snap To, and choose one or more options from the submenu: Snaps to guides. Guides Snaps to the grid. You cannot select this option when the grid is hidden.
Page 72: Customizing The Work Area
ADOBE PHOTOSHOP CS2 User Guide Customizing the work area To manage workspaces You can customize the palette locations in a workspace. You can save custom workspaces and switch between them. In Photoshop, you can also customize menu items and keyboard shortcuts. In ImageReady, preset workspaces are available for certain tasks.
Page 73 ADOBE PHOTOSHOP CS2 User Guide (Photoshop) Under Capture, select one or more options: Palette Locations Saves the current palette locations. Saves the current set of keyboard shortcuts. Keyboard Shortcuts Saves the current set of menus. Menus Click OK. See also “About customizing keyboard shortcuts”...
Page 74 ADOBE PHOTOSHOP CS2 User Guide When you finish changing the menus, do one of the following: To save all changes to the current set of menus, click the Save Set button . Changes to a custom set are saved. If •...
Page 75 Each type of library has its own file extension and default folder. Preset files are installed on your computer inside the Presets folder in the Adobe Photoshop CS2 application folder. To open the Preset Manager, choose Edit > Preset Manager. Choose an option from the Preset Type menu to switch to a specific preset type.
Page 76: Preferences
Preferences About preferences Numerous program settings are stored in the Adobe Photoshop CS Prefs file, including general display options, file saving options, cursor options, transparency options, and options for plug-ins and scratch disks. Most of these options are set in the Preferences dialog box. Preference settings are saved each time you quit the application.
Page 77 Press and hold Alt+Control+Shift (Windows) or Option+Command+Shift (Mac OS) as you start Photoshop or ImageReady. You are prompted to delete the current settings. (Mac OS only) Open the Preferences folder in the Library folder, and drag the Adobe Photoshop CS Settings folder •...
Page 78 Note: If you want to use a plug-in only in Photoshop or only in ImageReady, or when a plug-in is compatible with only one of the applications, you can install the plug-in inside the Plug-ins folder in either the Adobe Photoshop Only folder or the Adobe ImageReady Only folder.
Page 79: Recovery And Undo
ADOBE PHOTOSHOP CS2 User Guide To view information about installed plug-ins Do one of the following: (Windows) Choose Help > About Plug-in and choose a plug-in from the submenu. • (Mac OS) Choose Photoshop > About Plug-in or choose ImageReady > About Plug-in, and then choose a plug-in •...
Page 80 ADOBE PHOTOSHOP CS2 User Guide To receive notification when an operation is completed A progress bar indicates that an operation is being performed. You can interrupt the operation or have the program notify you when it has finished the operation.
Page 81 ADOBE PHOTOSHOP CS2 User Guide By default, a snapshot of the initial state of the document is displayed at the top of the palette. • States are added to the bottom of the list. That is, the oldest state is at the top of the list, the most recent one at the •...
Page 82 ADOBE PHOTOSHOP CS2 User Guide To create or replace a document with an image state Do one of the following: Drag a state or snapshot onto the New Document button . The history list for the newly created document will •...
Page 83 ADOBE PHOTOSHOP CS2 User Guide You can compare effects easily. For example, you can take a snapshot before and after applying a filter. Then select • the first snapshot, and try the same filter with different settings. Switch between the snapshots to find the settings you like best.
Page 84 The Edit History Log helps you keep a textual history of changes made to an image. You can view the Edit History Log metadata using Adobe Bridge or the File Info dialog box. You can choose to export the text to an external log file, or you can store the information in the metadata of edited files.
Page 85: Memory
ADOBE PHOTOSHOP CS2 User Guide Note: If you want to save the text file in a different location or save another text file, click the Choose button, specify where to save the text file, name the file if necessary, and click Save.
Page 86 ADOBE PHOTOSHOP CS2 User Guide To free memory The Purge command lets you free memory used by the Undo command, the History palette, or the clipboard. Choose Edit > Purge, and choose the item type or buffer you want to clear. If it is already empty, the item type or buffer is dimmed.
Page 87: The Basics Of Bridge
About Adobe Bridge Adobe Bridge is the control center for Adobe Creative Suite. You use it to organize, browse, and locate the assets you need to create content for print, the web, and mobile devices. Adobe Bridge keeps native PSD, AI, INDD, and Adobe PDF files as well as other Adobe and non-Adobe application files available for easy access.You can drag assets into...
Page 88 Gives you quick access to folders as well as to Version Cue, Adobe Stock Photos, collections, The Favorites panel and Bridge Center (Adobe Creative Suite only). Like all panels, it’s located on the left side of the Bridge window. Shows the folder hierarchy. Use it to navigate to the correct folder.
Page 89 To open Bridge from an application, choose File > Browse from your application. • • (Windows) To open Bridge directly, choose Adobe Bridge from the Start menu. (Mac OS) To open Bridge directly, double-click the Adobe Bridge icon . By default, this is located in the Appli- •...
Page 90 ADOBE PHOTOSHOP CS2 User Guide By default, the Compact mode Bridge window floats on top of all windows. (In Full mode, the Bridge window can move behind application windows.) This floating window is useful because it is always visible and usable as you work in different applications.
Page 91 Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign files. Note: A Bridge workspace is different from a Version Cue Workspace. Your work in Bridge workspaces has no effect on Version Cue Workspaces.
Page 92 ADOBE PHOTOSHOP CS2 User Guide Specifies Adobe Stock Photos settings. See “To set Adobe Stock Photos preferences” on Adobe Stock Photos page 112. Specifies advanced settings, including cache options and language options. See “Bridge Advanced prefer Advanced ences” on page 84.
Page 93: Files And Folders In Bridge
CD. This option is active only if you chose Use A Centralized Cache File in the Preferences dialog box. See also “About Adobe Bridge” on page 79 Files and folders in Bridge To view file and folder thumbnails in Bridge The content area of Bridge displays thumbnails of the files and folders of the selected folder, along with information about them (depending on your view).
Page 94 Show Graphic Files Only to display only files in graphic file formats, such as EPS, JPEG, BMP, PS, TIFF, and GIF. • • Show Camera Raw Files Only to display only camera raw files. Show Vector Files Only to display only files created with drawing programs such as Adobe Illustrator, and EPS and • PS files. •...
Page 95 “To manage folders with Bridge” on page 89 To open files in Bridge You can open files in Bridge, even files that were not made with Adobe Creative Suite applications. Select the file in the current folder. Do one of the following: Choose File >...
Page 96 Note: From Bridge, you can also use Adobe Version Cue to manage files you author in Adobe Creative Suite applications. You can create and manage revisions to files kept in Version Cue projects. Version Cue is also a convenient environment for collaborative file management in workgroups.
Page 97 ADOBE PHOTOSHOP CS2 User Guide To quickly attach an image to an e-mail message, drag the image from Bridge and drop it into the e-mail message. To rename files Click the file name, type a new name, and press Enter (Windows) or Return (Mac OS).
Page 98 Click the folder name, type a new name, and press Enter (Windows) or Return (Mac OS). To rename folders See also “About Adobe Bridge” on page 79 “To manage files with Bridge” on page 88 To rotate images with Bridge You can rotate the view of JPEG, PSD, TIFF, and camera raw file images in Bridge.
Page 99 (Optional) Select Include All Subfolders to expand the search to any subfolders in the source folder. (Optional) Select Search Past Versions Of Version Cue Files to include past versions of Adobe Version Cue files, as well as current ones, in the search.
Page 100: Bridge Center
About Bridge Center If you are working with the Adobe Creative Suite, Bridge Center gives you quick access to your most recent files and folders, RSS newsreaders for the latest information, tips and tricks for using Adobe products, color management features, and Help documentation.
Page 101 RSS displays shared web content, such as headlines from different websites and the latest information on products from Adobe. RSS stands for Really Simple Syndication and is an XML format used to gather and distribute web content while reducing traffic to websites. See “To use RSS content in Bridge Center” on page 94.
Page 102: Running Automated Tasks With Bridge
The Tools menu contains submenus for various commands available in the different Adobe Creative Suite applica tions. For instance, if you have Adobe Photoshop installed, you can use the commands under the Tools > Photoshop submenu to make picture packages and create Photomerge panoramas using photos you select in Bridge. Running these tasks from Bridge saves time because you don’t have to open each file individually.
Page 103: Metadata In Bridge
You can use metadata to streamline your workflow and organize your files. This information is stored in a standardized way using the Extensible Metadata Platform (XMP) standard on which Adobe Bridge and the Adobe Creative Suite applications are built. XMP is built on XML, and in most cases the information is stored in the file so that it isn’t lost.
Page 104 Metadata that is stored in other formats, such as EXIF, IPTC (IIM), GPS, and TIFF, is synchronized and described with XMP so that it can be more easily viewed and managed. Other applications and features (for example, Adobe Version Cue) also use XMP to communicate and store information such as version comments. For instance, when you save a file in Version Cue, you might add the comment that you rotated the file when you worked on it.
Page 105 Position the pointer over a thumbnail in the content area. (Metadata appears in a tool tip only if Show Tooltips is selected in General preferences.) See also “About Adobe Bridge” on page 79 “To create and close Bridge windows” on page 81 “About the Metadata panel in Bridge” on page 96 To edit metadata with Bridge Click the pencil icon to the far right of the metadata field you want to edit.
Page 106 Lets you enter information based on Associated Press categories. You can also choose text from the Categories menu to the right of the text fields. The Categories option appears only if Adobe Photoshop is installed. History Displays Adobe Photoshop history log information for images saved with Photoshop. The History option appears only if Adobe Photoshop is installed.
Page 107 You can modify the metadata in the File Info dialog box and save it as a template for use with other files. Create a new file using an Adobe Creative Suite application. This creates a file without metadata from any other source.
Page 108 ADOBE PHOTOSHOP CS2 User Guide See also “About the Metadata panel in Bridge” on page 96 “To apply metadata templates to files in Bridge” on page 100 To apply metadata templates to files in Bridge After you have saved metadata for one file, you can apply it to others.
Page 109: Using Version Cue With Bridge
Using Version Cue with Bridge Working with Version Cue in Bridge Adobe Bridge and Version Cue work together to give you an intuitive way to access and manage Version Cue files and projects. Bridge provides comprehensive visualization of and centralized command over all aspects of Version Cue files and projects.
Page 110 (metadata) in the Details view, Versions And Alternates view, in tooltips, and in the Metadata panel. Bridge is instru mental in helping you create and track versions of non-Adobe file types that are in the projects in your Version Cue Workspace.
Page 111: Adobe Stock Photos
Adobe Stock Photos directly into your Illustrator, InDesign, and GoLive projects. From Photoshop, you can open any downloaded image. In the design process, you need the flexibility to try different images before deciding which one you want. Adobe Stock Photos gives you the option to download low-resolution, complementary (comp) versions of images you’re considering.
Page 112 “To view file and folder thumbnails in Bridge” on page 85 To search for stock photos In Bridge, click Adobe Stock Photos in the Favorites pane. In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for.
Page 113 Note: The currency displayed in the Price & Keywords dialog box may not be the native currency of your billing country; it is the supported currency for purchases made from your country. When you purchase photos from Adobe Stock Photos, your credit card will be billed in the supported currency.
Page 114: Comp Images
• To view comps in an Adobe Creative Suite application From Adobe Stock Photos, you can open and edit a comp in Photoshop, Illustrator, InDesign, or GoLive. You can also drag a comp into an application. In the search results window, right-click the image you want to open.
Page 115: Buying Stock Photos
Buying stock photos It’s simple to buy images through Adobe Stock Photos. When you find the photos you want to buy, put them in your shopping cart. The photos remain in your cart until you’re ready to complete your purchase. When you finish browsing, you can check out and have your images automatically downloaded to your computer.
Page 116 Do one of the following: If you have an Adobe account, enter your ID and password. • If you want to open an Adobe account, click Set Up An Account. You are prompted to enter your billing and • account information.
Page 117: Stock Photos Accounts
Stock Photos accounts Benefits of Stock Photos accounts Creating an Adobe account makes purchasing photos quick and easy. When you log in with your e-mail address and password, you can work with your account in several ways: After you complete the registration process, modify your account information anytime by Manage your profile clicking the Your Account link in the navigation bar.
Page 118 To change your password, type a new word in the Password text box. Passwords can contain only letters and numbers and must be at least six characters long. To sign up to get e-mail from Adobe Stock Photos about promotions or other special information, select the check •...
Page 119 ADOBE PHOTOSHOP CS2 User Guide Do any of the following: To change the nickname associated with the default address, type a new name in the Billing Address Nickname • text box. Type any changes to the default address in the text boxes.
Page 120 The currency displayed next to the Billing Country menu may not be the native currency of that country (not all currencies are supported). Instead, it’s the currency Adobe allows for that country. Your credit card is billed in the supported currency.
Page 121: Using Adobe Version Cue
If you use only one component of Adobe Creative Suite, or if you use InCopy and not Adobe Creative Suite, you • have access to the features of the Adobe dialog box only. You can use Bridge, rather than the Adobe dialog box, for file browsing.
Page 122 You can use Version Cue in a single application, such as Photoshop CS2, to track changes to a file as you work on it. In addition, workgroups or an individual worker can use Version Cue across applications. Multiple users can manage projects that contain files from all Adobe Creative Suite components.
Page 123 By default, when you choose the Open, Import, Export, Place, Save, or Save As commands, the operating system (OS) dialog box appears. To use the Adobe dialog box instead and set it as the default, click Use Adobe Dialog. Use the View menu options to customize the display.
Page 124 To set Version Cue Workspace preferences Note: You can perform this task only if you have access to the full Version Cue feature set, which is available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 125 In the Memory Usage text box, enter the amount of RAM that you want to make available to Version Cue. The default is 128 MB. This setting allocates RAM to optimize interoperability between Version Cue and Adobe Creative Suite components. For more robust requirements, such a larger workgroup or many assets, set the RAM to 256 MB or higher.
Page 126: Working With Version Cue Projects
To turn Version Cue on or off By default, access to Version Cue is turned on in InCopy CS2 and in all Adobe Creative Suite components, except for Acrobat 7. If you disable Version Cue, you won’t have access to any Version Cue Workspace, which could affect files in a project.
Page 127 To open a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 128 To open a project, double-click it. If the Use Adobe Dialog button doesn’t appear in the Open, Save As, Save A Copy, or Place dialog boxes, make sure that you’ve turned on the Version Cue preference in InCopy or in the Adobe Creative Suite component you’re using.
Page 129 To view Version Cue Workspace, project, and file information Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 130 To view Version Cue Workspace, project, and file information in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 131 To create a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 132 To create a project in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 133 To share or unshare a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 134 To share or unshare a project from Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 135 ADOBE PHOTOSHOP CS2 User Guide Working copies allow you to work on a file even when the host workspace is unavailable, or offline. Though some features, such as versions and alternates, can’t be used when you’re working offline, you can edit files and save your work.
Page 136 Version Cue Workspace. You can view a file’s status while browsing the files in a Version Cue project, in Bridge, and also in the document window’s Status area after opening a file from the Version Cue Workspace in an Adobe Creative Suite component.
Page 137 To open a file from a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 138 To edit a file in use by another user Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 139 To add a file to a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 140 To add a file or folder to a project in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 141 To save changes to a file Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 142 To place a file from a project into a document Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 143 To view alternates and versions in the Links palette Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 144 ADOBE PHOTOSHOP CS2 User Guide To replace a placed file with an alternate In Illustrator, InCopy, or InDesign, select the file in the Links palette. Choose Alternates from the Links palette menu. Choose an alternate, and click Relink. See also “Using the Links palette with project files”...
Page 145: Disconnecting From Projects
To search for files in a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 146 To disconnect from a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 147 In Bridge, InCopy, and in Adobe Creative Suite, you can show hidden and deleted files or folders, and view them in search results. Additionally, Version Cue has a Project Trash view from which you can view all deleted files in a project.
Page 148 To delete a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 149 To delete files or folders from a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 150 To restore a file or folder deleted from a project Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 151: Version Cue Versions
To save a version Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 152 To save a version of a non-Adobe file Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 153 To view versions Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 154 To view versions in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 155 To revert to the last version in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 156: Version Cue Alternates
Alternates View. In the Alternates dialog box that appears in Adobe Creative Suite components and in InCopy (in the Links palette or Open dialog box), the primary alternate appears at the top of the list in the Alternates dialog box.
Page 157 To save an alternate Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 158 Note: You can also view alternates from the Links palette in Illustrator or InDesign, or from the status menu at the bottom of a file window while the file is open in an Adobe Creative Suite component. To view alternates from the Links palette, choose Alternates from the Links palette menu.
Page 159 To use the Make Alternates command Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 160 To move an alternate to another alternates group Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 161 To manually mark a file as In Use Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 162 To synchronize files in Bridge Note: You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 113 for more information.
Page 163: The Version Cue Administration Utility
Using the Version Cue Administration utility, you can do more advanced tasks that affect a specified project or an entire Version Cue Workspace. The following table lists the Version Cue-related tasks that you can accomplish through an Adobe Creative Suite component and those that you can accomplish through the Version Cue Administration utility.
Page 164 • By clicking the Advanced Administration button in GoLive CS2, Illustrator CS2, InCopy CS2, InDesign CS2, • Photoshop CS2, or Acrobat 7. By typing the IP address of the Version Cue Workspace directly into a web browser. • By selecting Advanced Administration from the Version Cue system tray icon (Windows) or the Version Cue •...
Page 165 To log into Version Cue Administration from an Adobe Creative Suite component You can log in the same way from InCopy CS2, InDesign CS2, Illustrator CS2, Photoshop CS2, and Acrobat 7. Choose File > Open, and click the Use Adobe Dialog button in the dialog box.
Page 166 To change the Version Cue Workspace name, type a name in the text box. This name identifies Workspace Name the Version Cue Workspace in Adobe Creative Suite components using Version Cue. Make This Version Cue Workspace Visible To Others. When selected, gives other computers access to the Version Cue Workspace.
Page 167 Version Cue 1.0 and Version Cue 2.0 Workspaces can be installed and function on the same computer simulta • neously. If Version Cue 1.0 and Version Cue 2.0 Workspaces are installed on the same computer, Adobe Creative Suite 1.0 • components work only with the Version Cue 1.0 Workspace, because they can communicate only with the port that the Version Cue 1.0 Workspace uses.
Page 168: Creating And Editing Projects In Version Cue Administration
ADOBE PHOTOSHOP CS2 User Guide Uninstall Version Cue 1.0. Restart the Version Cue 2.0 Workspace. This resets the port to allow access from both Adobe Creative Suite 1.0 and Adobe Creative Suite 2.0 components. Creating and editing projects in Version Cue...
Page 169 ADOBE PHOTOSHOP CS2 User Guide To create a new Version Cue project from a folder You can create a Version Cue project from the files in a folder on the computer where the Version Cue Workspace is installed. Log into Version Cue Administration.
Page 170 ADOBE PHOTOSHOP CS2 User Guide Click Next to display the Import Project From Server content frame. If the content you’re importing is a website, select Import FTP/WebDAV As A Website to import the content to the project’s web-content folder. In the FTP Server or WebDAV Server box, specify the WebDAV server from which to import files, and type the •...
Page 171 ADOBE PHOTOSHOP CS2 User Guide Set any of the following options: Share This Project With Others Gives other users access to the project. Users can be on your subnetwork, or be given the Version Cue Workspace IP or DNS address and port number.
Page 172 ADOBE PHOTOSHOP CS2 User Guide To export a Version Cue project to your computer You can export the most recent version of all project files from the Version Cue Workspace. You can use this export to move these files from one host computer (or server) to another or to create a package of the most recent files for output or simply to create an archive of the final versions.Version Cue still manages projects moved between...
Page 173: Backing Up And Restoring From Version Cue Administration
ADOBE PHOTOSHOP CS2 User Guide To remove file locks from a Version Cue project A user with system administrator privileges or with project-specific Administer privileges can remove file locks. Removing file locks forces the removal of In Use status of files designated by specific project or by user throughout all the projects.
Page 174 Select what you want to back up in the Include list of options: Files (which is always selected), Project File Versions to back up all the versions of the project, Project Metadata to back up embedded information entered in Adobe Creative Suite components, and Users/User Assignments to back up information about the users and their project privileges.
Page 175: Working With Users And Privileges
ADOBE PHOTOSHOP CS2 User Guide Choose an option from the Repeat menu if you want backups to occur automatically (choose Don’t Repeat if you want to back up the project manually). Click Save to save the new configuration and to see a list of backup configurations.
Page 176 If you’ve configured the Version Cue Workspace to be visible to others in the Version Cue Administration utility, you don’t need to create and assign Version Cue user names to let other Adobe Creative Suite or WebDAV users access your Version Cue projects and the Version Cue Workspace. The users simply need either to be on your subnetwork or be given the Version Cue Workspace IP or DNS address and port number.
Page 177 Users with privileges set to None can’t access the Version Cue Workspace Administration utility but can access Version Cue projects while working in an Adobe Creative Suite component or an application that supports WebDAV. The following table describes the privileges associated with the User and System Administrator levels.
Page 178 ADOBE PHOTOSHOP CS2 User Guide Administration utility task User System Administra Create new projects (users must have Project Creation Allowed selected in their privileges) Delete or restore project backups No Perform all tasks listed in the Advanced content frame Change the Administration utility...
Page 179: Viewing Logs, Reports, And Workspace Information
Version Cue Workspace Administration utility. Users who are working in Adobe Creative Suite can use the Version Cue Client URL to connect to Version Cue projects when they’re not on the workspace’s subnetwork. Users who are working in applications that support WebDAV can use the WebDAV Client URL to connect to Version Cue projects.
Page 180: Version Cue Pdf Reviews
Workspace. You can invite selected reviewers by e-mail, create the e-mail message in your e-mail program, and include a direct link to the review document in the e-mail. Invited reviewers only need Adobe Acrobat software and a Version Cue login to access the PDF document using their web browser. As the review progresses, reviewers upload their comments to the Version Cue Workspace.
Page 181 ADOBE PHOTOSHOP CS2 User Guide Keep in mind the following requirements for using Version Cue PDF review: To use Version Cue PDF review, reviewers need a Version Cue login name and privileges that allow them to log • into the Version Cue Workspace hosting the review.
Page 182 ADOBE PHOTOSHOP CS2 User Guide To locate PDF reviews After you locate a PDF review, you can open it, view or delete review comments, stop or restart a review, or delete the review from the Version Cue Workspace. Log into the Version Cue Administration utility.
Page 183 ADOBE PHOTOSHOP CS2 User Guide To restart a completed PDF review Locate the completed review (see “To locate PDF reviews” on page 174). Click the PDF document name in the Document List. In the Document History list, select the completed review and click Start Review. Adjust review settings as desired.
Page 184 ADOBE PHOTOSHOP CS2 User Guide About PDF review comments Review comments include, in addition to the text of the comment itself, information about who created the comment and when, what type of comment was created, and what page of the document the comment appears on. Different comment types are distinguished by their icons.
Page 185: Bitmap Images And Vector Graphics
Chapter 7: Getting images into Photoshop and ImageReady Bitmap images and vector graphics Bitmap images and vector graphics Computer graphics fall into two main categories—bitmap and vector. You can work with both types of graphics in Photoshop and ImageReady; moreover, a Photoshop file can contain both bitmap and vector data. It’s helpful to understand the difference between the two categories as you create, edit, and import artwork.
Page 186: Image Size And Resolution
ADOBE PHOTOSHOP CS2 User Guide 24:1 Example of a vector graphic at different levels of magnification Note: Because computer monitors can display images only on a grid, both vector graphics and bitmap images are displayed as pixels on-screen. Image size and resolution Pixel dimensions and image resolution The number of pixels along the height and width of a bitmap image is called the pixel dimensions of an image.
Page 187 ADOBE PHOTOSHOP CS2 User Guide Pixel dimensions equal document (output) size times resolution. A. Original dimensions and resolution B. Decreasing the resolution without changing pixel dimensions (no resampling) C. Decreasing the resolution at same document size decreases pixel dimensions (resampling).
Page 188 ADOBE PHOTOSHOP CS2 User Guide You can’t improve a lower-quality image by printing it at a high resolution. Changing the print resolution of an image simply makes each pixel larger, which results in pixelation—output with large, coarse-looking pixels. Increasing the print resolution of an image doesn’t add any pixel information to the image.
Page 189 ADOBE PHOTOSHOP CS2 User Guide 20" 15" 832 x 624 / 640 x 480 1024 x 768 / 640 x 480 Example of an image displayed on monitors of various sizes and resolutions Note: When you are preparing an image for online display, pixel dimensions become especially important. Make sure that the size of an image allows room for the web browser window controls on smaller monitors.
Page 190: Changing Image Size And Resolution
ADOBE PHOTOSHOP CS2 User Guide Screen frequency examples A. 65 lpi: Coarse screen typically used to print newsletters and grocery coupons B. 85 lpi: Average screen typically used to print newspapers C. 133 lpi: High-quality screen typically used to print four-color magazines D. 177 lpi: Very fine screen typically used for an-...
Page 191 ADOBE PHOTOSHOP CS2 User Guide Resampling pixels A. Downsampled B. Original C. Resampled up (selected pixels displayed for each set of images) Keep in mind that resampling can result in poorer image quality. For example, when you resample an image to larger pixel dimensions, the image loses some detail and sharpness.
Page 192 ADOBE PHOTOSHOP CS2 User Guide To specify the default interpolation method Do one of the following: In Windows, choose Edit > Preferences > General. • (Photoshop) In Mac OS choose Photoshop > Preferences > General. • • (ImageReady) In Mac OS, choose ImageReady > Preferences > General.
Page 193 ADOBE PHOTOSHOP CS2 User Guide Under New Size, enter values for Width, Height, or Percent. The New Size text field displays the new file size of the image. (Optional) Select a interpolation method from the Quality pop-up menu. Note: Action options are used to record an action with image size options in ImageReady.
Page 194: Getting Images From Digital Cameras
If you use a media card reader, or if you connect to a camera that appears as a drive on your computer, you can use Adobe Bridge to move the files to your destination folder. You can also use the software that came with your camera, Windows Image Acquisition (WIA) or Image Capture (Mac OS).
Page 195 ADOBE PHOTOSHOP CS2 User Guide To get images from a digital camera using Bridge Connect your media card reader or camera to your computer. The media card reader or camera must appear as a drive (volume) on your computer for this procedure to work.
Page 196: Scanning Images
These preparatory steps can prevent unwanted color casts. Scanner drivers are supported by the scanner manufacturer, not Adobe Systems Incorporated. If you have problems with scanning, make sure that you are using the latest version of the scanner driver.
Page 197 ADOBE PHOTOSHOP CS2 User Guide To import an image using the TWAIN interface in ImageReady If you’re using the TWAIN device for the first time with ImageReady, choose File > Import > TWAIN Select. Then select the device you want to use. You do not need to repeat this step for subsequent uses of the TWAIN module.
Page 198 ADOBE PHOTOSHOP CS2 User Guide For example, suppose you are printing to an imagesetter with a screen frequency of 85 lpi and the ratio of the final image to the original is 3:1. First multiply 85 (the screen frequency) by 2 to get 170. Then multiply 170 by 3 to get a scan resolution of 510 ppi.
Page 199: Creating, Opening, And Importing Images
ADOBE PHOTOSHOP CS2 User Guide Note: You can also perform this test using an 18-percent neutral gray card or an 11-step gray wedge from a photography store. Open the Info palette, and read the RGB values on-screen for each of the gray levels. Uneven R, G, and B values indicate a color cast.
Page 200 ADOBE PHOTOSHOP CS2 User Guide Opening files You can open files using the Open command and Open Recent command. In Photoshop, you can also open files using Adobe Bridge. Sometimes Photoshop may not be able to determine the correct format for a file. This can happen, for example, because the file has been transferred between two operating systems.
Page 201 (Photoshop) Choose File > Open. • (Bridge) Select the PDF file and choose File > Open With > Adobe Photoshop CS2. Skip to step 3. • In the Open dialog box, select the name of the file, and click Open. You can change which types of files are listed by selecting an option from the Files Of Type (Windows) or Format (Mac OS) pop-up menu.
Page 202 Adobe applications that produce PostScript artwork include Adobe Illus trator, Adobe Dimensions, and Adobe Streamline. When you open an EPS file containing vector art, it is rasterized— the mathematically defined lines and curves of the vector artwork are converted into the pixels or bits of a bitmap image.
Page 203 ADOBE PHOTOSHOP CS2 User Guide See also “Placing files” on page 196 “Using drag-and-drop to copy between applications” on page 332 “Using the clipboard to copy between applications” on page 333 To open an EPS file Choose File > Open.
Page 204 ImageReady-supported format with the exception of Photoshop (PSD) files containing CMYK images, PDF files, and Adobe Illustrator (AI) files. When you use the Place command, you can scale, position, skew, or rotate the art without degrading the image before clicking Commit , or pressing Enter (Windows) or Return (Mac OS) to place the art.
Page 205 Photoshop image, it is resized to fit. Note: You can also place Adobe Illustrator art by copying and pasting the art from Illustrator into a Photoshop document. See “To paste Adobe Illustrator art into Photoshop” on page 200.
Page 206 ADOBE PHOTOSHOP CS2 User Guide If you’re placing a PDF, EPS, or Adobe Illustrator file, set the Anti-alias option in the options bar as desired. To blend edge pixels during rasterization, select the Anti-alias option. To produce a hard-edged transition between edge pixels during rasterization, deselect the Anti-alias option.
Page 207 To set Place PDF dialog box options When you place a PDF or Adobe Illustrator file, use the Place PDF dialog box to set options for placing the artwork. With the destination Photoshop document open, place a PDF or Adobe Illustrator file.
Page 208 To paste Adobe Illustrator art into Photoshop Note: If you want to paste the Adobe Illustrator art as a Smart Object, path, or shape layer, make sure to turn on the PDF and the AICB (No Transparency Support) options in the File Handling & Clipboard preferences of Adobe Illus...
Page 209: High Dynamic Range Images
ADOBE PHOTOSHOP CS2 User Guide High Dynamic Range images About High Dynamic Range images The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are printed or displayed on a monitor. But whereas human eyes can adapt to very different brightness levels, most cameras and computer monitors can capture and reproduce only a fixed dynamic range.
Page 210 ADOBE PHOTOSHOP CS2 User Guide You can create an HDR image using multiple photographs, each captured at a different exposure. In Photoshop, the Merge To HDR command lets you create HDR images from multiple photographs. Because an HDR image contains brightness levels that far exceed the display capabilities of a standard 24-bit monitor or the range of tones in a printed image, Photoshop lets you adjust the preview of the HDR image so it can be viewed on a computer monitor.
Page 211 ADOBE PHOTOSHOP CS2 User Guide Vary the shutter speed to create different exposures. Changing the aperture changes the depth of field in each • exposure and can produce lower-quality results. Changing the ISO or aperture may also cause noise or vignetting in the image.
Page 212 ADOBE PHOTOSHOP CS2 User Guide Selecting the thumbnails in the Sources filmstrip Choose a bit depth for the merged image from the Bit Depth menu. Note: Be sure to choose 32 Bits/Channel if you want the merged image to store the entire dynamic range data of the HDR image.
Page 213 ADOBE PHOTOSHOP CS2 User Guide If you chose Exposure And Gamma, move the Exposure and Gain sliders to adjust the brightness and contrast of the image preview. Click OK. You can also adjust the preview of an HDR image open in Photoshop by clicking the triangle in the status bar of the document window and choosing 32-Bit Exposure from the pop-up menu.
Page 214 ADOBE PHOTOSHOP CS2 User Guide Toning curve adjustment using the Corner option A. Inserting a point displays the Corner option. B. Adjusting new point makes the curve angular at the point where the Corner option is used. (Optional) To save your 32-bit toning options as a file, click Save. Type a name for the file in the Save dialog box and click Save.
Page 215 You can reprocess the file at any time to achieve the results you want. To create raw files, you need to set your camera to save files in its own raw file format. In Adobe Bridge or Photoshop, you can process only those camera raw files obtained from supported cameras. Visit the adobe.com website to view a list of supported cameras.
Page 216 ADOBE PHOTOSHOP CS2 User Guide • Mark camera raw files for deletion as you process a batch of images in the Camera Raw dialog box, and send the rejected files to the Recycle Bin (Windows) or Trash (Mac OS) when you finish.
Page 217 Caches for camera raw files in Bridge When you view camera raw files in Adobe Bridge, the thumbnails and previews use either the camera raw default settings or your adjusted settings. The cache in Bridge and the Camera Raw cache store data for the file thumbnails, metadata, and file information.
Page 218 Do one of the following: • (Bridge) Select one or more camera raw files, and choose File > Open With > Photoshop CS2. The Camera Raw dialog box appears, with Open as the default button for opening the images in Photoshop.
Page 219 ADOBE PHOTOSHOP CS2 User Guide Note: A caution icon appears in the thumbnails and preview image while the preview is generated from the cache. (Optional) Adjust the image view using controls and options such as zoom, shadows, and highlights. See “Camera Raw view controls”...
Page 220 Linear from the Tone Curve menu and then choose Save New Camera Raw Defaults from the Adobe Camera Raw dialog box menu. In the future, a Linear tone curve will be applied to images from the same camera.
Page 221 ADOBE PHOTOSHOP CS2 User Guide Camera Raw view controls Sets the preview zoom to the next preset value when you click the preview image. Press Alt/Option Zoom tool and click to set the next lower zoom value. Drag the Zoom tool in the preview image to zoom in on a selected area.
Page 222: Making Tonal Adjustments In Camera Raw
ADOBE PHOTOSHOP CS2 User Guide Camera Raw Workflow settings Specifies the target color space profile. Generally, this should be set to the same value as your Photoshop RGB Space working space. Keep in mind that the source profile for camera raw image files is usually the camera-native color space.
Page 223 ADOBE PHOTOSHOP CS2 User Guide light; the plug-in makes the image colors bluer to compensate for the lower color temperature (yellowish) of the ambient light. Conversely, move the slider to the right to correct a photo taken with a higher color temperature of light;...
Page 224 ADOBE PHOTOSHOP CS2 User Guide Tonal adjustment controls for camera raw files Adjusts the brightness or darkness of the image. Move the slider to the left to darken the image; move it Exposure to the right to brighten the image. The values are in increments equivalent to f-stops. An adjustment of +1.50 is similar to widening the aperture 1-1/2 stops.
Page 225: Transforming Images In Camera Raw
ADOBE PHOTOSHOP CS2 User Guide To turn on or off the Auto adjustments in Camera Raw By default, the Auto check boxes are always selected in the Camera Raw dialog box. You change this default so that all or some Auto check boxes are always unselected.
Page 226 In the Camera Raw dialog box, click the triangle next to the Settings menu and choose Preferences from the • Camera Raw menu. (Windows) In Adobe Bridge, choose Edit > Camera Raw Preferences. • (Mac OS) In Bridge, choose Bridge > Camera Raw Preferences, or with the Camera Raw dialog box opened in •...
Page 227 ADOBE PHOTOSHOP CS2 User Guide Moving the Luminance Smoothing slider to the right reduces grayscale noise, and moving the Color Noise Reduction slider to the right reduces chroma noise. Chromatic aberration Chromatic aberration is a common defect caused by the failure of the lens to focus different frequencies (colors) to the same spot.
Page 228: Calibrating Color In Camera Raw Images
Raw or a profile built into the file itself. In the Calibrate tab, choose a profile from the Camera Profile menu: Uses the built-in camera profile of Camera Raw 3.0 for Photoshop CS2 and Adobe Creative Suite. ACR 3.0 Important: The options that appear in the Camera Profile menu depend on whether a camera raw file has a profile embedded or whether it has been processed with a previous version of Camera Raw.
Page 229: Saving Camera Raw Images
PSD file. Click Save. Note: The Digital Negative (DNG) format is Adobe’s proposed standard format for camera raw image files. DNG files are useful for archiving camera raw images because they contain the raw camera sensor data and data specifying how the image should look.
Page 230: Camera Raw Settings
Alternatively, you can save only a subset of the Camera Raw plug-in settings. In this way, you can create presets for custom white balances, specific lens settings, and so forth. In Adobe Bridge, you can also update all settings or a subset of the settings applied to camera raw images.
Page 231 Stores the settings in a Camera Raw database file, generally located in the user’s Application Camera Raw Database Data folder as Document and Settings/user name/Application Data/Adobe/CameraRaw (Windows) or the user’s Preferences folder as Users/user name/Library/Preferences (Mac OS). This database is indexed by file content, so settings remain with the image even if you move or rename the image file.
Page 232 ADOBE PHOTOSHOP CS2 User Guide To save a subset of settings Click the triangle next to the Settings menu to display the Camera Raw menu, and choose Save Settings Subset. Specify the settings to be saved by doing one of the following: Choose an option from the Subset menu.
Page 233 ADOBE PHOTOSHOP CS2 User Guide You can also right-click (Windows) or Control-click (Mac OS) camera raw files to copy and paste using the context menu. In the Paste Camera Raw Settings dialog box, do one of the following and then click OK: •...
Page 234 ADOBE PHOTOSHOP CS2 User Guide Automating the Camera Raw workflow Automating processing of camera raw images You can create an action to automate the processing camera raw image files. You can automate the editing process, and the process of saving the files in formats such as PSD, DNG, JPEG, Large Document Format (PSB), TIFF, and PDF.
Page 235: Color Modes
Chapter 9: Color Color modes Color modes Photoshop lets you choose a color mode for each document. The color mode determines what color method is used to display and print the image you’re working on. By selecting a particular color mode, you are choosing to work with particular color model (a numerical method for describing color).
Page 236 Lab Color mode The Lab Color mode has a lightness component (L) that can range from 0 to 100. In the Adobe Color Picker, the a component (green-red axis) and the b component (blue-yellow axis) can range from +127 to –128. In the Color palette, the a component and the b component can range from +127 to –128.
Page 237 ADOBE PHOTOSHOP CS2 User Guide These guidelines apply to converting images to and from Grayscale mode: You can convert both Bitmap mode and color images to grayscale. • • To convert a color image to a high-quality grayscale image, Photoshop discards all color information in the original image.
Page 238: Adjusting The Monitor Display
ADOBE PHOTOSHOP CS2 User Guide • Deleting a channel from an RGB, CMYK, or Lab image automatically converts the image to Multichannel mode. To export a multichannel image, save it in Photoshop DCS 2.0 format. • Adjusting the monitor display...
Page 239: Channels And Bit Depth
ADOBE PHOTOSHOP CS2 User Guide To adjust RGB color display for cross-platform variations (ImageReady) Choose View > Preview and choose an option for adjusting the color display: Displays the image with the monitor gamma uncorrected. Uncompensated Color Displays the image with a gamma value of 1.8.
Page 240 ADOBE PHOTOSHOP CS2 User Guide Greater bit depth (more bits of information per pixel) means more available colors and more accurate color repre sentation in the digital image. For example, a pixel with a bit depth of 1 has two possible values: black and white. A pixel with a bit depth of 8 has 2 , or 256, possible values.
Page 241 ADOBE PHOTOSHOP CS2 User Guide Crop with rotation and resize • Fill and stroke (no pattern fill, supported blend modes only) • • Image Size and Canvas Size commands Trim command • • Arbitrary rotation and 90˚ rotation and flips Blend modes: Normal, Multiply, Difference, Lighten, Darken, Linear Dodge •...
Page 242: Converting Between Color Modes
ADOBE PHOTOSHOP CS2 User Guide See also “About High Dynamic Range images” on page 201 Converting between color modes Converting an image to another mode You can change an image from its original mode (source mode) to a different mode (target mode). When you choose a different color mode for an image, you permanently change the color values in the image.
Page 243 ADOBE PHOTOSHOP CS2 User Guide Choose a target mode from the Mode pop-up menu. Click OK. The conditional mode change appears as a new step in the Actions palette. See also “About actions” on page 729 To convert a color photo to black-and-white Open the photo you want to convert to black-and-white.
Page 244 ADOBE PHOTOSHOP CS2 User Guide to surrounding pixels and diffused throughout the image, resulting in a grainy, filmlike texture. This option is useful for viewing images on a black-and-white screen. Simulates the appearance of halftone dots in the converted image.
Page 245 ADOBE PHOTOSHOP CS2 User Guide To specify the halftone screen for Bitmap mode images Choose Image > Mode > Bitmap. Choose Halftone Screen from the Use menu; then click OK. The Halftone Screen dialog box opens. For Frequency, enter a value for the screen frequency, and choose a unit of measurement. Values can range from 1 to 999 for lines per inch and from 0.400 to 400 for lines per centimeter.
Page 246: Converting To Indexed Color
ADOBE PHOTOSHOP CS2 User Guide Converting to indexed color Converting to indexed color Converting to indexed color reduces the number of colors in the image to at most 256—the standard number of colors supported by the GIF and PNG-8 formats and many multimedia applications. This conversion reduces file size by deleting color information from the image.
Page 247 (up to 256) by entering a value for Colors. The Colors text box controls only how the indexed color table is created. Adobe Photoshop still treats the image as an 8-bit, 256-color image. To specify colors to be included in the indexed color table or to specify trans...
Page 248 ADOBE PHOTOSHOP CS2 User Guide Customizing indexed color tables The Color Table command lets you make changes to the color table of an indexed-color image. These customization features are particularly useful with pseudocolor images—images displaying variations in gray levels with color rather than shades of gray, often used in scientific and medical applications.
Page 249: Choosing Colors
About the Adobe Color Picker You select a color in the Adobe Color Picker either by choosing from a color spectrum or by defining the color numerically. Through the Adobe Color Picker, you can set the foreground color, background color, and text color. In...
Page 250 User Guide Note: Although Photoshop and ImageReady use the Adobe Color Picker by default, you can set a preference to have Photoshop and ImageReady use a different color picker. For instance, you can use the built-in color pickers on your system or a plug-in color picker.
Page 251 You can select a color outside the Adobe Color Picker. Moving the pointer over the document window changes it to the Eyedropper tool. You can then select a color by clicking in the image. The selected color is displayed in the Adobe Color Picker.
Page 252 To use the Adobe Color Picker in HSB mode The Adobe Color Picker lets you select a color based on the HSB (hue, saturation, brightness) color model. When you select a color in HSB mode, the Adobe Color Picker updates the RGB, Lab, CMYK, and hexadecimal values accordingly.
Page 253 To work with the Adobe Color Picker in Lab mode The Adobe Color Picker lets you select a color based on the Lab color model. The L value specifies the luminance of a color. The A value specifies how red or green a color is. The B value specifies how blue or yellow a color is.
Page 254 To choose a custom color Open the Adobe Color Picker, and click Color Libraries. The Custom Colors dialog box displays the color closest to the color currently selected in the Adobe Color Picker. For Book, choose a color system. Locate the color you want by entering the ink number or by dragging the triangles along the scroll bar.
Page 255 ADOBE PHOTOSHOP CS2 User Guide Custom color systems The Adobe Color Picker supports various color systems: Commonly used for newspaper applications. The ANPA-COLOR ROP Newspaper Color Ink Book ANPA-COLOR contains samples of the ANPA colors. DIC Color Guide Commonly used for printing projects in Japan. For more information, contact Dainippon Ink &...
Page 256 (ImageReady) Choose System, and click OK. • For more information, see your Mac OS documentation. To return to the Adobe Color Picker after using another color picker Do one of the following: In Windows, choose Edit > Preferences > General.
Page 257 ADOBE PHOTOSHOP CS2 User Guide In a CMYK image, you can decrease magenta either by decreasing the amount of magenta or by increasing its complement (by adding cyan and yellow). You can even combine these two corrections, minimizing their effect on overall lightness.
Page 258: Understanding Color Management
For example, a scanner profile tells a color management system how your scanner “sees” colors. Adobe applications use ICC profiles, a format defined by the International Color Consortium (ICC) as a cross-platform standard. (See “About color profiles” on page 263.)
Page 259 ADOBE PHOTOSHOP CS2 User Guide Because no single color-translation method is ideal for all types of graphics, a color management system provide a choice of rendering intents, or translation methods, so that you can apply a method appropriate to a particular graphical element.
Page 260: Keeping Colors Consistent
Keeping colors consistent About color management in Adobe applications Adobe’s color management system helps you maintain the appearance of colors as you bring images in from external sources, edit documents and transfer them between Adobe applications, and output your finished compositions.
Page 261 Adobe applications” on page 254.) • If you use only one Adobe application, or if you want to customize advanced color management options, you can change color settings for a specific application. (See “To set up color management for Illustrator, InDesign, and Photoshop”...
Page 262 Color Settings dialog box. However, customizing is recommended for advanced users only. Note: If you work with more than one Adobe application, it is highly recommended that you synchronize your color settings across applications. (See “To synchronize color settings across Adobe applications” on page 254.) See also “To customize color settings”...
Page 263 Customizing the working spaces, color management policies, and color conversion options is recommended for advanced users only. Note: If you work with more than one Adobe application, it is recommended that you synchronize your color settings across applications. (See “To synchronize color settings across Adobe applications” on page 254.)
Page 264: Color-Managing Imported Images
To share swatches between applications You can share the solid swatches you create in one Adobe CS2 application with any other Adobe CS2 application by saving a swatch library for exchange. The colors appear exactly the same across applications as long as your color settings are synchronized.
Page 265 “Color Management Policy options” on page 270 Preparing imported graphics for color management Use the following general guidelines to prepare graphics for being color-managed in Adobe applications: Embed an ICC-compliant profile when you save the file. The file formats that support embedded profiles are •...
Page 266: Color-Managing Documents For Online Viewing
When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the sRGB color space. sRGB is the default working space for most Adobe color settings, but you can verify that sRGB is selected in the Color Settings dialog box of any Creative Suite application. With the working space set to sRGB, any RGB graphics you create will use sRGB as the color space.
Page 267 ADOBE PHOTOSHOP CS2 User Guide Proofing colors Soft-proofing colors In a traditional publishing workflow, you print a hard proof of your document to preview how its colors will look when reproduced on a specific output device. In a color-managed workflow, you can use the precision of color profiles to soft-proof your document directly on the monitor.
Page 268 ADOBE PHOTOSHOP CS2 User Guide Soft proof presets Creates a soft proof of colors using the current CMYK working space as defined in the Color Working CMYK Settings dialog box. Creates a soft proof of colors using the document’s CMYK profile.
Page 269: Color-Managing Documents When Printing
Your options for printing color-managed documents depend on the Adobe application you use, as well as the output device you select. In general, you have the following choices for handling colors during printing: Let the printer determine colors.
Page 270 Color-managing PDF files for printing When you create Adobe PDF files for commercial printing, you can specify how color information is represented. The easiest way to do this is using a PDF/X standard; however, you can also specify color-handling options manually in the Output section of the PDF dialog box.
Page 271 Describe what colors an input device is capable of capturing or scanning. If your digital Input device profiles camera offers a choice of profiles, Adobe recommends that you select Adobe RGB. Otherwise, use sRGB (which is the default for most cameras). Advanced users may also consider using different profiles for different light sources.
Page 272 AdobeRGB color space, these numbers specify an actual color or wavelength of light; in this case, a specific color of purple. When color management is on, Adobe applications automatically assign new documents a profile based on Working Space options in the Color Settings dialog box. Documents without associated profiles are known as untagged and contain only raw color numbers.
Page 273 The overall level and range, respectively, of display intensity. These parameters work just as they do on a television. Adobe Gamma helps you set an optimum brightness and contrast range for calibration. The brightness of the midtone values. The values produced by a monitor from black to white are Gamma nonlinear—if you graph the values, they form a curve, not a straight line.
Page 274 In order to embed a color profile in a document you created in Photoshop, Illustrator, or InDesign, you must save or export the document in a format that supports ICC profiles. Save or export the document in one of the following file formats: Adobe PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), JPEG, or TIFF.
Page 275 ADOBE PHOTOSHOP CS2 User Guide To assign or remove a color profile from a document in Photoshop or Illustrator Choose Edit > Assign Profile. Select an option, and click OK: Removes the existing profile from the document. Select this option only if you Don’t Color Manage This Document...
Page 276: Color Settings
Color settings To customize color settings For most color-managed workflows, it is best to use a preset color setting which has been tested by Adobe Systems. Changing specific options is recommended only if you are knowledgeable about color management and very confident about the changes you make.
Page 277 Adobe RGB is recommended when preparing documents for print, because Adobe RGB’s gamut includes some printable colors (cyans and blues in particular) that can't be displayed using sRGB. Adobe RGB is also a good choice when working with images from professional-level digital cameras, because most of these camera use Adobe RGB as their default color space.
Page 278 Preserves color numbers when opening files and importing images, but still allows you to use color management to view colors accurately in Adobe applications. Select this option if you want to use a safe CMYK workflow. (See “Using a safe CMYK workflow” on page 256.) In InDesign, you can override this policy on a per-object basis by choosing Object >...
Page 279 In general, it is best to use the default rendering intent for the selected color setting, which has been tested by Adobe Systems to meet industry standards. For example, if you choose a color setting for North America or Europe, the default rendering intent is Relative Colorimetric.
Page 280 ADOBE PHOTOSHOP CS2 User Guide You can select a rendering intent when you set color conversion options for the color management system, soft-proof colors, and print artwork: Perceptual Aims to preserve the visual relationship between colors so it’s perceived as natural to the human eye, even though the color values themselves may change.
Page 281: Color And Tonal Corrections
Chapter 11: Making color and tonal adjustments Color and tonal corrections Before making color and tonal adjustments The powerful tools in Photoshop and ImageReady can enhance, repair, and correct the color and tonality (lightness, darkness, and contrast) in an image. Here are some items to consider before making color and tonal adjustments. Work with a monitor that’s calibrated and profiled.
Page 282 ADOBE PHOTOSHOP CS2 User Guide Correcting images in Photoshop Here is the general workflow you follow when you correct the tonality and color of an image: Use the histogram to check the quality and tonal range of the image. Adjust the color balance to remove unwanted color casts or to correct oversaturated or undersaturated colors. See “Color adjustment commands”...
Page 283: Viewing Histograms And Pixel Values
ADOBE PHOTOSHOP CS2 User Guide Adjusts the hue, saturation, and lightness values of the entire image or of individual Hue/Saturation command color components. See “The Hue/Saturation command” on page 295. Matches the color from one photo to another photo, from one layer to another layer, and Match Color command from a selection in an image to another selection in the same image or a different image.
Page 284 ADOBE PHOTOSHOP CS2 User Guide How to read a histogram A. Overexposed photo B. Properly exposed photo with full tonality C. Underexposed photo The Histogram palette offers many options for viewing tonal and color information about an image. By default, the histogram displays the tonal range of the entire image.
Page 285 ADOBE PHOTOSHOP CS2 User Guide Histogram palette with all channels displayed and statistics hidden To view a specific channel in the histogram If you chose the Expanded View or All Channels View of the Histogram palette, you can choose a setting from the Channel menu.
Page 286 ADOBE PHOTOSHOP CS2 User Guide To view channel histograms in color From the Histogram palette, do one of the following: In the All Channels View, choose Show Channels In Color from the palette menu. • In Expanded View or All Channels View, choose an individual channel from the Channel menu and choose Show •...
Page 287 ADOBE PHOTOSHOP CS2 User Guide To preview histogram adjustments You can preview the effect to the histogram of any color and tonal adjustments. Select the Preview option in the dialog boxes of any color or tonal adjustment command. The Histogram palette displays a preview of how the adjustment affects the histogram.
Page 288 ADOBE PHOTOSHOP CS2 User Guide Using Levels and Info palette to neutralize the tone of an image You can view the color of a single location using the Eyedropper tool , or you can use up to four Color Samplers to display color information for one or more locations in the image.
Page 289: Understanding Color Adjustments
ADOBE PHOTOSHOP CS2 User Guide Open an adjustment dialog box (under Image > Adjustments). Make your adjustments in the dialog box and, before applying them, view the before and after color values in the Info palette: To view color values using the Eyedropper tool , move the pointer over the area of the image you want to •...
Page 290 ADOBE PHOTOSHOP CS2 User Guide The second and more flexible method is to use an adjustment layer. Adjustment layers let you experiment with color and tonal adjustments without permanently modifying the pixels in the image. The color and tonal changes reside within the adjustment layer, which acts as a veil through which the underlying image layers appear.
Page 291 ADOBE PHOTOSHOP CS2 User Guide If you must convert your image from one mode to another, it makes sense to perform most of your tonal and color corrections in RGB mode and use CMYK mode for fine-tuning. Advantages of working in RGB mode include the following: You can save memory and improve performance because you are working with fewer channels.
Page 292: Adjusting Images With Levels, Curves, And Exposure
ADOBE PHOTOSHOP CS2 User Guide Original image, and preview of out-of-gamut colors with green chosen for the gamut warning color Adjusting images with Levels, Curves, and Exposure About the Levels dialog box The Levels dialog box lets you correct the tonal range and color balance of an image by adjusting intensity levels of image shadows, midtones, and highlights.
Page 293 ADOBE PHOTOSHOP CS2 User Guide To adjust tonal range using Levels Do one of the following: Choose Image > Adjustments > Levels. • (Photoshop) Choose Layer > New Adjustment Layer > Levels. Click OK in the New Layer dialog box.
Page 294 Enter the values you want to assign to the neutral gray, and click OK. Then click in a part of the image that should be neutral gray. Click Options in the Levels dialog box. Click the Midtones color swatch to display the Adobe Color Picker. Enter •...
Page 295 ADOBE PHOTOSHOP CS2 User Guide Curves dialog box A. Highlights B. Midtones C. Shadows D. Adjust curve by adding points E. Draw a curve with the pencil F. Set black point G. Set gray point H. Set white point When the Curves dialog box opens, the tonal range is represented as a straight diagonal line. The horizontal axis of the graph represents the original intensity values of the pixels (Input levels);...
Page 296 ADOBE PHOTOSHOP CS2 User Guide Default Curves dialog boxes for CMYK and RGB images A. Default orientation of CMYK tonal output bar B. CMYK Input and Output values in percentages C. Default orientation of CMYK ton al input bar D. Default orientation of RGB tonal output bar E. RGB Input and Output values in intensity levels F. Default orientation of RGB tonal input bar To make the Curves grid smaller, hold down Alt (Windows) or Option (Mac OS), and click the grid.
Page 297 ADOBE PHOTOSHOP CS2 User Guide To edit a combination of color channels at the same time, Shift-select the channels in the Channels palette before choosing Curves. The Channel menu then displays the abbreviations for the target channels—for example, CM for cyan and magenta.
Page 298 ADOBE PHOTOSHOP CS2 User Guide Keyboard shortcuts for Curves The following shortcuts work with the Curves dialog box: Ctrl-click (Windows) or Command-click (Mac OS) in the image to set a point on the curve in the current channel • specified in the Curves dialog box.
Page 299 , or the Set White Point Eyedropper tool Use the Adobe Color Picker to specify a neutral target color. If you’re working in RGB, enter the same values for R, G, and B to specify a neutral color. The neutral color should be close as possible to the values of the color sampler.
Page 300 ADOBE PHOTOSHOP CS2 User Guide The image changes to Threshold mode, and a high-contrast preview image appears. The visible areas of the image indicate the lightest parts of the image if you are dragging the white slider, and the darkest parts if you are dragging the black slider.
Page 301: Targeting Images For Press
ADOBE PHOTOSHOP CS2 User Guide The eyedroppers adjust the image’s luminance values (unlike the Levels eyedroppers that affect all color channels). The Set Black Point eyedropper sets the Offset, shifting the pixel you click to zero. • • The Set White Point eyedropper sets the Exposure, shifting the point you click to white (1.0 for HDR images).
Page 302 ADOBE PHOTOSHOP CS2 User Guide Targeting shadows and highlights with Output Levels sliders To set target values using the eyedroppers Select the Eyedropper tool in the toolbox. You can choose 3 by 3 Average from the Sample Size menu in the Eyedropper tool options.
Page 303: Making Hue/Saturation And Color Balance Corrections
ADOBE PHOTOSHOP CS2 User Guide The pixel values are adjusted throughout the image proportionately to the new highlight values. Any pixels lighter than the area you clicked are clipped (adjusted to level 255, pure white). The Info palette shows the values both before and after the color adjustment.
Page 304 ADOBE PHOTOSHOP CS2 User Guide To use the Hue/Saturation command Do one of the following: Choose Image > Adjustments > Hue/Saturation. • (Photoshop) Choose Layer > New Adjustment Layer > Hue/Saturation. Click OK in the New Layer dialog box. •...
Page 305 ADOBE PHOTOSHOP CS2 User Guide Four color wheel values (in degrees) appear in the dialog box. They correspond to the adjustment sliders that appear between the color bars. The two inner vertical sliders define the color range. The two outer triangle sliders show where the adjustments on a color range “fall off ”...
Page 306 If you want to apply a custom color adjustment, the Photo Filter command lets you specify a color using the Adobe Color Picker. Do one of the following: Choose Image >...
Page 307: Improving Shadow And Highlight Detail
Choose the filter color, either a custom filter or a preset, from the Photo Filter dialog box. For a custom filter, select the Color option, click the color square, and use the Adobe Color Picker to specify a color for a custom color filter.
Page 308 ADOBE PHOTOSHOP CS2 User Guide To adjust the shadows and highlights in an image Choose Image > Adjustments > Shadow/Highlight. Make sure the Preview option is selected in the dialog box if you want the image to be updated as you make adjust...
Page 309: Matching, Replacing, And Mixing Colors
ADOBE PHOTOSHOP CS2 User Guide Note: Because the Color Correction slider affects only changed portions of the image, the amount of color variation depends on how much shadow or highlight is applied. The greater the correction of shadows and highlights, the greater the range of color correction available.
Page 310 ADOBE PHOTOSHOP CS2 User Guide From the Source menu in the Image Statistics area of the Match Color dialog box, choose the source image whose colors you’ll be matching in the target image. Choose None when you don’t want to reference a different image to calculate the color adjustment.
Page 311 ADOBE PHOTOSHOP CS2 User Guide If you made a selection in the image, do one or more of the following: In the Destination Image area, select Ignore Selection When Applying Adjustment if you’re applying the • adjustment to the entire target layer. This option ignores the selection in the target layer and applies the adjustment to the entire target layer.
Page 312 ADOBE PHOTOSHOP CS2 User Guide Note: You can use the Match Color controls separately to apply a single correction to the image. For example, you can adjust only the Luminance slider to brighten/darken an image without affecting the color. Or you can use the controls in different combinations, depending on the color correction you’re making.
Page 313 ADOBE PHOTOSHOP CS2 User Guide The Channel Mixer modifies a targeted (output) color channel using a mix of the existing (source) color channels in the image. Color channels are grayscale images representing the tonal values of the color components in an image (RGB or CMYK).
Page 314 ADOBE PHOTOSHOP CS2 User Guide Choosing an output channel sets the source slider for that channel to 100% and all other channels to 0%. For example, choosing Red as the output channel sets the Source Channels sliders to 100% for Red, and to 0% for Green and Blue (in an RGB image).
Page 315: Making Quick Overall Adjustments To Images
ADOBE PHOTOSHOP CS2 User Guide See also “To save and reapply settings in a dialog box” on page 282 Making quick overall adjustments to images To use the Brightness/Contrast command The Brightness/Contrast command lets you make simple adjustments to the tonal range of an image. Unlike Curves and Levels, which apply proportionate (nonlinear) adjustments to the pixels in an image, Brightness Contrast makes the same amount of adjustment to every pixel (a linear adjustment).
Page 316 ADOBE PHOTOSHOP CS2 User Guide Adjust the amount of shadow and highlight values that are clipped, and adjust the target color for the midtones. Click OK to close the open dialog boxes to apply Auto Levels. See also “To set Auto Color Correction options” on page 309 The Auto Contrast command The Auto Contrast command adjusts image contrast automatically.
Page 317 ADOBE PHOTOSHOP CS2 User Guide To remove a color cast with Auto Color The Auto Color command adjusts the contrast and color of an image by searching the image to identify shadows, midtones, and highlights. By default, Auto Color neutralizes the midtones using a target color of RGB 128 gray and clips the shadows and highlight pixels by 0.5%.
Page 318 ADOBE PHOTOSHOP CS2 User Guide Auto Color Correction Options dialog box A. Auto Contrast option B. Auto Levels option C. Auto Color option D. Set target colors, black point, and white point Click the Options button in the Levels dialog box or Curves dialog box.
Page 319 ADOBE PHOTOSHOP CS2 User Guide To use the Variations command The Variations command lets you adjust the color balance, contrast, and saturation of an image by showing you thumbnails of alternatives. This command is most useful for average-key images that don’t require precise color adjustments. It does not work on indexed-color images or 16-bit-per-channel images (Photoshop).
Page 320: Applying Special Color Effects To Images
ADOBE PHOTOSHOP CS2 User Guide You can use the Equalize command when a scanned image appears darker than the original and you want to balance the values to produce a lighter image. Using Equalize together with the Histogram palette lets you see before-and- after brightness comparisons.
Page 321 ADOBE PHOTOSHOP CS2 User Guide To convert images to black and white The Threshold command converts grayscale or color images to high-contrast, black-and-white images. You can specify a certain level as a threshold. All pixels lighter than the threshold are converted to white; all pixels darker are converted to black.
Page 322 ADOBE PHOTOSHOP CS2 User Guide By default, the shadows, midtones, and highlights of the image are mapped respectively to the starting (left) color, midpoint, and ending (right) color of the gradient fill. Select either, none, or both of the Gradient options: Dither Adds random noise to smooth the appearance of the gradient fill and reduces banding effects.
Page 323: Making Selections
Chapter 12: Selecting Making selections Selecting Making a selection is isolating one or more parts of your image. By selecting specific areas, you can edit and apply effects and filters to portions of your image while leaving the unselected areas untouched. There are separate sets of tools to make selections of bitmap and vector data.
Page 324 ADOBE PHOTOSHOP CS2 User Guide To use the marquee tools The marquee tools let you select rectangles, ellipses, rounded rectangles (ImageReady), and 1-pixel rows and columns. By default, a selection border is dragged from its corner. Select a marquee tool: Rectangular Marquee Makes a rectangular selection.
Page 325 ADOBE PHOTOSHOP CS2 User Guide For aligning your selection to guides, a grid, slices, or document bounds, do one of the following to snap your selection: (Photoshop) Choose View > Snap, or choose View > Snap To and choose a command from the submenu. The •...
Page 326 ADOBE PHOTOSHOP CS2 User Guide Do one or more of the following: To draw a straight segment, position the pointer where you want the first straight segment to end, and click. • Continue clicking to set endpoints for subsequent segments.
Page 327 ADOBE PHOTOSHOP CS2 User Guide To switch temporarily to the other lasso tools, do one of the following: To activate the Lasso tool, hold down Alt (Windows) or Option (Mac OS), and drag with the mouse button • depressed. •...
Page 328 ADOBE PHOTOSHOP CS2 User Guide To use the Magic Wand tool The Magic Wand tool lets you select a consistently colored area (for example, a red flower) without having to trace its outline. You specify the color range, or tolerance, for the Magic Wand tool’s selection.
Page 329 ADOBE PHOTOSHOP CS2 User Guide Select one of the display options: Selection Previews only the selection as you build it. Previews the entire image. For example, you might want to sample from a part of the image that isn’t on- Image screen.
Page 330 ADOBE PHOTOSHOP CS2 User Guide To preview the selection in the image window, choose an option for Selection Preview: None Displays no preview in the image window. Displays the selection as it would appear in a grayscale channel. Grayscale Displays the selection in color against a black background.
Page 331: Adjusting Pixel Selections
ADOBE PHOTOSHOP CS2 User Guide Adjusting pixel selections To move, hide, or invert a selection You can move a selection border around an image, hide a selection border, and invert a selection so that the previ- ously unselected part of the image is selected.
Page 332 ADOBE PHOTOSHOP CS2 User Guide To select the unselected parts of an image Choose Select > Inverse. You can use this option to select an object placed against a solid-colored background. Select the background using the Magic Wand tool and then inverse the selection.
Page 333 ADOBE PHOTOSHOP CS2 User Guide To expand or contract a selection by a specific number of pixels Use a selection tool to make a selection. Choose Select > Modify > Expand or Contract. For Expand By or Contract By, enter a pixel value between 1 and 100, and click OK.
Page 334 ADOBE PHOTOSHOP CS2 User Guide Photoshop or ImageReady checks around each selected pixel to find any unselected pixels falling within the specified range. For example, if you enter 16 for the sample radius, the program uses each pixel as the center of a 33-by-33- pixel area (16 pixels in the horizontal and vertical directions).
Page 335 ADOBE PHOTOSHOP CS2 User Guide Note: A small selection made with a large feather radius may be so faint that its edges are invisible and thus not selectable. If you see the message “No pixels are more than 50% selected, ” either decrease the feather radius or increase the size of the selection.
Page 336: Moving, Copying, And Pasting Selections And Layers
ADOBE PHOTOSHOP CS2 User Guide To decrease fringe on a selection Choose Layer > Matting > Defringe. Enter a value in the Width text box to specify the area in which to search for replacement pixels. In most cases, a distance of 1 or 2 pixels is enough.
Page 337 ADOBE PHOTOSHOP CS2 User Guide To move a selection or layer Select the Move tool To activate the Move tool when another tool is selected, hold down Ctrl (Windows) or Command (Mac OS). (This technique does not work with the Pen tool, the Freeform Pen tool, the Path Selection tool, the Direct Selection tool, the Hand tool, the Slice Select tool, or the anchor point tools.)
Page 338 ADOBE PHOTOSHOP CS2 User Guide To distribute layers in an image In the Layers palette, select three or more layers. Shift-click to select contiguous layers, Ctrl-click (Windows) or Command-click to select noncontiguous layers. Select the Move tool Select one or more distribute options in the options bar.
Page 339 ADOBE PHOTOSHOP CS2 User Guide To copy a selection while dragging Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. Hold down Alt (Windows) or Option (Mac OS), and drag the selection you want to copy and move.
Page 340 ADOBE PHOTOSHOP CS2 User Guide Using the Paste Into command A. Window panes selected B. Copied image C. Paste Into command D. Layer thumbnails and layer mask in Layers palette E. Pasted image repositioned Select the Move tool , or hold down the Ctrl (Windows) or Command (Mac OS) key to activate the Move tool.
Page 341 To copy the vector artwork as a path in Photoshop, hold down Ctrl (Windows) or Command (Mac OS) as you drag from Adobe Illustrator. To copy type, you must first convert it to outlines. Using the clipboard to copy between applications You can often use the Cut or Copy command to copy selections between Photoshop or ImageReady and other appli...
Page 342: Saving, Loading, And Deleting Selections
ADOBE PHOTOSHOP CS2 User Guide See also “Smart Objects” on page 427 “About file formats” on page 678 “Removing fringe pixels from a selection” on page 327 Saving, loading, and deleting selections To save a selection Make a selection using any of the selection tools.
Page 343 ADOBE PHOTOSHOP CS2 User Guide Deleting a selection on a background or on a layer with the Lock Transparency option selected in the Layers palette replaces the original location with the background color. Deleting a selection on a layer without Lock Transparency selected replaces the original area with the layer transparency.
Page 344: Extracting Selections
ADOBE PHOTOSHOP CS2 User Guide Extracting selections The Extract filter The Extract filter dialog box provides a sophisticated way to isolate a foreground object and erase its background on a layer. Even objects with wispy, intricate, or undefinable edges may be clipped from their backgrounds with a minimum of manual work.
Page 345 ADOBE PHOTOSHOP CS2 User Guide Select this option if you are highlighting a well-defined edge. The option helps you keep the Smart Highlighting highlight on the edge, and applies a highlight that is just wide enough to cover the edge, regardless of the current brush size.
Page 346: Using Masks
ADOBE PHOTOSHOP CS2 User Guide (Optional) Improve the extraction by doing one of the following: Choose new Highlight and Fill options and draw again with the Edge Highlighter tool. Define the foreground area • once more, and then preview the extracted object.
Page 347 ADOBE PHOTOSHOP CS2 User Guide Photoshop lets you create masks in the following ways: Lets you edit any selection as a mask. The advantage of editing your selection as a mask is that Quick Mask mode you can use almost any Photoshop tool or filter to modify the mask. For example, if you create a rectangular selection with the Marquee tool, you can enter Quick Mask mode and use the Paintbrush tool to expand or decrease the selection, or you can use a filter to distort the edges of the selection.
Page 348 ADOBE PHOTOSHOP CS2 User Guide Selecting in Standard mode and Quick Mask mode A. Standard mode B. Quick Mask mode C. Selected pixels appear as white in channel thumbnail D. Rubylith overlay protects area out side selection, and unselected pixels appear as black in channel thumbnail To edit the mask, select a painting tool from the toolbox.
Page 349 ADOBE PHOTOSHOP CS2 User Guide Painting in Quick Mask mode A. Original selection and Quick Mask mode with green chosen as mask color B. Painting with white in Quick Mask mode adds to the selection C. Painting with black in Quick Mask mode subtracts from the selection Click the Standard Mode button in the toolbox to turn off the quick mask and return to your original image.
Page 350 To specify the appearance of the mask, any of the following in the New Channel dialog box: • To choose a new mask color, click the color box and then use the Adobe Color Picker to select a new color. Click OK to close the Adobe Color Picker after selecting a color.
Page 351 ADOBE PHOTOSHOP CS2 User Guide Note: When the new channel appears at the bottom of the Channels palette, it is the only channel visible in the image window unless you click a color channel or the composite color channel. Select a painting or editing tool and do one of the following to add or subtract from the mask created from the alpha channel: •...
Page 352 ADOBE PHOTOSHOP CS2 User Guide To save a selection to a new or existing channel In Photoshop or ImageReady, use a selection tool to select the area or areas of the image that you want to isolate. Choose Select > Save Selection.
Page 353 ADOBE PHOTOSHOP CS2 User Guide See also “About channels” on page 438 “About spot colors” on page 442 To load a saved selection from an alpha channel You can reuse a previously saved selection by loading it into an image. You can also load the selection into an image after you finish modifying an alpha channel.
Page 354: Changing The Size Of The Work Canvas
Chapter 13: Transforming and retouching Changing the size of the work canvas Changing the canvas size The Canvas Size command lets you add or remove work space around an existing image. You can also use the command to crop an image by decreasing the canvas area. In ImageReady, added canvas appears in the same color or transparency as the background.
Page 355 ADOBE PHOTOSHOP CS2 User Guide To make a photo frame You can make a photo frame by increasing the canvas size and filling it with a color. You can also use one of the prerecorded actions to make a styled photo frame. It’s best to do this on a copy of your photo.
Page 356: Cropping Images
ADOBE PHOTOSHOP CS2 User Guide Flips the image horizontally, along the Flip Canvas Horizontal (Photoshop) or Flip Horizontal (ImageReady) vertical axis. Flips the image vertically, along the horizontal Flip Canvas Vertical (Photoshop) or Flip Vertical (ImageReady) axis. Cropping images Cropping images Cropping is the process of removing portions of an image to create focus or strengthen the composition.
Page 357 ADOBE PHOTOSHOP CS2 User Guide To set Crop tool options Choose from the following in the options bar to set the mode of the Crop tool: (Photoshop) To crop the image without resampling (default), make sure that the Resolution text box in the options •...
Page 358 ADOBE PHOTOSHOP CS2 User Guide To crop an image using the Trim command Choose Image > Trim. In the Trim dialog box, select an option: Transparent Pixels to trim away transparency at the edges of the image, leaving the smallest image containing •...
Page 359: Correcting Image Distortion
ADOBE PHOTOSHOP CS2 User Guide Important: You must select an object that was rectangular in the original scene or Photoshop will not be able to transform the perspective in the image. Select Perspective in the options bar, and set the other options as desired.
Page 360 ADOBE PHOTOSHOP CS2 User Guide Examples of barrel distortion (left) and pincushion distortion (right) Vignetting is a defect where the edges, especially the corners, of an image are darker than the center. Chromatic aberration appears as a color fringe along the edges of objects caused by the lens focusing on different colors of light in different planes.
Page 361: Reducing Image Noise
ADOBE PHOTOSHOP CS2 User Guide Corrects image perspective caused by tilting the camera up or down. Makes vertical lines in Vertical Perspective an image parallel. Corrects image perspective, making horizontal lines parallel. Horizontal Perspective Angle Rotates the image to correct for camera tilt or to make adjustments after correcting perspective. You can also use the Rotate Straighten tool to make this correction.
Page 362: Sharpening Images
ADOBE PHOTOSHOP CS2 User Guide Luminance noise may be more pronounced in one channel of the image, usually the blue channel. You can adjust the noise for each channel separately in Advanced mode. Before opening the filter, examine each channel in your image separately to see if noise is prevalent in one channel.
Page 363 ADOBE PHOTOSHOP CS2 User Guide Sharpen your image multiple times in small amounts. Sharpen the first time to correct blur caused by capturing • your image (scanning it or taking it with your digital camera). After you’ve color corrected and sized your image, sharpen it again (or a copy of it) to add the appropriate amount of sharpening for your output medium.
Page 364 ADOBE PHOTOSHOP CS2 User Guide The Unsharp Mask filter The Unsharp Mask sharpens an image by increasing contrast along the edges in an image. The Unsharp Mask does not detect edges in an image. Instead, it locates pixels that differ in value from surrounding pixels by the threshold you specify.
Page 365 ADOBE PHOTOSHOP CS2 User Guide The Radius value varies according to the subject matter, the size of the final reproduction, and the output method. For high-resolution images, a Radius value between 1 and 2 is usually recommended. A lower value sharpens only the edge pixels, whereas a higher value sharpens a wider band of pixels.
Page 366 ADOBE PHOTOSHOP CS2 User Guide To sharpen an image using an edge mask Create a mask to apply sharpening selectively. There are many ways to create an edge mask. Use your favorite method, or try this one: Open the Channels palette and select the channel that displays the grayscale image with the greatest contrast in •...
Page 367: Transforming Objects
ADOBE PHOTOSHOP CS2 User Guide Important: The Maximum, the Median, and the Gaussian Blur filters soften the edge mask so that the sharpening effects blend better in the final image. Although all three filters are used in this procedure, you can experiment using only one or two.
Page 368 ADOBE PHOTOSHOP CS2 User Guide To calculate the color values of pixels that are added or deleted during transformations, Photoshop and ImageReady use the interpolation method selected in the General area of the Preferences dialog box. This setting directly affects the speed and quality of the transformation.
Page 369 ADOBE PHOTOSHOP CS2 User Guide To set or move the reference point for a transformation All transformations are performed around a fixed point called the reference point. By default, this point is at the center of the item you are transforming. However, you can change the reference point or move the center point to a different location using the reference point locator in the options bar.
Page 370 ADOBE PHOTOSHOP CS2 User Guide (Optional) If you want to warp the image, click the Switch Between Free Transform And Warp Mode button in the options bar. When you finish, do one of the following: Press Enter (Windows) or Return (Mac OS), click the Commit button in the options bar, or double-click inside •...
Page 371 ADOBE PHOTOSHOP CS2 User Guide The Free Transform command The Free Transform command lets you apply transformations (rotate, scale, skew, distort, and perspective) in one continuous operation. In Photoshop, you can also apply a warp transformation. Instead of choosing different commands, you simply hold down a key on your keyboard to switch between transformation types.
Page 372 ADOBE PHOTOSHOP CS2 User Guide To undo the last handle adjustment, choose Edit > Undo. Do one of the following: Press Enter (Windows) or Return (Mac OS), click the Commit button in the options bar, or double-click inside • the transformation marquee.
Page 373 ADOBE PHOTOSHOP CS2 User Guide Do one or more of the following: To warp using a specific shape, choose from the Warp Style pop-up menu in the options bar. • Dragging a control point to warp the mesh • To the manipulate the shape, drag the control points, a segment of the bounding box or mesh, or an area within the mesh.
Page 374: Retouching And Repairing Images
ADOBE PHOTOSHOP CS2 User Guide Retouching and repairing images The Clone Stamp tool The Clone Stamp tool takes a sample of an image, which you can then apply over another image or part of the same image. You can also clone part of one layer over another layer. Each stroke of the tool paints on more of the sample.
Page 375 ADOBE PHOTOSHOP CS2 User Guide To use the Pattern Stamp tool The Pattern Stamp tool lets you paint with a pattern. You can select a pattern from the pattern libraries or create your own patterns. Select the Pattern Stamp tool Choose a brush tip and set brush options (blending mode, opacity, and flow) in the options bar.
Page 376 ADOBE PHOTOSHOP CS2 User Guide Select Aligned in the options bar to sample pixels continuously, without losing the current sampling point, even if you release the mouse button. Deselect Aligned to continue to use the sampled pixels from the initial sampling point each time you stop and resume painting.
Page 377 ADOBE PHOTOSHOP CS2 User Guide If you need to retouch a large area or need more control over the source sampling, you can use the Healing Brush instead of the Spot Healing Brush. To use the Spot Healing Brush tool The Spot Healing Brush quickly removes blemishes and other imperfections in your photos.
Page 378 ADOBE PHOTOSHOP CS2 User Guide Using the Patch tool to replace pixels Patched image See also “Retouching tools gallery” on page 42 To repair an area using sampled pixels Select the Patch tool Do one of the following: • Drag in the image to select the area you want to repair, and select Source in the options bar.
Page 379 ADOBE PHOTOSHOP CS2 User Guide To repair an area using a pattern Select the Patch tool Drag in the image to select the area you want to repair. Note: You can also make a selection prior to selecting the Patch tool.
Page 380 ADOBE PHOTOSHOP CS2 User Guide For tolerance, enter a percentage value (ranging from 0 to 255) or drag the slider. Choose a low percentage to replace colors very similar to the pixel you click, or raise the percentage to replace a broader range of colors.
Page 381 ADOBE PHOTOSHOP CS2 User Guide To use the Sharpen tool The Sharpen tool focuses soft edges to increase clarity or focus. Select the Sharpen tool Do the following in the options bar: • Choose a brush tip and set options for the blending mode and strength in the options bar.
Page 382: Vanishing Point
ADOBE PHOTOSHOP CS2 User Guide In the options bar, select the way you want to change the color. Saturate to intensify the color’s saturation • Desaturate to dilute the color’s saturation • Specify the flow for the Sponge tool. Drag over the part of the image you want to modify.
Page 383 ADOBE PHOTOSHOP CS2 User Guide Vanishing Point dialog box A. Options B. Toolbox C. Preview of vanishing point session D. Zoom options See also “To define and adjust perspective planes in Vanishing Point” on page 378 “Vanishing Point tools” on page 380 “Keys for using Vanishing Point”...
Page 384 ADOBE PHOTOSHOP CS2 User Guide • If you plan to paste an item from the Photoshop clipboard into Vanishing Point, copy the item before choosing the Vanishing Point command. The copied item can be from a different Photoshop document. If you’re copying type, select the entire text layer and then copy to the clipboard.
Page 385 • Brush Color box to open the Adobe Color Picker to select a color. Drag in the image to paint. When painting in a plane, the brush size and shape scales and orients properly to the plane’s perspective. Shift-drag constrains the...
Page 386 ADOBE PHOTOSHOP CS2 User Guide • To transform a floating selection, select the Transform tool and scale, rotate, or move the floating selection. You can also select a Transform tool options to flip horizontally or flop vertically the floating selection in relation to the plane orientation.
Page 387 ADOBE PHOTOSHOP CS2 User Guide Dragging an edge node to increase the size of a plane to accommodate your edits Note: The bounding box and grid of a perspective plane is normally blue. If there’s a problem with the placement of the corner nodes, the plane is invalid, and the bounding box and grid turn either red (severe problems resolving the plane’s...
Page 388 ADOBE PHOTOSHOP CS2 User Guide Vanishing Point tools Vanishing Point tools behave like their counterparts in the main Photoshop toolbox. You can use the same keyboard shortcuts for setting tool options. Selecting a tool changes the available options in the Vanishing Point dialog box.
Page 389 See also “To use the Stamp tool in Vanishing Point” on page 383 and “To use the Clone Stamp tool” on page 366. Paints a selected color on the image. Double-click the Brush Color swatch to open the Adobe Color Brush tool Picker and select a color, or select the Eyedropper tool and click in the preview image to specify a brush color.
Page 390 ADOBE PHOTOSHOP CS2 User Guide To adjust viewing options in Vanishing Point Do any of the following: To magnify or reduce the preview image, select the Zoom tool in the Vanishing Point dialog box, and click or • drag in the preview image to zoom in; hold down Alt (Windows) or Option (Mac OS), and click or drag in the preview image to zoom out.
Page 391 ADOBE PHOTOSHOP CS2 User Guide For convenience, it’s recommended that you create perspective planes in a previous Vanishing Point session. Copy an item to the clipboard. The copied item can be from the same or different document. Keep in mind that you can paste only a raster (not vector) item.
Page 392 ADOBE PHOTOSHOP CS2 User Guide Distorting an image using the Liquify filter Tools, options, and an image preview for the Liquify filter are available in the Liquify dialog box. To display the dialog box, choose Filter > Liquify. Liquify dialog box...
Page 393 ADOBE PHOTOSHOP CS2 User Guide To adjust viewing options in the Liquify dialog box Do the following: To magnify or reduce the preview image, select the Zoom tool in the Liquify dialog box, and click or drag in the •...
Page 394 ADOBE PHOTOSHOP CS2 User Guide Control how tightly the Turbulence tool scrambles pixels. Turbulent Jitter Used for the Reconstruct tool, the mode you choose determines how the tool reconstructs an Reconstruct Mode area of the preview image. Uses pressure readings from a stylus tablet. (This option is available only when Select Stylus Pressure (Photoshop) you are working with a stylus tablet.) When selected, the brush pressure for the tools is the stylus pressure multiplied...
Page 395 ADOBE PHOTOSHOP CS2 User Guide You can use the icons’ pop-up menus in the Mask Options area of the Liquify dialog box to choose how the frozen, or masked, areas of the preview image work. Select the Freeze tool and drag over the area you want to protect. Shift-click to freeze in Using the Freeze tool a straight line between the current point and the previously clicked point.
Page 396 ADOBE PHOTOSHOP CS2 User Guide Reconstruction based on distortions in frozen areas. A. Original image B. Distorted with frozen areas C. Reconstructed in Rigid mode (using button) D. Thawed, edges reconstructed in Smooth mode (using tool) To reconstruct an entire image Select a reconstruction mode from the Reconstruct Options area of the dialog box.
Page 397 ADOBE PHOTOSHOP CS2 User Guide Reconstruction modes You can choose one of the following reconstruction modes: Maintains right angles in the pixel grid (as shown by the mesh) at the edges between frozen and unfrozen Rigid areas, sometimes producing near-discontinuities at the edges. This restores the unfrozen areas so that they approx...
Page 398: Creating Panoramic Images Using Photomerge
ADOBE PHOTOSHOP CS2 User Guide Working with backdrops You can choose to show only the active layer in the preview image, or you can show additional layers in the preview image as a backdrop. Using the Mode options, you can position the backdrop in front of or behind the active layer to keep track of your changes, or to line up a distortion with another distortion made in a different layer.
Page 399 ADOBE PHOTOSHOP CS2 User Guide Although Photomerge can process slight rotations between pictures, a tilt of more than a few Keep the camera level degrees can result in errors when the panorama is assembled. Using a tripod with a rotating head helps maintain camera alignment and viewpoint.
Page 400 • Choose File > Automate > Photomerge. In Adobe Bridge, choose Tools > Photoshop > Photomerge from the Bridge menu bar. Skip to step 5. • Note: In Bridge, choosing the Photomerge command uses all images currently displayed in Bridge. If you only want specific images used, select them before choosing the Photomerge command.
Page 401 ADOBE PHOTOSHOP CS2 User Guide If you want to save each image in the composition in individual layers, select Keep as Layers. (This is useful if you need to correct the color of each image separately.) Do one of the following: Click the OK button to generate the panorama as a new Photoshop file.
Page 402 ADOBE PHOTOSHOP CS2 User Guide To apply Advanced Blending or Cylindrical Mapping Select Composition options as desired: Cylindrical Mapping Reduces the “bow-tie” distortion that can occur when you apply perspective correction. You must select the Perspective option in order to apply cylindrical mapping.
Page 403: Layer Basics
Chapter 14: Layers Layer Basics About layers Layers allow you to work on one element of an image without disturbing the others. Think of layers as sheets of acetate stacked one on top of the other. You can see through transparent areas of a layer to the layers below. You can change the composition of an image by changing the order and attributes of layers.
Page 404 ADOBE PHOTOSHOP CS2 User Guide Photoshop Layers palette A. Layers palette menu B. Group C. Layer D. Expand/Collapse Layer effects E. Layer effect F. Layer thumbnail To display the Layers palette, choose Window > Layers. • To use the Layers palette menu, click the triangle in the upper right corner of the palette. It contains commands •...
Page 405 ADOBE PHOTOSHOP CS2 User Guide To convert a layer into a background Select a layer in the Layers palette. Choose Layer > New > Background From Layer. Any transparent pixels in the layer are converted to the background color. Note: You cannot create a background by giving a regular layer the name Background—you must use the Background From Layer command.
Page 406 ADOBE PHOTOSHOP CS2 User Guide To show or hide a layer, group, or style Do one of the following: In the Layers palette, click the eye icon next to a layer, group, or layer effect to hide its content in the document •...
Page 407: Selecting, Grouping, And Linking Layers
ADOBE PHOTOSHOP CS2 User Guide Unifying layers in animations and rollovers The unify buttons in the Layers palette determine how the changes you make to a layer in the active rollover state or animation frame apply to the other states in a rollover or frames in an animation. When a unify button is selected, changes apply to all states and frames;...
Page 408 ADOBE PHOTOSHOP CS2 User Guide To select layers in the document window Select the Move tool Do one of the following: (Photoshop) In the options bar, select Auto Select Layer and click in the document on the layer content you want •...
Page 409: Moving, Copying, And Locking Layers
ADOBE PHOTOSHOP CS2 User Guide To link and unlink layers You can link two or more layers or groups. Unlike multiple layers selected at the same time, linked layers retain their relationship until you unlink them. You can move, apply transformations, and create clipping masks from linked layers.
Page 410 ADOBE PHOTOSHOP CS2 User Guide Manipulating layer content After you select layers, you can move, transform, align, and distribute them. You can select layers in the Layers palette or directly in the document window. Showing the boundary or edges of the content in a layer can help you move and align the content. You can also display the transform handles for selected layers and groups so that you can resize or rotate them.
Page 411 ADOBE PHOTOSHOP CS2 User Guide To align objects on different layers You can align the content of layers and groups using the Move tool. (See “Moving selections and layers within an image” on page 328.) Do one of the following: To align multiple layers, select the layers with the Move tool or in the Layers palette, or select a group.
Page 412 ADOBE PHOTOSHOP CS2 User Guide Enter a number in the text box to the right of the Distribution buttons in the options bar. This number equals the number of pixels that will separate the layers. You can choose different numbers for different combinations of layers or groups to create an uneven spacing pattern.
Page 413 ADOBE PHOTOSHOP CS2 User Guide To duplicate a layer or group between images Open the source and destination images. In the Layers palette of the source image, select a layer or group. Do one of the following: • Drag the layer or group from the Layers palette into the destination image.
Page 414: Managing Layers
ADOBE PHOTOSHOP CS2 User Guide To partially lock a layer Select a layer. Click one or more lock options in the Layers palette. (In ImageReady, you can also choose Layer Options from the Layers palette menu.) Select one or more lock options: Confines editing to the opaque portions of the layer.
Page 415 ADOBE PHOTOSHOP CS2 User Guide To assign a color to a layer or group Color-coding layers and groups helps you locate related layers in the Layers palette. Do one of the following: • (Photoshop) Select a layer or group, and choose Layer Properties or Group Properties from the Layers menu or the Layers palette menu.
Page 416: Merging And Stamping Layers
ADOBE PHOTOSHOP CS2 User Guide Exporting layers In Photoshop, you can export all layers or visible layers to separate files. Choose File > Scripts > Export Layers to Files. In ImageReady, you can export some or all layers of a document as files. You can export layers as Photoshop (PSD), GIF, JPEG, PNG 8, PNG 24, WBMP, or SWF files.
Page 417: Setting Opacity And Blending Options
ADOBE PHOTOSHOP CS2 User Guide See also “Clipping masks” on page 436 To merge all visible layers and groups in an image Choose Merge Visible from the Layers palette or the Layers palette menu. To stamp multiple layers or linked layers When you stamp multiple selected layers or linked layers, Photoshop creates a new layer containing the merged content.
Page 418 ADOBE PHOTOSHOP CS2 User Guide Note: You cannot change the opacity of a background layer or a locked layer. You can, however, convert a background layer to a regular layer, which does support transparency. See “To convert a background into a layer” on page 396.
Page 419 ADOBE PHOTOSHOP CS2 User Guide To specify a blending mode for a layer or group Select a layer or group in the Layers palette. Choose a blending mode: In the Layers palette, choose an option from the Blend Mode pop-up menu.
Page 420 ADOBE PHOTOSHOP CS2 User Guide Double-click a layer thumbnail (Photoshop), choose Layer > Layer Style > Blending Options, or choose Blending Options from the Layers palette menu. Note: To view blending options for a text layer, choose Layer > Layer Style > Blending Options, or choose Blending Options from the Add A Layer Style button at the bottom of the Layers palette menu.
Page 421 ADOBE PHOTOSHOP CS2 User Guide Specify the scope of blending options: Select Blend Interior Effects As Group to apply the blending mode of the layer to layer effects that modify opaque • pixels, such as Inner Glow, Satin, Color Overlay, and Gradient Overlay.
Page 422: Layer Effects And Styles
ADOBE PHOTOSHOP CS2 User Guide In the Advanced Blending area of the Layer Style dialog box, choose an option from the Blend If pop-up menu. Choose Gray to specify a blending range for all channels. • Select an individual color channel (for example, red, green, or blue in an RGB image) to specify blending in that •...
Page 423 ADOBE PHOTOSHOP CS2 User Guide Illustration of a layer with a style Note: You cannot apply layer effects and styles to a background, a locked layer, or a group. Applying preset styles You can view and select preset styles from the Styles palette, from the Layer Styles dialog box, or, after you select a pen tool or shape tool, from the Layer Styles pop-up palette in the options bar.
Page 424 ADOBE PHOTOSHOP CS2 User Guide To change how preset styles are displayed Click the triangle in the Styles palette, Layer Styles dialog box, or Layer Styles pop-up palette in the options bar (Photoshop). Choose a display option from the palette menu: •...
Page 425 ADOBE PHOTOSHOP CS2 User Guide To expand or collapse layer styles in the Layers palette Do one of the following: Click the triangle next to the layer styles icon to expand the list of layer effects applied to that layer.
Page 426 ADOBE PHOTOSHOP CS2 User Guide Layer style options Determines the lighting angle at which the effect is applied to the layer. In Photoshop, you can drag in the Angle document window to adjust the angle of a Drop Shadow, Inner Shadow, or Satin effect.
Page 427 ADOBE PHOTOSHOP CS2 User Guide move along with the layer as the layer moves. Drag the Scale slider or enter a value to specify the size of the pattern. Drag a pattern to position it in the layer; reset the position by using the Snap To Origin button. The Pattern option is not available if no patterns are loaded.
Page 428 ADOBE PHOTOSHOP CS2 User Guide Detail of Layer Style dialog box for Drop Shadow effect A. Click to display the Contour Editor dialog box. B. Click to display the pop-up palette. To create a custom contour Select the Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and Emboss, Contour, or Satin effect in the Layer Style dialog box.
Page 429 ADOBE PHOTOSHOP CS2 User Guide To create a new preset style In the Layers palette, select the layer containing the style that you want to save as a preset. Do one of the following: Drag the selected layer into the Styles palette or onto the New Item button in the Styles palette.
Page 430 ADOBE PHOTOSHOP CS2 User Guide You can save the library anywhere. However, if you place the library file in the Presets/Styles folder inside the Photoshop program folder, the library name will appear at the bottom of the Styles palette menu when you restart the application.
Page 431 ADOBE PHOTOSHOP CS2 User Guide Select Preview to preview the changes in the image. Click OK. To remove an effect from a style In the Layers palette, expand the layer style to see its effects. Do one of the following: Drag the effect to the Delete icon.
Page 432 ADOBE PHOTOSHOP CS2 User Guide Fill layers let you fill a layer with a solid color, a gradient, or a pattern. Unlike adjustment layers, fill layers do not affect the layers underneath them. Adjustment layers provide the following advantages: Nondestructive edits. You can try different settings and re-edit the adjustment layer at any time. You can also •...
Page 433 ADOBE PHOTOSHOP CS2 User Guide Adjustment and fill layers A. Adjustment layer confined to Log Home layer only B. Layer thumbnail C. Fill layer D. Layer mask To create an adjustment layer or fill layer Do one of the following: Click the New Adjustment Layer button at the bottom of the Layers palette, and choose a layer type.
Page 434 ADOBE PHOTOSHOP CS2 User Guide Choose the color you want to adjust, and drag the sliders to increase or decrease the components in Selective Color the selected color. Modify the color values in a channel by mixing them with other channels.
Page 435: Smart Objects
A Smart Object is a container in which you can embed raster or vector image data, for instance, from another Photoshop or Adobe Illustrator file. The embedded data retains all its original characteristics and remains fully editable. You can create a Smart Object in Photoshop by converting one or more layers. In addition, you can paste or place the data in Photoshop from Illustrator.
Page 436 Smart Objects let you edit their source contents. When making edits, the source content file is opened in either Photoshop (if the content is raster data or a camera raw file) or Adobe Illustrator (if the content is vector PDF or EPS data).
Page 437 ADOBE PHOTOSHOP CS2 User Guide To export the contents of a Smart Object You can export the contents of a Smart Object fully intact to any drive or directory to which you have access permis sions. Select the Smart Object from the Layers palette, and choose Layer > Smart Objects > Export Contents. The Save dialog box appears.
Page 438: Layer Comps
ADOBE PHOTOSHOP CS2 User Guide Layer comps About layer comps and the Layer Comps palette Designers often create multiple compositions or comps of a page layout to show clients. Using layer comps, you can create, manage, and view multiple versions of a layout in a single Photoshop or ImageReady file. Layer comps are fully interchangeable between Photoshop and ImageReady if the image color mode is RGB.
Page 439 ADOBE PHOTOSHOP CS2 User Guide To apply and view layer comps Do any of the following: To view a layer comp, you first need to apply it in the document. In the Layer Comp palette, click the Apply Layer •...
Page 440: Masking Layers
ADOBE PHOTOSHOP CS2 User Guide To export layer comps You can export layer comps to individual files, to a PDF file containing multiple layer comps, and to a web photo gallery of layer comps. Choose File > Scripts and then choose one of the following commands: Layer Comps To Files Exports all layer comps to individual files, one for each comp.
Page 441 ADOBE PHOTOSHOP CS2 User Guide If you are using a layer mask to hide portions of a layer, you can apply the mask to discard the hidden portions. A vector mask creates a sharp-edged shape on a layer and is useful anytime you want to add a design element with clean, defined edges.
Page 442 ADOBE PHOTOSHOP CS2 User Guide To paste a copied selection into a layer mask, Alt-click (Windows) or Option-click (Mac OS) the layer mask thumbnail in the Layers palette to select and display the mask channel. Choose Edit > Paste, drag the selection in the image to produce the desired masking effect, and choose Select >...
Page 443 ADOBE PHOTOSHOP CS2 User Guide To add a vector mask that shows the contents of a shape In the Layers palette, select the layer to which to add a vector mask. Select a path or use one of the shape or pen tools to draw a work path.
Page 444 ADOBE PHOTOSHOP CS2 User Guide To apply or delete a layer mask When you finish creating a layer mask, you can either apply the mask and make the changes permanent or delete the mask without applying changes. Because layer masks are stored as alpha channels, applying and deleting layer masks can help reduce file size.
Page 445 ADOBE PHOTOSHOP CS2 User Guide Clipping mask with Potatoes and Logo layers You can use multiple layers in a clipping mask, but they must be successive layers. The name of the base layer in the mask is underlined, and the thumbnails for the overlying layers are indented. The overlying layers display a clipping...
Page 446: Channels
Chapter 15: Using channels and spot colors Channels About channels Channels are grayscale images that store different types of information: Color information channels are created automatically when you open a new image. The image’s color mode deter • mines the number of color channels created. For example, an RGB image has a channel for each color (red, green, and blue) plus a composite channel used for editing the image.
Page 447 ADOBE PHOTOSHOP CS2 User Guide Channel types. A. Color channels B. Spot channels C. Alpha channels You can use the palette to view any combination of channels in the document window. For example, you can view an alpha channel and the composite channel together to see how changes made in the alpha channel relate to the entire image.
Page 448 ADOBE PHOTOSHOP CS2 User Guide To show color channels in color Do one of the following: In Windows, choose Edit > Preferences > Display & Cursors. • In Mac OS, choose Photoshop > Preferences > Display & Cursors. • Select Color Channels in Color, and click OK.
Page 449 ADOBE PHOTOSHOP CS2 User Guide Type a name for the duplicate channel. For Document, do one of the following: • Choose a destination. Only open images with pixel dimensions identical to the current image are available. To duplicate the channel in the same file, select the channel’s current file.
Page 450: Adding Spot Colors
ADOBE PHOTOSHOP CS2 User Guide For Mode, choose the color mode you want to create. The number of channels appropriate for the mode appears in the Channels text box. If necessary, enter a number in the Channels text box. If you enter a number that is incompatible with the selected mode, Multichannel mode is automatically selected. This creates a multichannel image with two or more channels.
Page 451 ADOBE PHOTOSHOP CS2 User Guide Note the following when working with spot colors: For spot color graphics that have crisp edges and knock out the underlying image, consider creating the additional • artwork in a page-layout or illustration application. •...
Page 452 ADOBE PHOTOSHOP CS2 User Guide Solidity at 100% and solidity at 50% Note: The Solidity and color choice options affect only the on-screen preview and the composite print. They have no effect on the printed separations. See also “Choosing custom colors” on page 246...
Page 453 ADOBE PHOTOSHOP CS2 User Guide To change a spot channel’s color or solidity Double-click the spot channel thumbnail in the Channels palette. Click the color box, and choose a color. Click Color Libraries to choose from a custom color system such as PANTONE or TOYO.
Page 454: Channel Calculations
ADOBE PHOTOSHOP CS2 User Guide See also “Creating color traps” on page 724 Channel calculations Blending layers and channels You can use the blending effects associated with layers to combine channels within and between images into new images. You can use either the Apply Image command (on single and composite channels) or the Calculations command (on single channels).
Page 455 ADOBE PHOTOSHOP CS2 User Guide To apply the results only to opaque areas in the result layer, select Preserve Transparency. If you want to apply the blending through a mask, select Mask. Then choose the image and layer containing the mask.
Page 456 ADOBE PHOTOSHOP CS2 User Guide The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and –255. Negative values darken the image; positive values lighten the image. Subtract Subtracts the pixel values in the source channel from the corresponding pixels in the target channel. As with Add mode, the result is then divided by the Scale factor and added to the Offset value.
Page 457: About Vector Graphics
Chapter 16: Drawing About vector graphics About shapes and paths Vector shapes are lines and curves that you draw using the shape or pen tools. Vector shapes are resolution- independent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application.
Page 458: Drawing Shapes
ADOBE PHOTOSHOP CS2 User Guide About work paths A work path is a temporary path that appears in the Paths palette and defines the outline of a shape. You can use paths in several ways: • Use a path as a vector mask to hide areas of a layer. (See “Masking layers” on page 432.) Convert a path to a selection.
Page 459 ADOBE PHOTOSHOP CS2 User Guide To draw a wheel shape You cut out a shape within an existing shape so that the layers underneath show through. This procedure shows you how to create a doughnut shape, but you can use this technique with any combination of the shape tools, including custom shapes.
Page 460 ADOBE PHOTOSHOP CS2 User Guide To save a shape or path as a custom shape In the Paths palette, select a path—either a vector mask for a shape layer, a work path, or a saved path. Choose Edit > Define Custom Shape, and enter a name for the new custom shape in the Shape Name dialog box.
Page 461 ADOBE PHOTOSHOP CS2 User Guide Renders a rectangle, rounded rectangle, ellipse, or custom shape as a fixed shape based on the values you Fixed Size enter in the Width and Height text boxes. Renders a rectangle, rounded rectangle, ellipse, or custom shape from the center.
Page 462: Pen Tools
ADOBE PHOTOSHOP CS2 User Guide Pen tools To draw with the Pen tool The Pen tool creates straight lines and smooth flowing curves. You can use the pen tool in conjunction with the shape tools to create complex shapes. Select the Pen tool Set the following tool-specific options: •...
Page 463 ADOBE PHOTOSHOP CS2 User Guide Drawing curves with the Pen tool You create curves by dragging the Pen tool in the direction you want the curve to go. Keep these guidelines in mind when drawing curves: Always drag the first direction point in the direction of the bump of the curve, and drag the second direction point •...
Page 464 ADOBE PHOTOSHOP CS2 User Guide Position the pointer where you want the curve segment to end, and drag in the opposite direction to complete the segment. Do one of the following: • To draw the next segment of a smooth curve, position the pointer where you want the next segment to end, and drag away from the curve.
Page 465 ADOBE PHOTOSHOP CS2 User Guide See also “Path segments, components, and points” on page 460 To draw using the magnetic pen options The Magnetic Pen is an option of the Freeform Pen tool that lets you draw a path that snaps to the edges of defined areas in your image.
Page 466: Paths
ADOBE PHOTOSHOP CS2 User Guide To dynamically modify the properties of the Magnetic Pen, do one of the following: Alt-drag (Windows) or Option-drag (Mac OS) to draw a freehand path. • Alt-click (Windows) or Option-click (Mac OS) to draw straight segments.
Page 467 ADOBE PHOTOSHOP CS2 User Guide Paths palette A. Saved path B. Temporary work path C. Vector mask path (appears only when shape layer is selected) To create a new path in the Paths palette To create a path without naming it, click the New Path button at the bottom of the Paths palette.
Page 468: Editing Paths
ADOBE PHOTOSHOP CS2 User Guide To delete a path Click the path name in the Paths palette. Do one of the following: Drag the path to the Delete icon at the bottom of the Paths palette. • • Choose Delete Path from the Paths palette menu.
Page 469 ADOBE PHOTOSHOP CS2 User Guide Adjusting a smooth point and a corner point A path does not have to be one connected series of segments. It can contain more than one distinct and separate path components. Each shape in a shape layer is a path component, as described by the layer’s clipping path.
Page 470 ADOBE PHOTOSHOP CS2 User Guide Drag a marquee to select segments. To select additional path components or segments, select the Path Selection tool or the Direct Selection tool, and then hold down Shift while selecting additional paths or segments. When the Direct Selection tool is selected, you can select the entire path or path component by Alt-clicking (Windows) or Option-clicking (Mac OS) inside the path.
Page 471 ADOBE PHOTOSHOP CS2 User Guide To move a curved segment Select the Direct Selection tool , and select the points or segments you want to move. Be sure to select both points anchoring the segment. Drag the selected anchor points or segments to new positions. Hold down Shift as you drag to constrain the movement to multiples of 45˚.
Page 472 You can also use the Copy and Paste commands to duplicate vector objects between a Photoshop image and an image in another application, such as Adobe Illustrator. See also “Path segments, components, and points”...
Page 473 ADOBE PHOTOSHOP CS2 User Guide To copy a path component or path Do any of the following: • To copy a path component as you move it, select the path name in the Paths palette, and click a path component with the Path Selection tool .
Page 474 ADOBE PHOTOSHOP CS2 User Guide Note: To align shapes that are on separate layers, use the Move tool. To align components, use the Path Selection tool to select the components you want to align, and select one of • the alignment options from the options bar.
Page 475: Converting Between Paths And Selection Borders
ADOBE PHOTOSHOP CS2 User Guide To convert between a smooth point and a corner point Select the Convert Point tool , and position the pointer over the anchor point you want to change. To activate the Convert Point tool while the Direct Selection tool is selected, position the pointer over an anchor point, and press Ctrl+Alt (Windows) or Command+Option (Mac OS).
Page 476 ADOBE PHOTOSHOP CS2 User Guide To convert a path to a selection border and specify settings Select the path in the Paths palette. Do one of the following: Alt-click (Windows) or Option-click (Mac OS) the Load Path As A Selection button at the bottom of the Paths •...
Page 477: Adding Color To Paths
ADOBE PHOTOSHOP CS2 User Guide Adding color to paths Filling and stroking paths with color A path created with the Pen tool does not become an image element until you stroke or fill it. The Fill Path command fills a path with pixels using a specified color, a state of the image, a pattern, or a fill layer.
Page 478 ADOBE PHOTOSHOP CS2 User Guide Specify an opacity for the fill. To make the fill more transparent, use a low percentage. A setting of 100% makes the fill opaque. Choose a blending mode for the fill. (See “List of blending modes” on page 487.) The Mode list includes a Clear mode that lets you erase to transparency.
Page 479: Painting Tools
Chapter 17: Painting Painting tools Painting The painting tools change the color of pixels in an image. The Brush tool and the Pencil tool work like traditional drawing tools by applying color with brush strokes. The Gradient tool, Fill command, and Paint Bucket tool apply color to large areas.
Page 480 ADOBE PHOTOSHOP CS2 User Guide (Photoshop) Click the Airbrush button to use the brush as an airbrush. • For the Pencil tool, select Auto Erase to paint the background color over areas containing the foreground color. • (See “To use the Auto Erase option with the Pencil tool” on page 492.) Do one or more of the following: Drag in the image to paint.
Page 481: Selecting Brush Presets
ADOBE PHOTOSHOP CS2 User Guide Do the following in the options bar: Choose a brush from the Brush Presets picker, and set brush options. (See “To select a preset brush” on page 473.) • • Choose a blending mode from the Mode menu. (See “About blending modes” on page 410.) Choose an option from the Style menu to control the shape of the paint stroke.
Page 482: Creating Brushes And Setting Options
ADOBE PHOTOSHOP CS2 User Guide To change how preset brushes are displayed Choose a display option from the Brush Preset picker menu or Brushes palette menu: Text Only to view the brushes as a list. • • Small or Large Thumbnail to view the brushes as thumbnails.
Page 483 ADOBE PHOTOSHOP CS2 User Guide Brushes palette with Brush Tip Shape options displayed A. Locked B. Unlocked C. Selected brush tip D. Brush settings E. Brush stroke preview F. pop-up menu G. Brush tip shapes (available when Brush Tip Shape option is selected) H. Brush options To display the Brushes palette and brush options Choose Window >...
Page 484 ADOBE PHOTOSHOP CS2 User Guide Select Brush Tip Shape on the left side of the Brushes palette and set options. See “Brush tip shape options” on page 476. Set other options for the brush as needed. For more information about navigating in the palette, see “To display the Brushes palette and brush options”...
Page 485 ADOBE PHOTOSHOP CS2 User Guide Flipping a brush tip on its x axis. A. Brush tip in its default position B. Flip X selected C. Flip X and Flip Y selected Flip Y Changes the direction of a brush tip on its y axis.
Page 486 ADOBE PHOTOSHOP CS2 User Guide Brush strokes with different hardness values Controls the distance between the brush marks in a stroke. To change the spacing, type a number, or use Spacing the slider to enter a value that is a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing.
Page 487 ADOBE PHOTOSHOP CS2 User Guide See also “About the Brushes palette” on page 474 “To create a brush and set painting options” on page 475 Brush shape dynamics Shape dynamics determine the variance of brush marks in a stroke. Brush stokes without shape dynamics and with shape dynamics Size Jitter and Control Specifies how the size of brush marks vary in a stroke.
Page 488 ADOBE PHOTOSHOP CS2 User Guide specify how you want to control the roundness variance of brush marks, choose an option from the Control pop-up menu: Specifies no control over the roundness variance of brush marks. • • Fades the roundness of brush marks between 100% and the Minimum Roundness value in the specified Fade number of steps.
Page 489 ADOBE PHOTOSHOP CS2 User Guide Note: If you increase the count without increasing the spacing or scattering values, painting performance may decrease. Count Jitter and Control Specifies how the number of brush marks varies for each spacing interval. To specify the maximum percentage of brush marks applied at each spacing interval, enter a value.
Page 490 ADOBE PHOTOSHOP CS2 User Guide Specifies the minimum depth to which paint can penetrate when Depth Control is set to Fade, Pen Minimum Depth Pressure, Pen Tilt, or Stylus Wheel and Texture Each Tip is selected. Specifies how the depth varies when Texture Each Tip is selected. To specify the Depth Jitter and Control maximum percentage of jitter, enter a value.
Page 491 ADOBE PHOTOSHOP CS2 User Guide Color dynamics Brush options Color dynamics determine how the color of paint changes over the course of a stroke. Brush strokes without color dynamics (left) and with color dynamics (right Foreground/Background Jitter and Control Specifies how paint varies between the foreground color and background color.
Page 492 ADOBE PHOTOSHOP CS2 User Guide Brush strokes without paint dynamics (left) and with paint dynamics (right Specifies how the opacity of paint varies in a brush stroke, up to (but not exceeding) the Opacity Jitter and Control opacity value specified in the options bar. To specify a percentage by which the opacity of the paint can vary, type a number or use the slider to enter a value.
Page 493: Creating And Managing Preset Brushes
ADOBE PHOTOSHOP CS2 User Guide To copy textures between tools When you specify a texture for the current tool, you can copy the texture’s pattern and scale to all tools that support textures. For example, you can copy the current texture pattern and scale for the Brush tool to the Pencil, Clone Stamp, Pattern Stamp, History Brush, Art History Brush, Eraser, Dodge, Burn, and Sponge tools.
Page 494: Blending Modes
ADOBE PHOTOSHOP CS2 User Guide To rename a preset brush Do one of the following: Select a brush in the Brush Preset picker or Brushes palette, and choose Rename Brush from the palette menu. • Enter a new name for the brush, and click OK.
Page 495 ADOBE PHOTOSHOP CS2 User Guide List of blending modes Choose from the Mode pop-up menu in the options bar. Edits or paints each pixel to make it the result color. This is the default mode. (Normal mode is called Normal Threshold when you’re working with a bitmapped or indexed-color image.)
Page 496 ADOBE PHOTOSHOP CS2 User Guide Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh Hard Light spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image.
Page 497 ADOBE PHOTOSHOP CS2 User Guide Original Image Normal, 100% opacity Dissolve, 50% opacity Normal, 50% opacity Clear Darken Multiply Behind Color Burn Linear Burn Lighten Screen Color Dodge Linear Dodge Overlay Soft Light...
Page 498: Erasing
ADOBE PHOTOSHOP CS2 User Guide Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Saturation Color Luminosity, 80% opacity Erasing To use the Eraser tool The Eraser tool changes pixels in the image as you drag through them. If you’re working in the background or in a layer with transparency locked, the pixels change to the background color;...
Page 499 ADOBE PHOTOSHOP CS2 User Guide Photoshop) To temporarily use the Eraser tool in Erase to History mode, hold down Alt (Windows) or Option (Mac OS) as you drag in the image. Drag through the area you want to erase. To use the Magic Eraser tool When you click in a layer with the Magic Eraser tool, the tool automatically changes all similar pixels.
Page 500: Gradients
ADOBE PHOTOSHOP CS2 User Guide To use the Background Eraser tool In the Layers palette, select the layer containing the areas you want to erase. Select the Background Eraser tool Click the brush sample in the options bar and set brush options in the pop-up palette: •...
Page 501 ADOBE PHOTOSHOP CS2 User Guide Note: The Gradient tool cannot be used with bitmap, indexed-color, or 16-bits-per-channel images. You fill an area with a gradient by dragging in the image. The starting point (where the mouse is pressed) and ending point (where the mouse is released) affect the gradient appearance, depending on the Gradient tool used.
Page 502 ADOBE PHOTOSHOP CS2 User Guide Gradient Editor dialog box A. Palette menu B. Opacity stop C. Color stops D. Adjust values or delete the selected opacity or color stop E. Midpoint To create a smooth gradient Select the Gradient tool Click inside the gradient sample in the options bar to display the Gradient Editor dialog box.
Page 503 ADOBE PHOTOSHOP CS2 User Guide To set the smoothness for the entire gradient, enter a value in the Smoothness text box, or drag the Smoothness pop-up slider. If desired, set transparency values for the gradient. Enter a name for the new gradient.
Page 504 ADOBE PHOTOSHOP CS2 User Guide Gradient with different Noise values. A. 10% noise B. 50% noise C. 90% noise Select the Gradient tool Click in the gradient sample in the options bar to display the Gradient Editor dialog box. To base the new gradient on an existing gradient, select a gradient in the Presets section of the dialog box.
Page 505: Filling And Stroking Selections And Layers
ADOBE PHOTOSHOP CS2 User Guide Note: You can also choose Load Gradients, Replace Gradients, or choose a library of gradients from the Gradient Picker menu in the options bar. See also “About the Preset Manager” on page 67 To return to the default library of preset gradients Choose Reset Gradients from the palette menu.
Page 506 ADOBE PHOTOSHOP CS2 User Guide To fill pixels based on the merged color data from all visible layers, select All Layers. Click the part of the image you want to fill. All specified pixels within the specified tolerance are filled with the foreground color or pattern.
Page 507 ADOBE PHOTOSHOP CS2 User Guide To fill a selection with a pattern Select the part of the image you want to fill. Do one of the following: Choose Edit > Fill. In the Fill dialog box, for Use, choose Pattern, select a pattern from the pop-up palette, and •...
Page 508: Creating And Managing Patterns
Choose Edit > Stroke. In the Stroke dialog box, type a value for Width, and then click the color swatch to display the Adobe Color Picker. In the Adobe Color Picker, locate the color range you want using the triangle sliders on the color spectrum bar, and then click the desired color in the color field.
Page 509 ADOBE PHOTOSHOP CS2 User Guide To define an image as a preset pattern Use the Rectangle Marquee tool on any open image to select an area to use as a pattern. Feather must be set to 0 pixels. Note that large images may become unwieldy.
Page 510 ADOBE PHOTOSHOP CS2 User Guide To delete a preset pattern Do one of the following: Select the pattern you want to delete, and choose Delete Pattern from the palette menu. • Hold down Alt (Windows) or Option (Mac OS), position the pointer over a pattern (the pointer turns into •...
Page 511: Choosing Foreground And Background Colors
You can designate a new foreground or background color using the Eyedropper tool, the Color palette, the Swatches palette, or the Adobe Color Picker. The default foreground color is black, and the default background color is white. (In an alpha channel, the default...
Page 512 ADOBE PHOTOSHOP CS2 User Guide See also “About the Adobe Color Picker” on page 241 To choose colors in the toolbox The current foreground color appears in the upper color selection box in the toolbox; the current background color appears in the lower box.
Page 513 ADOBE PHOTOSHOP CS2 User Guide About the eyedropper sample size You can specify the area sampled by the Eyedropper tool. For example, you can set the eyedropper to sample the color values of a 3-by-3-pixel area under the pointer. Modifying the sample size of the eyedropper affects the color readouts displayed in the Info palette.
Page 514 See also “About the Adobe Color Picker” on page 241 About the Swatches palette The Swatches palette stores colors that you need to use often. You can add or delete colors from the palette or display different libraries of colors for different projects.
Page 515 ADOBE PHOTOSHOP CS2 User Guide To select a color in the Swatches palette • To choose a foreground color, click a color in the Swatches palette. To choose a background color, Ctrl-click (Windows) or Command-click (Mac OS) a color in the Swatches palette.
Page 516 ADOBE PHOTOSHOP CS2 User Guide To delete a color from the Swatches palette Do one of the following: Drag a swatch to the Delete icon • (Photoshop) Hold down Alt (Windows) or Option (Mac OS), position the pointer over a swatch (the pointer turns •...
Page 517: Filters
You can also use some filters to clean up or retouch your photos. The filters provided by Adobe appear in the Filter menu. Some filters provided by third-party developers are available as plug-ins. Once installed, these plug-in filters appear at the bottom of the Filter menu.
Page 518: The Filter Gallery
ADOBE PHOTOSHOP CS2 User Guide Applying filters Previewing filters Applying filters—especially to large images—can be time-consuming. Some filters let you preview the effect before applying it. You can then choose to apply the filter or cancel the operation without wasting time.
Page 519 ADOBE PHOTOSHOP CS2 User Guide Filter Gallery dialog box A. Preview B. Filter category C. Thumbnail of selected filter D. Show/Hide filter thumbnails E. Filters pop-up menu F. Options for selected filter G. List of filter effects to apply or arrange H. Filter effect selected but not applied I. Filter effects applied cumulatively but not selected J.
Page 520 ADOBE PHOTOSHOP CS2 User Guide Applying filters through the Filter Gallery. A. Original image B. Images each with a single filter applied C. Three filters applied cumulatively To apply filters from the Filter Gallery Do one of the following: To apply a filter to an entire layer, make sure that the layer is active or selected.
Page 521 ADOBE PHOTOSHOP CS2 User Guide Blending filter effects and setting options To blend effects The Fade command changes the opacity and blending mode of any filter, painting tool, erasing tool, or color adjustment. The Fade command blending modes are a subset of those in the painting and editing tools options (excluding the Behind and Clear modes).
Page 522: Tips For Creating Special Effects
ADOBE PHOTOSHOP CS2 User Guide Select Invert to reverse the light and dark colors on the surface. For Light Direction, indicate the direction from which the light source sheds light on the image. Tips for creating special effects Creating edge effects You can use various techniques to treat the edges of an effect applied to only part of an image.
Page 523: Filter Effects
ADOBE PHOTOSHOP CS2 User Guide Filter effects Artistic filters Filters from the Artistic submenu help you achieve painterly and artistic effects for a fine arts or commercial project. For example, use the Cutout filter for collages or for typography. These filters replicate natural or traditional media effects.
Page 524 ADOBE PHOTOSHOP CS2 User Guide Before (left) and after (right) using the Lens Blur filter; the background is blurred but foreground stays sharp Note: To apply a Blur filter to the edges of a layer, deselect the Preserve Transparency option in the Layers palette.
Page 525 ADOBE PHOTOSHOP CS2 User Guide Simulates the blur of a zooming or rotating camera to produce a soft blur. Choose Spin to blur along Radial Blur concentric circular lines, and then specify a degree of rotation. Choose Zoom to blur along radial lines, as if zooming into or out of the image, and specify a value from 1 to 100.
Page 526 This filter creates displacement maps, using a flattened file saved in Adobe Photoshop format (except Bitmap mode images). You can also use the files in the Plug-Ins/Displacement Maps folder in the Photoshop program folder.
Page 527 ADOBE PHOTOSHOP CS2 User Guide Creates an undulating pattern on a selection, like ripples on the surface of a pond. For greater control, use Ripple the Wave filter. Options include the number and size of ripples. Distorts an image along a curve. Specify the curve by dragging the line in the box. You can adjust any point Shear along the curve.
Page 528 ADOBE PHOTOSHOP CS2 User Guide Noise filters The Noise filters add or remove noise, or pixels with randomly distributed color levels. This helps to blend a selection into the surrounding pixels. Noise filters can create unusual textures or remove problem areas, such as dust and scratches.
Page 529 ADOBE PHOTOSHOP CS2 User Guide Pixelate filters The filters in the Pixelate submenu sharply define a selection by clumping pixels of similar color values in cells. Simulates the effect of using an enlarged halftone screen on each channel of the image. For each Color Halftone channel, the filter divides the image into rectangles and replaces each rectangle with a circle.
Page 530 ADOBE PHOTOSHOP CS2 User Guide with more varied distribution of color). The Strength slider controls how each fiber looks. A low setting produces a loose weave, and a high setting produces short, stringy fibers. Click the Randomize button to change how the pattern looks;...
Page 531 ADOBE PHOTOSHOP CS2 User Guide Renders the image as if it had a polished chrome surface. Highlights are high points, and shadows are low Chrome points in the reflecting surface. After applying the filter, use the Levels dialog box to add more contrast to the image.
Page 532 ADOBE PHOTOSHOP CS2 User Guide Identifies the areas of the image with significant transitions and emphasizes the edges. Like the Trace Find Edges Counter filter, Find Edges outlines the edges of an image with dark lines against a white background and is useful for creating a border around an image.
Page 533 ADOBE PHOTOSHOP CS2 User Guide Use the Info palette in Grayscale mode to identify a color value that you want traced. Then enter the value in the Level text box. See also “To use the Info palette” on page 56 Texture filters Use the Texture filters to simulate the appearance of depth or substance, or to add an organic look.
Page 534 ADOBE PHOTOSHOP CS2 User Guide It is helpful to apply the High Pass filter to a continuous-tone image before using the Threshold command or converting the image to Bitmap mode. The filter is useful for extracting line art and large black-and-white areas from scanned images.
Page 535 To duplicate a light, Alt-drag (Windows) or Option-drag (Mac OS) the light within the preview window. To use a texture fill, choose a channel for Texture Channel. See also “About the Adobe Color Picker” on page 241 “To use the Windows Color Picker” on page 247...
Page 536 ADOBE PHOTOSHOP CS2 User Guide Lighting Effects types You can choose from several light types: Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Omni Shines light from far away so that the light angle doesn’t change—like the sun.
Page 537 ADOBE PHOTOSHOP CS2 User Guide Lighting Effects styles Use the Style menu in the Lighting Effects dialog box to choose from 17 light styles. You can also create your own lighting style by adding lights to the Default setting. The Lighting Effects filter requires at least one light source. Only one light can be edited at a time, but all added lights are used to create the effect.
Page 538: Loading Images And Textures
ADOBE PHOTOSHOP CS2 User Guide Using a Lighting Effects texture The Texture Channel in the Lighting Effects dialog box lets you use a grayscale texture, such as paper or water, to control how light reflects off an image. You can use any channel in your image (including a channel copied from a different image) as a texture, or you can create your own texture.
Page 539 ADOBE PHOTOSHOP CS2 User Guide Free up memory before running the filter by using the Purge command. • Allocate more RAM to Photoshop. If necessary, exit other applications to make more memory available to • Photoshop. Try changing settings to improve the speed of memory-intensive filters, such as Lighting Effects, Cutout, Stained •...
Page 540: Creating Type
Chapter 19: Type Creating type About type Type in Photoshop consists of mathematically defined shapes that describe the letters, numbers, and symbols of a typeface. Many typefaces are available in more than one format, the most common formats being Type 1 (also called PostScript fonts), TrueType, OpenType, New CID, and CID nonprotected (Japanese only).
Page 541 ADOBE PHOTOSHOP CS2 User Guide See also “Entering type on a path” on page 541 “To display and set Asian type options” on page 564 About the type tools in Photoshop Clicking in an image with a type tool puts the type tool in edit mode. When the tool is in edit mode, you can enter and edit characters as well as perform some other commands from the various menus;...
Page 542 ADOBE PHOTOSHOP CS2 User Guide Note: (Photoshop) You can also transform point type while in edit mode. Hold down the Ctrl (Windows) or Command (Mac OS) key. A bounding box appears around the type. You can grab a handle to scale or skew the type. You can also rotate the bounding box.
Page 543: Type Layers
ADOBE PHOTOSHOP CS2 User Guide To resize or transform a type bounding box Display the bounding box handles of paragraph type: (Photoshop) With the Type tool active, select the type layer in the Layers palette, and click in the text flow in •...
Page 544 ADOBE PHOTOSHOP CS2 User Guide • Use layer styles. Use fill shortcuts. To fill with the foreground color, press Alt+Backspace (Windows) or Option+Delete (Mac OS); • to fill with the background color, press Ctrl+Backspace (Windows) or Command+Delete (Mac OS). •...
Page 545: Editing Text
ADOBE PHOTOSHOP CS2 User Guide When creating type for display on the web, consider that anti-aliasing greatly increases the number of colors in the original image. This limits your ability to reduce the number of colors in the image and thus to reduce the size of the image file.
Page 546 ADOBE PHOTOSHOP CS2 User Guide To edit text in a type layer You can insert new text, change existing text, and delete text in type layers. Do one of the following: • (Photoshop) Select the Horizontal Type tool or the Vertical Type tool (ImageReady) Select the Type tool.
Page 547: Specifying A Language For Text
ADOBE PHOTOSHOP CS2 User Guide Corrects all instances of the misspelling in the document. Make sure that the correctly spelled word is Change All in the Change To text box. Stores the unrecognized word in the dictionary, so that subsequent occurrences are not flagged as misspellings.
Page 548: Warping Type
ADOBE PHOTOSHOP CS2 User Guide To enter text using a specific language dictionary, choose it from the pop-up menu in the lower left corner of the Character palette, select a type tool, and enter the text. Association of Cacto- philes...
Page 549: Creating Type On A Path
ADOBE PHOTOSHOP CS2 User Guide To warp type Select a type layer. Do one of the following: Select a type tool, and click the Warp button in the options bar. • • Choose Layer > Type > Warp Text. Note: (Photoshop) You can use the Warp command to warp text in a type layer. Choose Edit > Transform > Warp.
Page 550 ADOBE PHOTOSHOP CS2 User Guide Example of horizontal and vertical type on a closed path created by a shape tool See also “About work paths” on page 450 To enter type along a path Do one of the following: •...
Page 551: Creating Paths, Shapes, And Selections From Type
ADOBE PHOTOSHOP CS2 User Guide Using the Direct Selection tool or Path Selection tool to move or flip type on a path To move type across a path without changing the direction of the type, use the Baseline Shift option in the Character palette.
Page 552: Formatting Characters
ADOBE PHOTOSHOP CS2 User Guide To convert type to shapes When you convert type to shapes, the type layer is replaced by a layer with a vector mask. You can edit the vector mask and apply styles to the layer; however, you cannot edit characters in the layer as text.
Page 553 ADOBE PHOTOSHOP CS2 User Guide Double-click a word to select it. Triple-click a line to select it. Quadruple-click a paragraph to select it. Quintuple • click anywhere in the text flow to select all characters in a bounding box. To use the arrow keys to select characters, click in the text, and then hold down Shift and press the Right Arrow •...
Page 554 Windows Mac OS Library/Application Support/Adobe/Fonts If you install a Type 1, TrueType, OpenType, or CID font into the local Fonts folder, the font appears in Adobe appli cations only. About character sets and alternate glyphs Typefaces include many characters in addition to the ones you see on your keyboard. Depending on the font, these characters can include ligatures, fractions, swashes, ornaments, ordinals, titling and stylistic alternates, superior and inferior characters, old-style figures, and lining figures.
Page 555 ADOBE PHOTOSHOP CS2 User Guide You can choose a font family and style by typing its name in the text box. As you type, the name of the first font or style beginning with that letter appears. Continue typing until the correct font or style name appears.
Page 556 Do one of the following: • Click the Color selection box in the options bar or Character palette, and select a color using the Adobe Color Picker. In ImageReady, you can also select an option from the Color selection box pop-up menu: Foreground Color, Background Color, Other (to choose a color from the Adobe Color Picker), or a color from the pop-up palette.
Page 557 ADOBE PHOTOSHOP CS2 User Guide See also “About the type tools in Photoshop” on page 533 “Formatting characters” on page 544 About leading The vertical space between lines of type is called leading (rhymes with sledding). For Roman type, leading is measured from the baseline of one line of text to the baseline of the line above it.
Page 558 ADOBE PHOTOSHOP CS2 User Guide You can automatically kern type using metrics kerning or optical kerning. Metrics kerning uses kern pairs, which are included with most fonts. Kern pairs contain information about the spacing of specific pairs of letters. Some of these are LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo.
Page 559 ADOBE PHOTOSHOP CS2 User Guide Note: If a range of text is selected, you can’t kern the text manually. Instead, use tracking. If you’re adjusting the kerning manually, commit changes to the type layer. To adjust tracking Select the type you want to adjust.
Page 560 ADOBE PHOTOSHOP CS2 User Guide To underline or strike through text You can place a line under horizontal type, or to the left or right of vertical type. You can also place a line through horizontal or vertical type. The line is always the same color as the type color.
Page 561 ADOBE PHOTOSHOP CS2 User Guide Original type (left) and type without vertical rotation (right Select the vertical type you want to rotate or unrotate. Choose Standard Vertical Roman Alignment from the Character palette menu. A check mark indicates that the option is selected.
Page 562: Special Characters
ADOBE PHOTOSHOP CS2 User Guide Click an insertion point in the document window and type the desired text. When you are satisfied with the text, press Ctrl+Enter (Windows) or Command+Return (Mac OS). Click the Layers tab to bring the Layers palette to the front or, if the palette isn’t open, choose Windows > Layers.
Page 563 ADOBE PHOTOSHOP CS2 User Guide To specify superscript or subscript characters Superscript and subscript text (also called superior and inferior text) is reduced-size text that is raised or lowered in relation to a font’s baseline. If the font does not include superscript or subscript characters, Photoshop generates faux superscript or subscript characters.
Page 564: Opentype Character Features
OpenType character features About OpenType fonts The OpenType font standard was developed jointly by Adobe and Microsoft, and it brings the advantages of the PostScript Type 1 and TrueType font formats into a new format that takes advantage of Unicode character encoding.
Page 565 ADOBE PHOTOSHOP CS2 User Guide To apply OpenType features Make sure you have an OpenType font chosen when using the Type tool. If you don’t select any text, the setting applies to new text you create. From the Character palette menu, choose one of the following from the OpenType submenu: Are typographic replacements for certain pairs of characters, such as fi, fl, ff, ffi, and ffl.
Page 566: Formatting Paragraphs
ADOBE PHOTOSHOP CS2 User Guide Formatting paragraphs To format paragraphs A paragraph is any range of type with a carriage return at the end. You use the Paragraph palette to set options that apply to entire paragraphs, such as the alignment, indention, and space between lines of type. For point type, each line is a separate paragraph.
Page 567 ADOBE PHOTOSHOP CS2 User Guide To specify alignment You can align type to one edge of a paragraph (left, center, or right for horizontal type; top, center, or bottom for vertical type). Alignment options are available only for paragraph type.
Page 568 ADOBE PHOTOSHOP CS2 User Guide Note: Justification (right, center, and left align, and justify all) for type on a path starts at the insertion point and ends at the end of the path. To adjust word and letter spacing You can precisely control how Photoshop and ImageReady space letters and words and scale characters. Adjusting spacing options is especially useful when you work with justified type, although you can adjust spacing for unjus...
Page 569 ADOBE PHOTOSHOP CS2 User Guide When working with Japanese type, you can use the mojikumi setting instead of the Paragraph palette to specify the indent for the first line. If you specify the indent for the first line in the Paragraph palette, and specify mojikumi settings for the first line indent, the text is placed inside the total of both indents.
Page 570: Hyphenation And Line Breaks
ADOBE PHOTOSHOP CS2 User Guide See also “To choose a burasagari option” on page 570 “To display and set Asian type options” on page 564 Hyphenation and line breaks To adjust hyphenation The settings you choose for hyphenation affect the horizontal spacing of lines and the aesthetic appeal of type on a page.
Page 571: Asian Type
The Adobe Single-line Composer Offers a traditional approach to composing type one line at a time. This option is useful if you prefer to have manual control over how lines break. The Adobe Single-line Composer uses the following principles when considering a breakpoint: Compressed or expanded word spacing is preferable to hyphenation.
Page 572 ADOBE PHOTOSHOP CS2 User Guide To display and set Asian type options By default, Photoshop hides Asian type options in the Character palette and Paragraph palette. To view and set options for working with Chinese, Japanese, and Korean type, you must select Show Asian Text Options in the Prefer...
Page 573 ADOBE PHOTOSHOP CS2 User Guide Numerals without tate-chu-yoko (left) compared to numerals rotated with tate-chu-yoko (right) Select the characters that you want to rotate. Choose Tate-Chu-Yoko from the Character palette menu. A check mark indicates that the option is turned on.
Page 574 It is usually best to use any weights of KozMinPro and KozGoPro OpenType fonts. These fonts have the largest collection of glyphs of the Asian fonts produced by Adobe. Select the characters or type objects to which you want to apply the setting. If you don’t select any text, the setting applies to new text you create.
Page 575 ADOBE PHOTOSHOP CS2 User Guide Kotoeri Character palette A. View option B. Show More Options C. Font information (Mac OS) Set the Kotoeri Character palette font to the OpenType font you are using. Do one of the following: (Windows) Select the character you want to use, click the Choose button, and then copy and paste it.
Page 576 ADOBE PHOTOSHOP CS2 User Guide To choose a mojikumi set Mojikumi specifies Japanese text composition for spacing of Japanese characters, roman characters, punctuation, special characters, line start, line end, and numbers. Photoshop includes several predefined mojikumi sets based on the Japanese Industrial Standard (JIS) X 4051-1995.
Page 577 ADOBE PHOTOSHOP CS2 User Guide To choose kinsoku shori settings for a paragraph Kinsoku shori specifies line breaks for Japanese text. Characters that cannot begin a line or end a line are known as kinsoku characters. Photoshop includes weak and maximum kinsoku sets based on the Japanese Industrial Standard (JIS) X 4051-1995.
Page 578 ADOBE PHOTOSHOP CS2 User Guide To choose a burasagari option Burasagari lets single-byte periods, double-byte periods, single-byte commas, and double-byte commas fall outside the paragraph bounding box. From the Paragraph palette menu, choose burasagari and then choose: None Disables Japanese hanging punctuations when a Kinsoku set is in effect. Kinsoku Shori can still cause push...
Page 579: Designing For The Web
Preparation in Adobe GoLive You can open Photoshop and ImageReady files directly in Adobe GoLive. Slices, URLs, and other web features in Photoshop files are accessible in GoLive for management and editing.
Page 580 ADOBE PHOTOSHOP CS2 User Guide Automating the workflow Photoshop and ImageReady have a robust system for automating repetitive tasks. For example, ImageReady droplets allow designers to quickly convert a batch of images into a web-ready format. Slicing web pages A slice is a rectangular area of an image that you can use to create links, rollovers, and animations in the associated web page.
Page 581: Creating Slices
ADOBE PHOTOSHOP CS2 User Guide User slices, layer-based slices, and auto slices look different—user slices and layer-based slices are defined by a solid line, whereas auto slices are defined by a dotted line. In addition, each type of slice displays a distinct icon. You can choose to show or hide auto slices, which can make your work with user- and layer-based slices easier to view.
Page 582 ADOBE PHOTOSHOP CS2 User Guide To create a slice from a selection (ImageReady) Select a portion of the image. Choose Select > Create Slice From Selection. ImageReady creates a user slice based on the selection marquee. If the selection is feathered, the slice covers the full selection (including the feathered edges).
Page 583: Viewing Slices
ADOBE PHOTOSHOP CS2 User Guide To convert an auto slice to a user slice Select one or more auto slices. Do one of the following: (Photoshop) With the Slice Select tool selected, click Promote in the options bar. • •...
Page 584 ADOBE PHOTOSHOP CS2 User Guide Slice is a nested table. • • Slice is a remote trigger. • Slice is a remote target. To show or hide slice badges (ImageReady) In the Web Content palette, open the palette menu and choose Palette Options.
Page 585: Selecting And Organizing Slices
ADOBE PHOTOSHOP CS2 User Guide To show slice lines only (ImageReady) Do one of the following: In Windows, choose Edit > Preferences > Slices. • In Mac OS, choose ImageReady > Preferences > Slices. • Under Slice Lines, select Show Lines Only.
Page 586 ADOBE PHOTOSHOP CS2 User Guide To save and load a slice selection (ImageReady) Save a slice selection to reselect specific slices quickly and accurately. Select one or more slices. Choose Slices > Save Slice Selection. Enter a name in the Selection Name text box, and click OK.
Page 587: Modifying Slices
ADOBE PHOTOSHOP CS2 User Guide Modifying slices To move or resize a user slice You can move and resize user slices in Photoshop and ImageReady, but not in the Photoshop Save For Web dialog box. Select one or more user slices.
Page 588 ADOBE PHOTOSHOP CS2 User Guide To resize a layer-based slice using numeric dimensions (ImageReady) Select a layer-based slice. In the Slice palette, in the Layer Based Dimensions options area, change one or more of the following Pad options: Specifies the distance in pixels between the left edge of the slice and the left edge of the layer’s content.
Page 589 ADOBE PHOTOSHOP CS2 User Guide See also “To link slices (ImageReady)” on page 584 To duplicate a slice using the Web Content palette (ImageReady) Select a slice in the Web Content palette. Choose Slices > Duplicate Slice or Duplicate Slice from the Web Content palette menu.
Page 590 ADOBE PHOTOSHOP CS2 User Guide Note: You cannot arrange the stacking order of auto slices. Select a slice or multiple slices. Do one of the following: Choose the Slice Select tool, and click a stacking order option in the options bar.
Page 591 ADOBE PHOTOSHOP CS2 User Guide Note: To distribute layer-based slices, distribute the contents of the layers. Select three or more user slices you want to distribute. Do one of the following: Choose the Slice Select tool, and select a distribution option in the options bar.
Page 592 ADOBE PHOTOSHOP CS2 User Guide All image slices use the optimization settings of the entire image until you apply new settings. If you select multiple slices with different optimization settings, only the controls that are applicable to all of the selected slices are visible.
Page 593: Converting Slices To Nested Html Tables
ADOBE PHOTOSHOP CS2 User Guide Converting slices to nested HTML tables Converting slices to tables (ImageReady) When you convert a document containing slices to HTML, it is output as a single table; each individual slice is placed inside separate table cells. Slices are actually table cells.
Page 594 ADOBE PHOTOSHOP CS2 User Guide Note: To edit the table, you need to select the table or one of its slices. To select a table (ImageReady) You can select tables in the document window or the Web Content palette. In a document, use the Slice Select tool to select the table icon in a slice.
Page 595: Slice Output Options
ADOBE PHOTOSHOP CS2 User Guide Note: Changing this preference may affect how auto slices are generated. Maintains the default table formatting. Default Favors the creation of vertical columns in an exported HTML table. As Columns (Rowspan) Favors the creation of horizontal rows in an exported HTML table.
Page 596 (Photoshop) Select None, Matte, Eyedropper (to use the color in the eyedropper sample box), White, Black, or • Other (using the Adobe Color Picker). (ImageReady) Select None, Matte, Foreground Color, Background Color, or Other (to use the Adobe Color • Picker), or select a color from the pop-up palette.
Page 597 URL from the pop-up menu. You can enter a relative URL or absolute (full) URL. If you enter an absolute URL, be sure to include the proper protocol (for example, http://www.adobe.com, not www.adobe.com). For more information on using relative and full URLs, see an HTML reference.
Page 598: Image Maps
ADOBE PHOTOSHOP CS2 User Guide See also “To preview an optimized image in a browser” on page 597 To add HTML text to a slice Select a slice. If you are working in Photoshop, double-click the slice with the Slice Select tool to display the Slice Options dialog box.
Page 599 ADOBE PHOTOSHOP CS2 User Guide You can create image map areas using an Image Map tool or a layer, and then set options for the image map sections in the Image Map palette. Tool-based image map areas. Create these using an Image Map tool; drag in the image to define the image map •...
Page 600 ADOBE PHOTOSHOP CS2 User Guide To change the shape of a layer-based image map area (ImageReady) Select a layer-based image map area by clicking it in the Web Content palette or by using the Image Map Select tool In the Layer Based Settings section of the Image Map palette, choose an option from the pop-up menu of shapes: Rectangle, Circle, or Polygon.
Page 601 In the Image Map palette, enter a URL, or choose a previously created URL from the URL menu. You can enter a relative URL or absolute (full) URL. If you enter an absolute URL, be sure to include the proper protocol (for example, http://www.adobe.com, not www.adobe.com). For more information on relative and absolute URLs, see an HTML reference.
Page 602 ADOBE PHOTOSHOP CS2 User Guide To resize a tool-based image map area (ImageReady) Select an image map with the Image Map Select tool or in the Web Content palette. Note: If you select a polygonal image map, the cursor changes to a white arrow to show you where to point on the handle.
Page 603 ADOBE PHOTOSHOP CS2 User Guide To arrange or align image maps (ImageReady) The Web Content palette displays the stacking order of image maps. The image map on the top of your stack takes precedence, so it’s helpful to be able to arrange them.
Page 604: Previewing Web Graphics
ADOBE PHOTOSHOP CS2 User Guide To delete image maps (ImageReady) Do one of the following: Select the image map area and press the Backspace key or the Delete key. • Select the image map area and choose Delete Image Map Areas from the Image Map palette menu.
Page 605: Creating Web Photo Galleries
ADOBE PHOTOSHOP CS2 User Guide To add all browsers on your computer Do one of the following: (Photoshop) Choose File > Save For Web, and then choose Edit List from the Select Browser menu at the bottom • of the dialog box. Click the Find All button. All the browsers installed on your computer appear. Click the OK button.
Page 606 To create a web photo gallery (Optional) Select the files or folder you want to use in Adobe Bridge. Your images will be presented in the order in which they’re displayed in Bridge. If you’ d rather use a different order, change the order in Bridge.
Page 607 Making sure that your colors match If you work with photos in a wide-gamut color working space such as ProPhoto RGB or Adobe RGB, you might want to convert the image profile to sRGB before optimizing it or including it in a Web Photo Gallery. Most web browsers can’t read embedded color profiles and assume an sRGB profile.
Page 608 Options for colors of elements in the gallery. To change the color of an element, click its color swatch and then select a new color from the Adobe Color Picker. You can change the background color of each page (Background option) and of the banner (Banner option).
Page 609 ADOBE PHOTOSHOP CS2 User Guide To better understand an existing style, you can open and study its HTML template files using an HTML editor. Because only standard ASCII characters are required to create HTML documents, you can open, edit, and create these documents using a plain-text editor such as Notepad (Windows) or TextEdit (Mac OS).
Page 610 %CAPTIONFONTSIZE% Determines the character set used on each page. %CHARSET% %CONTENT_GENRATOR% Expands to “Adobe Photoshop CS Web Photo Gallery. ” Determines the link for the current home page. %CURRENTINDEX% %CURRENTINDEXANCHOR% Resides in SubPage.htm and points to the first index page.
Page 611 ADOBE PHOTOSHOP CS2 User Guide Determines the URL for a full-size image on a gallery page. %IMAGESRC% Enables the Add Width And Height Attributes For Images check box. This allows the user to %IMAGE_WIDTH% download the attributes, reducing download time.
Page 612: Rollovers
Chapter 21: Rollovers and animations Rollovers About rollovers (ImageReady) A rollover is a button or image on a web page that changes when a viewer moves the pointer over it or clicks it. The button itself can change or another item on the page, such as a photo or list of menu items, may appear. A remote rollover triggers a change in a web page element other than the button or image being rolled over.
Page 613 ADOBE PHOTOSHOP CS2 User Guide Illustration of a rollover. The button is on its own layer; effects are added to the layer to create a new appearance of the button for the Over state. The text for the word “EVENTS” is also on a separate layer.
Page 614 ADOBE PHOTOSHOP CS2 User Guide In addition to the slice badge icons, the following icons can appear in the Web Content palette. Slice visibility Slice has an active rollover state Targets slice state for remote rollover State has associated remote slice...
Page 615 ADOBE PHOTOSHOP CS2 User Guide 2. If using image maps, make each button a layer-based image map. Choose Layer > New Layer Based Image Map Area. You’ll need to add each state, including the first state. See “To add a rollover state (ImageReady)” on page 608.
Page 616 ADOBE PHOTOSHOP CS2 User Guide To create a layer-based slice for a rollover (ImageReady) Select the layer in the Layers palette, or choose Layer > New Layer-Based Slice from the main menu. The content of the layer will define the active area for the rollover.
Page 617 ADOBE PHOTOSHOP CS2 User Guide neously. However, if both states use a layer, the layer attributes of the Selected state override those of the Over state. See “To create Selected state rollovers (ImageReady)” on page 610. Activates the Selected state initially when the document is previewed in ImageReady Use As Default Selected State or loaded into a web browser.
Page 618 ADOBE PHOTOSHOP CS2 User Guide Note: In Photoshop 7.0 and earlier versions, all changes made to a document would appear when in a rollover state. This sometimes caused users to create state changes they didn’t intend. In ImageReady CS, you have much more control over which slices change on a rollover state.
Page 619 ADOBE PHOTOSHOP CS2 User Guide See also “Rollover state options (ImageReady)” on page 608 To add animation to a rollover state (ImageReady) You can add multiple-frame animation to a rollover state. Adding animation to the Normal state causes the animation to play when the image is loaded in a web browser. Adding animation to another type of state causes the animation to play when a user activates the state.
Page 620 ADOBE PHOTOSHOP CS2 User Guide To copy and paste rollover states (ImageReady) You can copy a rollover state and paste it into another state in the current rollover or into a state in another rollover. Layers in the source state replace layers in the destination state.
Page 621 ADOBE PHOTOSHOP CS2 User Guide Editing layers in rollover states and animation frames (ImageReady) Some changes you make to layers affect only the active rollover state or animation frame, while others affect every state and frame in which the layers are included.
Page 622: Animations
ADOBE PHOTOSHOP CS2 User Guide Select one of the following from the Match Layer dialog: Current Animation Applies layer attributes for the selected frame to all frames in the animation. Current Slice/Image Map’s States Applies layer attributes for the selected state to all states in the rollover.
Page 623 ADOBE PHOTOSHOP CS2 User Guide Change the blending mode of layers • Add a style to layers • For some types of animation, such as changing the color of an object, or completely changing the content in a frame, you need additional layers with the new content. For more information about the types of layer edits and how they affect animations, see “Editing layers in rollover states and animation frames (ImageReady)”...
Page 624 ADOBE PHOTOSHOP CS2 User Guide Note: In ImageReady, always create and edit frames in Original view. While you can view frames in an optimized view, the editing options are very limited. Click the Duplicates Current Frame button in the Animation palette.
Page 625 ADOBE PHOTOSHOP CS2 User Guide To change the position of a frame Select the frame you want to move in the Animation palette or the Web Content palette (ImageReady). Drag the selection to the new position. Note: In the Animation palette, you can select and change the position of multiple frames. However, if you drag multiple discontiguous frames, the frames are placed contiguously in the new position.
Page 626 ADOBE PHOTOSHOP CS2 User Guide Select a Paste method: Replace Frames Replaces the selected frames with the copied frames. When you paste frames into the same image, no new layers are added to the image; the attributes of each existing layer in the destination frames are replaced by those of each copied layer.
Page 627 ADOBE PHOTOSHOP CS2 User Guide Do one of the following: Click the Tween button in the Animation palette. • Select Tween from the Animation palette menu. • Specify the layer or layers to be varied in the added frames: All Layers Varies all layers in the selected frame or frames.
Page 628 ADOBE PHOTOSHOP CS2 User Guide To specify a delay time You can specify a delay—the time that a frame is displayed—for single frames or for multiple frames in an animation. Delay time is displayed in seconds. Fractions of a second are displayed as decimal values. For example, one-quarter of a second is specified as .25.
Page 629 ADOBE PHOTOSHOP CS2 User Guide To choose a disposal method Select a frame or frames for which you want to choose a disposal method. Right-click (Windows) or Control-click (Mac OS) the frame thumbnail to view the Disposal Method context menu.
Page 630 ADOBE PHOTOSHOP CS2 User Guide Optimizing animations After you complete your animation, you should optimize it for efficient download to a web browser. You optimize an animation in two ways: Optimize the frames to include only areas that change from frame to frame. This greatly reduces the file size of the •...
Page 631 ADOBE PHOTOSHOP CS2 User Guide Opening and importing files as animations To open animated GIFs (ImageReady) You can open an existing animated GIF in ImageReady. After you open the file, you can switch to Photoshop to edit the file. Choose File > Open.
Page 632 ADOBE PHOTOSHOP CS2 User Guide To open QuickTime-compatible movies You can open movies in MOV, AVI, and FLIC formats to view and edit in ImageReady. Choose File > Open, and select the movie to open. Select the range of frames to import: From Beginning to End to open the full file.
Page 633: Optimizing Images
Chapter 22: Preparing Graphics for the Web Optimizing images About optimization When preparing images for the web and other online media, you often need to compromise between image display quality and the file size of the image. Photoshop and ImageReady provide several controls for compressing the file size of an image while optimizing its online display quality.
Page 634 ADOBE PHOTOSHOP CS2 User Guide Save For Web dialog box A. Toolbox B. Preview pop-up menu C. Optimize pop-up menu D. Color Table pop-up menu E. Zoom text box F. Original image G. Optimized image H. Preview In Browser menu...
Page 635 ADOBE PHOTOSHOP CS2 User Guide Viewing optimized image information The annotation area below each image in the Save For Web dialog box provides optimization information. The annotation for the original image shows the file name and file size. The annotation for the optimized image shows the current optimization options, the size of the optimized file, and the estimated download time using the selected modem speed.
Page 636 ADOBE PHOTOSHOP CS2 User Guide See also “To preview image gamma at different values” on page 627 “To adjust tonal range using Levels” on page 285 To optimize an image for the web Choose File > Save For Web (Photoshop) or open the Optimize palette (ImageReady).
Page 637 ADOBE PHOTOSHOP CS2 User Guide To save a file to e-mail Open the image in Photoshop, and choose File > Save For Web. Click the Optimize tab at the top of the Save For Web dialog box. Choose JPEG Low from the Preset menu.
Page 638 ADOBE PHOTOSHOP CS2 User Guide • To select slices in the Save For Web dialog box, choose the Slice Select tool , and then click a slice to select it. Shift-click or Shift-drag to select multiple slices. Note: In the Save For Web dialog box, unselected slices are dimmed. This does not affect the color of the final image.
Page 639 ADOBE PHOTOSHOP CS2 User Guide To view optimized images in ImageReady In ImageReady, you view and work with optimized images directly in the document window. You can view up to four versions of an optimized image simultaneously, and easily switch between the optimized and original (nonopti...
Page 640: Web Graphics Formats And Options
ADOBE PHOTOSHOP CS2 User Guide To set ImageReady optimization preferences (ImageReady) You can set preferences in ImageReady to determine the default optimization settings and the default configuration of panels in 2-Up and 4-Up views. Do one of the following: In Windows, choose Edit > Preferences > Optimization.
Page 641 ADOBE PHOTOSHOP CS2 User Guide PNG-24 PNG-24 is suitable for compressing continuous-tone images; however, it produces much larger files than JPEG format. The advantage of using PNG-24 is that it can preserve up to 256 levels of transparency in an image.
Page 642 ADOBE PHOTOSHOP CS2 User Guide Specifies a fill color for pixels that were transparent in the original image. Click the Matte color swatch to Matte select a color in the color picker, or select an option from the Matte menu: Eyedropper (to use the color in the eyedropper sample box), White, Black, or Other (to use the color picker).
Page 643 ADOBE PHOTOSHOP CS2 User Guide Applies a halftone-like square pattern to determine the value of pixels. Pattern Applies a random pattern similar to the Diffusion dithering, but without diffusing the pattern across adjacent Noise pixels. No seams appear with the Noise algorithm.
Page 644 ADOBE PHOTOSHOP CS2 User Guide Use the Color Table palette in the Save For Web dialog box to customize the color lookup table. Use a set palette of colors. • Black and White, Grayscale, Mac OS, Windows Determines the method and amount of application dithering. Dithering refers to the Dithering Method and Dither method of simulating colors not available in the color display system of your computer.
Page 645 ADOBE PHOTOSHOP CS2 User Guide Examples of transparency and matting A. Original image B. Transparency selected with a matte color C. Transparency selected with no matting D. Transparency deselected with a matte color Transparency Dithering When the Transparency option is selected, you can choose a method for dithering partially transparent pixels: •...
Page 646: Using The Color Table
ADOBE PHOTOSHOP CS2 User Guide Displays a low-resolution version of the image in a browser while the full image file is downloading. Inter Interlace lacing can make downloading time seem shorter and can assure viewers that downloading is in progress. However, interlacing also increases file size.
Page 647 ADOBE PHOTOSHOP CS2 User Guide To sort a color table Choose a sorting order from the Color Table palette menu: Unsorted restores the original sorting order. • • Sort By Hue sorts by the location of the color on the standard color wheel (expressed as a degree from 0 to 360).
Page 648 ADOBE PHOTOSHOP CS2 User Guide To select a color from another application (ImageReady) Select the Eyedropper tool, click in the image, hold the mouse down, and drag anywhere on the desktop. You can use this option to select a color displayed in another application, such as a color in a web page displayed in a browser.
Page 649 ADOBE PHOTOSHOP CS2 User Guide To shift colors to the closest web palette equivalent To protect colors from dithering in a browser, you can shift the colors to their closest equivalents in the web palette. This ensures that the colors won’t dither when displayed in browsers on either Windows or Macintosh operating systems capable of displaying only 256 colors.
Page 650 Name the color table and choose a location where it will be saved. By default, the color table file is given the extension .act (for Adobe Color Table). If you want to access the color table when selecting Optimization options for a GIF or PNG image, save the color table in the Presets/Optimized Colors folder inside the Photoshop program folder.
Page 651 Select Load Color Table from the Color Table palette menu. Navigate to a file containing the color table you want to load—either an Adobe Color Table (.act) file, an Adobe Color Swatch (.aco) file, or a GIF file (to load the file’s embedded color table).
Page 652: Using Weighted Optimization
ADOBE PHOTOSHOP CS2 User Guide Using weighted optimization About weighted optimization Weighted optimization lets you vary optimization settings across an image using masks from text layers, shape layers, and alpha channels. This technique produces higher-quality results in critical image areas without greatly increasing file size.
Page 653 ADOBE PHOTOSHOP CS2 User Guide To use masks to modify JPEG quality When you use masks to optimize the range of quality in a JPEG image, white areas of the masks yield the highest quality, and black areas of the masks yield the lowest quality. You can adjust the maximum and minimum level of quality in the Modify Quality Setting dialog box.
Page 654 ADOBE PHOTOSHOP CS2 User Guide Note: Lossiness is a reduction in quality; therefore, the highest level of image quality is defined by the Minimum value, and the lowest level of image quality is defined by the Maximum value. This is the opposite of the JPEG quality setting.
Page 655: Output Settings For Web Images
ADOBE PHOTOSHOP CS2 User Guide Output settings for web images To set output options Output settings control how HTML files are formatted, how files and slices are named, and how background images are handled when you save an optimized image. You set these options in the Output Settings dialog box.
Page 656 ADOBE PHOTOSHOP CS2 User Guide Specifies a default character encoding for the web page. Encoding Adds explanatory comments to the HTML code. In ImageReady, this option is required when Include Comments you plan to update the resulting file using the File > Update HTML command.
Page 657 ADOBE PHOTOSHOP CS2 User Guide Image map output options (ImageReady) In ImageReady you can set the following options in the Image Maps set: Specifies what type of image map is created: Image Map Type • Includes all required code for the image map in the image’s HTML file.
Page 658 ADOBE PHOTOSHOP CS2 User Guide File saving output options You set the following options in the Saving Files set: Choose elements from the pop-up menus or enter text into the fields to be used in the default names File Naming for all files.
Page 659: Working With Hexadecimal Color Values
Add EXIF Metadata date and time of photo, and file size. Note: To view the complete EXIF information for a file, view the file in Adobe Bridge. Add XMP Metadata Adds an Adobe-specific set of information that provides information about the file and facili...
Page 660 ADOBE PHOTOSHOP CS2 User Guide With the Eyedropper tool selected, move the pointer over the color that you want to copy, and then right-click (Windows) or Control-click (Mac OS) and choose a copy color command from the context menu. In ImageReady, make sure to click the color first to make it the foreground color.
Page 661: Saving Images
Lets you save different versions of a file and comment on each. This command is available for an image that is managed by a Version Cue Workspace. If you’re working with a file from an Adobe Version Cue project, the document title bar provides additional infor mation about the status of the file.
Page 662 (Photoshop) Choose File > Save As. (ImageReady) Choose File > Export > Original Document. • Note: The Adobe Camera Raw plug-in can save camera raw image files in a different file format, such as Adobe Digital Negative (DNG). Do one of the following: •...
Page 663 ADOBE PHOTOSHOP CS2 User Guide File saving options You can set a variety of file saving options in the Save As dialog box. The availability of options depends on the image you are saving and the selected file format. For example, if an image doesn’t contain multiple layers, or if the selected file format doesn’t support layers, the Layers option is dimmed.
Page 664 Photoshop CS2. You can also use the Photoshop PDF format to save multiple images in a multipage document or slide show presentation.
Page 665 (Optional) If you want to reuse the PDF save settings, click Save Preset and save your settings as a PDF preset. The new preset appears in the Adobe PDF Preset menu the next time you save a Photoshop PDF file and in the PDF Options dialog box in all Adobe Creative Suite components.
Page 666 .joboptions file with the recommended settings. You may need to customize the Adobe PDF settings for a particular provider and then provide a .joboptions file of your own. Adobe PDF settings are saved as .joboptions files.
Page 667 Adobe PDF standards Choose an Adobe PDF standard from the Standards menu at the top of the Adobe PDF Options dialog box. Currently, the most widely used standards for a print publishing workflow are available in two different types of PDF/X formats, PDF/X-1a and PDF/X-3.
Page 668 Preserves Photoshop data in the PDF, such as layers, annotations, alpha channels, and spot colors. Photoshop PDF documents with this option can be opened only in Photoshop CS2. Creates a thumbnail image of artwork. The thumbnail is displayed in the Illustrator Open Embed Page Thumbnails or Place dialog boxes.
Page 669 Compression and downsampling options for Adobe PDF When saving artwork in Adobe PDF, you can compress text and line art, and compress and downsample bitmap images. Depending on the settings you choose, compression and downsampling can significantly reduce the size of a PDF file with little or no loss of detail and precision.
Page 670 Color management and PDF/X options for Adobe PDF You can set the following options in the Output section of the Adobe PDF Options dialog box. Interactions between Output options change depending on whether Color Management is on or off and which PDF standard is selected.
Page 671 Use A Password To Restrict Printing, Editing And Other Tasks file is opened in Adobe Acrobat, the user can view the file but must enter the Permissions password to edit, print, or do other tasks with the file. If the file is opened in Photoshop, Illustrator, or InDesign, the user must enter the Permis...
Page 672 Adobe PDF presets that were installed with Photoshop. • To load an Adobe PDF preset, click the Load button, select the preset file, and click the Load button. The preset is added to the Presets window. When you browse for an Adobe PDF preset to load, only files with the .joboptions extension are visible in the Load dialog box.
Page 673 ADOBE PHOTOSHOP CS2 User Guide Saving GIF, JPEG, and PNG files To save a file in GIF format You can use the Save As command to save RGB, Indexed Color, Grayscale, or Bitmap mode images directly in CompuServe GIF (known as GIF) format. The image is automatically converted to Indexed Color mode.
Page 674 To save files in the JPEG 2000 format, you must get the optional JPEG 2000 plug-in and install it in this location: Adobe Photoshop CS2/Plug-Ins/Adobe Photoshop Only/File Formats. This plug-in is available on the Photoshop CS2 installation CD in Goodies/Optional Plug-Ins/Photoshop Only/File Formats. Extended JPEG 2000 (JPF) format provides an expanded set of options compared to the standard JPEG 2000 (JP2) format.
Page 675 ADOBE PHOTOSHOP CS2 User Guide Includes the color profile embedded in an image. Include Color Settings Deselect the Include Metadata and Include Color Settings options to decrease the size of the image file. Include Transparency Preserves transparency in the original image. The Include Transparency option is dimmed if the image does not contain transparency.
Page 676 ADOBE PHOTOSHOP CS2 User Guide Note: The channel (alpha, spot, or Quick Mask) used to define the region of interest is discarded in the final saved JPEG 2000 file. To preview how the image will appear in JPEG 2000 viewing software, make sure you chose an optimization order in step 6.
Page 677 ADOBE PHOTOSHOP CS2 User Guide Saving files in other formats To save a file in Photoshop EPS format Virtually all page-layout, word-processing, and graphics applications accept imported or placed EPS (Encapsulated PostScript) files. To print EPS files, you should use a PostScript printer. Non-PostScript printers will print only the screen-resolution preview.
Page 678 ADOBE PHOTOSHOP CS2 User Guide To save a file in Photoshop DCS format DCS (Desktop Color Separations) format is a version of EPS that lets you save color separations of CMYK or multi channel files. Choose File > Save As and choose Photoshop DCS 1.0 or Photoshop DCS 2.0 from the Format menu.
Page 679 ADOBE PHOTOSHOP CS2 User Guide In the BMP Options dialog box, select a file format, specify the bit depth and, if necessary, select Flip Row Order. For more options, click Advanced Modes and specify the BMP options. Click Save. See also “BMP format”...
Page 680 ADOBE PHOTOSHOP CS2 User Guide To export an ImageReady file in SWF format (ImageReady) Do one of the following: Choose File > Export > Macromedia Flash SWF. • Choose File > Export > Original Document. In the Export Original dialog box, choose Macromedia Flash SWF •...
Page 681 ADOBE PHOTOSHOP CS2 User Guide In the Export Layers As Files dialog box, under File Options, click Browse (Windows) or Choose (Mac OS) to select a destination for the exported files. Enter a name in the Base Name text box to specify a common name for the files.
Page 682 Preserves multiresolution information. Photoshop does not provide options for opening Save Image Pyramid multiresolution files; the image opens at the highest resolution within the file. However, Adobe InDesign and some image servers provide support for opening multiresolution formats. Preserves transparency as an additional alpha channel when the file is opened in another appli...
Page 683 ADOBE PHOTOSHOP CS2 User Guide Choose a file format from the File Type menu. Set options as necessary. Select the Include ICC Profile option if you want the working space profile embedded in the exported file. This is important for color-managed workflows.
Page 684 ADOBE PHOTOSHOP CS2 User Guide Exporting animation frames as files Exporting animation frames as files You can export and save animation frames as individual files in a variety of formats. In Photoshop, you can export animation frames as files in PSD, BMP, JPEG, PDF, Targa, and TIFF formats. In ImageReady, you can export animation frames as files in GIF, JPEG, PNG, WBMP, and SWF formats.
Page 685: Exporting Images In Zoomview Format
ADOBE PHOTOSHOP CS2 User Guide To preview the exported image for a specific frame, select the Preview option and then use either the Preview menu or navigation buttons to choose the frame to preview. Under Format Options, either choose a setting from the Preset pop-up menu or manually set the file format and compression.
Page 686: File Formats
Photoshop format (PSD) is the default file format and the only format, besides the Large Document Format (PSB), that supports most Photoshop features. Because of the tight integration between Adobe products, other Adobe appli cations such as Adobe Illustrator, Adobe InDesign, Adobe Premiere, Adobe After Effects, and Adobe GoLive can directly import PSD files and preserve many Photoshop features.
Page 687 Adobe Digital Negative format (DNG) Adobe Digital Negative (DNG) is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. DNG, Adobe’s publicly available, archival format for camera raw files, is designed to provide compatibility and decrease the current proliferation of camera raw file formats.
Page 688 Filmstrip format Filmstrip format is used for RGB animation or movie files created by Adobe Premiere®. If you resize, resample, remove alpha channels, or change the color mode or file format of a Filmstrip file in Photoshop, you won’t be able to save it back to Filmstrip format.
Page 689 PSB files. Currently, if you save a document in PSB format, it can be opened only in Photoshop CS or Photoshop CS2. Other applications and earlier versions of Photoshop cannot open documents saved in PSB format. Note: Most other applications and older versions of Photoshop cannot support documents with file sizes larger than 2 GB.
Page 690 In addition, PDF files can contain electronic document search and navigation features such as electronic links. PDF supports 16-bits-per-channel images. Adobe Acrobat also has a Touch Up Object tool for minor editing of images in a PDF. For more information about working with images in PDFs, see Acrobat Help.
Page 691 ADOBE PHOTOSHOP CS2 User Guide PICT Resource (Mac OS) A PICT resource is a PICT file but takes a name and resource ID number. The PICT Resource format supports RGB images with a single alpha channel, and Indexed Color, Grayscale, and Bitmap mode images without alpha channels.
Page 692 ADOBE PHOTOSHOP CS2 User Guide The Photoshop Raw format consists of a stream of bytes describing the color information in the image. Each pixel is described in binary format, with 0 representing black and 255 white (for images with 16-bit channels, the white value is 65535).
Page 693 ADOBE PHOTOSHOP CS2 User Guide SWF (ImageReady) The Macromedia Flash (SWF) file format is used for playing animated compositions. The animated compositions can provide website interactivity and navigation. Any browsers with the Macromedia Flash Player plug-in can read the SWF format. Because the SWF format can save animations as vector images to maintain a small file size, it is a good choice for animations with solid areas of color and sharp object definitions.
Page 694 When you save files from Photoshop that contain keywords, those keywords are not displayed in Adobe Acrobat’s Document Properties dialog box when the file is opened in Acrobat.
Page 695 You can attach note annotations (notes) and audio annotations to an image in Photoshop. This is useful for associ ating review comments, production notes, or other information with the image. Because Photoshop annotations are compatible with Adobe Acrobat, you can use them to exchange information with Acrobat users as well as Photoshop users.
Page 696 Specifies the author’s name, which appears in the title bar of the notes window. Chooses the size for the note text. Size Selects a color for the note icon and the title bar of note windows. Clicking the color box opens the Adobe Color Color Picker so you can select a color.
Page 697: Adding And Viewing Digital Copyright Information
ADOBE PHOTOSHOP CS2 User Guide Note: Resizing an image does not resize the annotation icons and note windows. The icons and note windows keep their locations relative to the image. Cropping an image removes any annotations in the cropped area; you can recover the annotations by undoing the Crop command.
Page 698 ADOBE PHOTOSHOP CS2 User Guide Embedding a digital watermark in an image lets viewers obtain information about the creator of the image. This feature is particularly valuable to image creators who license their work to others. Copying an image with an embedded watermark also copies the watermark and any information associated with it.
Page 699 ADOBE PHOTOSHOP CS2 User Guide To embed a watermark To embed a digital watermark, you must first register with Digimarc Corporation—which maintains a database of artists, designers, and photographers and their contact information—to get a unique Digimarc ID. You can then embed the Digimarc ID in your images, along with information such as the copyright year or a restricted-use identifier.
Page 700 ADOBE PHOTOSHOP CS2 User Guide Using the signal strength meter The signal strength meter helps you determine whether a watermark is durable enough to survive the intended use of the image. The signal strength meter is available only for images containing digital watermarks that you yourself have embedded.
Page 701: Creating Multiple-Image Layouts
ADOBE PHOTOSHOP CS2 User Guide Displays the preview in the Open dialog box. Macintosh Thumbnail Saves a preview that Windows systems can display. Windows Thumbnail To set the History Log preferences By default, history log data about each session is saved as metadata embedded in the image file. You can specify where the history log data is saved and the level of detail contained in the history log.
Page 702 Contact Sheet II. Unless you select specific images, the contact sheet will include all the images currently displayed in Adobe Bridge. You can select a different image folder or select other currently open images after the Contact Sheet II dialog box opens.
Page 703 ADOBE PHOTOSHOP CS2 User Guide When Rotate For Best Fit is deselected, thumbnails appear in their correct orientation (left). When it is selected, the pictures are rotated to achieve the best fit (right). Select Use Filename As Caption to label the thumbnails using their source image file names. Use the menu to specify a caption font and font size.
Page 704 ADOBE PHOTOSHOP CS2 User Guide Click a placeholder in the Picture Package preview layout, then browse to select an image. • Drag an image from the desktop or a folder into a placeholder. Add an image to a picture package by dragging the image from the desktop into a placeholder.
Page 705 ADOBE PHOTOSHOP CS2 User Guide To customize a picture package layout You can modify existing layouts or create new layouts using the Picture Package Edit Layout feature. Your custom layouts are saved as text files and stored in the Layouts folder inside the Presets folder. You can then reuse your saved layouts.
Page 706: Creating A Pdf Presentation
ADOBE PHOTOSHOP CS2 User Guide Creating a PDF presentation Creating a PDF presentation The PDF Presentation command lets you use a variety of images to create a multipage document or slide show presentation. You can set options to maintain image quality in the PDF, specify security settings, and set the document to open automatically as a slide show.
Page 707 Save. In the Save Adobe PDF dialog box, choose an Adobe PDF preset or specify save options for the PDF document. Click Save PDF. Photoshop closes the Save Adobe PDF dialog box and creates the PDF presentation. A dialog box appears telling you whether the PDF presentation was successfully created.
Page 708: Placing Photoshop Images In Other Applications
How you prepare an image for a page-layout program depends upon the file formats the program recognizes: • Adobe InDesign 2.0 and later can place Photoshop PSD files. You do not need to save or export your Photoshop image to a different file format. Transparent areas are displayed and printed as expected.
Page 709 To use Photoshop artwork in Adobe Illustrator Adobe Illustrator can both open or place Photoshop files; you do not need to save or export your Photoshop image to a different file format. If you place an image into an open Illustrator file, you can incorporate the image as if it were any other element in the artwork, or you can maintain a link to the original file.
Page 710 • To print the file using a PostScript printer, save in Photoshop EPS, DCS, or PDF format. To print the file using a non-PostScript printer, save in TIFF format and export to Adobe InDesign, or to Adobe • PageMaker® 5.0 or later.
Page 711 Click Save. Open the file in Adobe Illustrator. You can manipulate the path or use the path to align Illustrator objects that you add to the file. Note that the crop marks in Adobe Illustrator reflect the dimensions of the Photoshop image. The position of the path within the Photoshop image is maintained, provided you don’t change the crop marks or move the path.
Page 712: Saving Images For Use In Video And Motion Graphics
Nonsquare pixels are most commonly used by encoding devices for video. When importing an image created by a square-pixel graphics program into a video-editing program like Adobe Premiere, the square pixels are scaled to the nonsquare pixels for video encoding. This scaling results in a distorted image.
Page 713 Video-editing applications, such as Adobe Premiere, do not support 16-bits-per-channel images. Some video-editing applications can import an individual layer from a multilayer Photoshop (PSD) file. • If your Photoshop image file has transparency, some video applications, such as Adobe Premiere, preserve it. • •...
Page 714 ADOBE PHOTOSHOP CS2 User Guide Video preset file size guides A. Action safe area (outer rectangle) B. Title safe area (inner rectangle) For more options, click the Advanced button to specify a color profile and specific pixel aspect ratio. Important: By default, nonsquare pixel documents open with Pixel Aspect Ratio Correction enabled. This scales the image as it would look on the nonsquare-pixel output device (usually a video monitor).
Page 715 Choose File > Place, select the file you want to place, and click the Place button. • Photoshop automatically converts and scales the image to the pixel aspect ratio of the nonsquare pixel document. Images brought in from Adobe Illustrator are also properly scaled. See also “To create a new image” on page 191 To assign a pixel aspect ratio value to an existing document With the square pixel document open, choose Image >...
Page 716 Saving images for use in motion graphics You can save images in Photoshop for use in motion graphics software such as Adobe After Effects. A Photoshop (PSD) file can be imported directly into an After Effects project with the option of preserving individual layers, layer styles, transparent areas and layer masks, and adjustment layers.
Page 717 ADOBE PHOTOSHOP CS2 User Guide Under Image Options, choose a Placement Option to determine how the image appears in the display device: Center Places the center of the image at the center of the screen, cropping the portions that fall outside the display edges of the video preview device.
Page 718: Printing From Photoshop
Chapter 24: Printing Printing from Photoshop About printing Printing is the process of sending your image to an output device. You can print on paper or film (positive or negative), to a printing plate, or directly to a digital printing press. Whether you are printing an image on your desktop printer or sending it to a prepress facility, knowing a few basics about printing makes the print job go more smoothly and helps ensure that the finished image appears as intended.
Page 719 ADOBE PHOTOSHOP CS2 User Guide Monitors display images using light, whereas desktop printers reproduce images using inks, dyes, or pigments. For this reason, a desktop printer can’t reproduce all the colors displayed on a monitor. However, by incorporating certain procedures (such as a color management system) into your workflow, you can achieve predictable results when printing your images on a desktop printer.
Page 720 ADOBE PHOTOSHOP CS2 User Guide To set printer and page setup options Choose File > Page Setup, or File > Print. Select a printer from the pop-up menu. Set additional options, such as paper size and layout, as desired. The available options depend on your printer, printer drivers, and operating system.
Page 721 ADOBE PHOTOSHOP CS2 User Guide Hold down Alt (Windows) or Option (Mac OS) and click Reset to reset the print options. • Hold down Alt (Windows) or Option (Mac OS) and click Remember to save the print options without closing the •...
Page 722: Printing With Color Management
ADOBE PHOTOSHOP CS2 User Guide To print part of an image Use the Rectangle Marquee tool to select the part of an image you want to print. Choose File > Print With Preview, select Print Selected Area, and click Print.
Page 723 ADOBE PHOTOSHOP CS2 User Guide Click the More Options button to display options for prepress and color management In the Print area, select Document. The profile is displayed in parentheses on the same line. In the Options area, for Color Handling, choose Let Printer Determine Colors.
Page 724 ADOBE PHOTOSHOP CS2 User Guide In the Options area, for Color Handling, choose Let Photoshop Determine Colors. For Printer Profile, select the profile for your output device. The more accurately the profile describes the behavior of the output device and printing conditions (such as paper type), the more accurately the color management system can translate the numeric values of the actual colors in a document.
Page 725 ADOBE PHOTOSHOP CS2 User Guide In the Options area, for Color Handling, choose Let Photoshop Determine Colors. For Printer Profile, select the profile for your output device. (Optional) Set any of the following options. In most cases, it is best to use the default settings.
Page 726: Printing Images To A Commercial Printing Press
Curves, or Hue/Saturation command to make corrections. These adjustments should be very minor. Then send the CMYK file to the professional printer. Place your RGB or CMYK image in Adobe InDesign or Adobe Illustrator. In general, most images printed on a •...
Page 727 ADOBE PHOTOSHOP CS2 User Guide See also “Soft-proofing colors” on page 259 Specifying prepress options The Print With Preview command includes options for preparing an image for output to an imagesetter or plate setter. Among these are options for specifying page marks, halftone attributes, color channels as separate pages, and print encoding method.
Page 728 ADOBE PHOTOSHOP CS2 User Guide Prints crop marks inside rather than outside the image. Use this option to trim the image within the graphic. Bleed Type a number and choose a unit value to specify the width of the bleed.
Page 729 ADOBE PHOTOSHOP CS2 User Guide Selecting halftone screen attributes Halftone screen attributes include the screen frequency and dot shape for each screen used in the printing process. For color separations, the prepress person must also specify an angle for each of the color screens. Set the screens at different angles to ensure that the dots placed by the four screens blend into continuous color and do not produce moiré...
Page 730 ADOBE PHOTOSHOP CS2 User Guide For a color separation, choose from the following options: To have Photoshop determine and enter the best frequencies and angles for each screen, click Auto. In the Auto • Screens dialog box, enter the resolution of the output device and the screen frequency you intend to use, and click OK.
Page 731 Note: If you are printing an image from another application and want to print spot channels to spot color plates, you must first save the file in DCS 2.0 format. DCS 2.0 preserves spot channels. This format is supported by applications such as Adobe InDesign and QuarkXPress. See also “To save a file in Photoshop EPS format”...
Page 732 ADOBE PHOTOSHOP CS2 User Guide Choosing a print encoding method By default, the printer driver transfers binary information to PostScript printers; however, you can choose to transfer image data using JPEG or ASCII85 encoding. (ASCII85 is a text-encoding method for binary data; it is more compact than ASCII encoding.) These options are not available for non-PostScript printers, including many inkjet...
Page 733: Printing Duotones
ADOBE PHOTOSHOP CS2 User Guide Trapping is intended to correct the misalignment of solid colors. In general, you don’t need traps for continuous-tone images such as photographs. Excessive trapping may produce an outline effect. These problems may not be visible on-screen and might show up only in print.
Page 734 ADOBE PHOTOSHOP CS2 User Guide For the Type option, select Monotone, Duotone, Tritone, or Quadtone. Click the color box (the solid square). Then use the color picker or click the Custom button in the color picker to select an ink from the Custom Colors dialog box.
Page 735 ADOBE PHOTOSHOP CS2 User Guide Specifying overprint colors Overprint colors are two unscreened inks printed on top of each other. For example, when you print a cyan ink over a yellow ink, the resulting overprint color is green. The order in which inks are printed, as well as variations in the inks and paper, can significantly affect the final results.
Page 736 ADOBE PHOTOSHOP CS2 User Guide Click the Auto button in the Halftone Screens dialog box to set the optimal screen angles and frequencies. Be sure to select Use Accurate Screens in the Auto Screens dialog box if you’re printing to a PostScript Level 2 (or higher) printer or an imagesetter equipped with an Emerald controller.
Page 737: Actions
Chapter 25: Automating Tasks Actions About actions An action is a series of commands that you play back on a single file or a batch of files. For example, you can create an action that applies an Image Size command to change an image to a specific size in pixels, followed by an Unsharp Mask filter that resharpens the detail, and a Save command that saves the file in the desired format.
Page 738 ADOBE PHOTOSHOP CS2 User Guide Playing actions Playing an action executes the series of commands you recorded in the active document. You can exclude specific commands from an action or play a single command. If the action includes a modal control, you can specify values in a dialog box or use a modal tool when the action pauses.
Page 739: Recording Actions
ADOBE PHOTOSHOP CS2 User Guide To rearrange actions in the Actions palette In the Actions palette, drag the action to its new location before or after another action. When the highlighted line appears in the desired position, release the mouse button.
Page 740 To record a path The Insert Path command lets you include a complex path (a path created with a pen tool or pasted from Adobe Illus trator) as part of an action. When the action is played back, the work path is set to the recorded path. You can insert a path when recording an action or after it has been recorded.
Page 741 ADOBE PHOTOSHOP CS2 User Guide To insert a stop Choose where to insert the stop by doing one of the following: Select an action’s name to insert a stop at the end of the action. • Select a command to insert a stop after the command.
Page 742 ADOBE PHOTOSHOP CS2 User Guide You can insert a command when recording an action, or after it has been recorded. An inserted command doesn’t execute until the action is played, so the file remains unchanged when the command is inserted. No values for the command are recorded in the action.
Page 743 ADOBE PHOTOSHOP CS2 User Guide About conditionals (ImageReady) A conditional is a statement of a situation that must be met before the next step of an action can take place. You set both the condition and the steps to take if the condition is met. Conditionals are extremely useful in limiting the range of items an action will work on.
Page 744 ADOBE PHOTOSHOP CS2 User Guide Note: In Photoshop, you can set an output folder when using the Batch command to process files. (See “To batch-process files” on page 741.) Select the action for which you want to specify an output folder in the Actions palette.
Page 745: Managing Actions
ADOBE PHOTOSHOP CS2 User Guide Managing actions To rearrange commands within an action In the Actions palette, drag the command to its new location within the same or another action. When the highlighted line appears in the desired position, release the mouse button.
Page 746 In Photoshop, you can also load a variety of action sets that are shipped with the program. Note: The default location of the Adobe Photoshop CS Settings folder varies by operating system. Use your operating system’s Find command to locate this folder.
Page 747 ADOBE PHOTOSHOP CS2 User Guide Although ImageReady doesn’t allow you to create sets, you can manually organize actions in the ImageReady Actions folder. For example, if the Actions palette contains too many actions, create a new folder inside the ImageReady Actions folder and move less used actions from the ImageReady Actions folder to this new folder.
Page 748 ADOBE PHOTOSHOP CS2 User Guide Select the file types and options to save. Save As JPEG Saves images in JPEG format within a folder called JPEG in the destination folder. Quality Sets the JPEG image quality between 0 and 12.
Page 749 Processes images from a digital camera, scanner, or a PDF document. Import Opened Files Processes all open files. Processes selected files in Adobe Bridge. If no files are selected, the files in the current Bridge folder are Bridge processed. Set processing options: Overrides Open commands in an action that refers to specific file names, Override Action “Open”...
Page 750: Droplets
ADOBE PHOTOSHOP CS2 User Guide If you chose Folder as the destination, specify a file-naming convention and select file compatibility options for the processed files: For File Naming, select elements from the pop-up menus or enter text into the fields to be combined into the •...
Page 751 ADOBE PHOTOSHOP CS2 User Guide Droplets A. Photoshop B. ImageReady Actions are the basis for creating droplets—you must create the desired action in the Actions palette prior to creating a droplet. (See “Recording actions” on page 731.) In ImageReady, you can also create droplets with the Optimize palette, so that you can apply Optimize palette settings to single images or batches of images.
Page 752 ADOBE PHOTOSHOP CS2 User Guide If you chose Folder as the destination, specify a file-naming convention and select file compatibility options for the processed files: For File Naming, select elements from the pop-up menus or enter text into the fields to be combined into the •...
Page 753 ADOBE PHOTOSHOP CS2 User Guide To process a file with a droplet Drag a file or folder onto the droplet icon in Photoshop or in ImageReady. If the application you used to create the droplet is not currently running, the droplet starts the program.
Page 754: Scripting
COM automation, such as Visual Basic. In Mac OS, you can use any language, such as AppleScript, that allows you to send Apple events. These languages are not cross-platform but can control multiple applications such as Adobe Photoshop, Adobe Illustrator, and Microsoft Office.
Page 755: Creating Data-Driven Graphics
Choose File > Scripts and then select the script from the list. The scripts list includes all the script files saved with a .js or .jsx extension and saved in the Photoshop CS2/Presets/Scripts folder. To run a script saved in another location, choose File >...
Page 756 ADOBE PHOTOSHOP CS2 User Guide 2. Define variables in the graphic. Variables specify the parts of the image that change. (See “About variables” on page 748 and “To define variables” on page 749.) 3. Create or import the data sets.
Page 757 ADOBE PHOTOSHOP CS2 User Guide Two versions of an image based on the same template A. Visibility variable B. Pixel Replacement variable C. Text Replacement variable To define variables You cannot define variables for the Background layer. Choose Image > Variables > Define.
Page 758 ADOBE PHOTOSHOP CS2 User Guide For Pixel Replacement variables, set the following options. In ImageReady, click Pixel Replacement Options to see the options. Choose a method for scaling the replacement image: Fit scales the image so that it fits in the bounding box (which •...
Page 759 You can save a template in PSD format for use with other Adobe products, such as Adobe Graphics Server (available only in English) and Adobe GoLive. For example, a GoLive user can place a PSD template in a page layout, bind its variables to a database using dynamic links, and then use Graphics Server to generate iterations of the artwork.
Page 760 ADOBE PHOTOSHOP CS2 User Guide Click the Choose button to select a destination directory for your files. Choose data sets to export. (ImageReady) In the Save As text box, choose an export format and set the format-dependent export parameters. Click OK.
Page 761 ADOBE PHOTOSHOP CS2 User Guide {co n t ents o f Flo w erS h o w.txt} Va r i a b le1, Va r i a b le2, Va r i a b le3 t r u e , T U L I P, c : \ My D o c u m e nt s \ t u l i p. j p g fals e , S UNFL OWER , c:\MyD o c umen ts\s unf l o w er.j pg...
Page 762: Customizing Keyboard Shortcuts
Chapter 26: Keyboard Shortcuts Customizing keyboard shortcuts About customizing keyboard shortcuts Photoshop lets you view a list of all shortcuts, and edit or create shortcuts. The Keyboard Shortcuts dialog box serves as a shortcut editor, and includes all commands that support shortcuts, some of which aren’t addressed in the default shortcut set.
Page 763: Default Keyboard Shortcuts
ADOBE PHOTOSHOP CS2 User Guide To return a new shortcut to the default, click Use Default. • To export the displayed set of shortcuts, click Summarize. You can use this HTML file to display the set of shortcuts • in a web browser.
Page 764 ADOBE PHOTOSHOP CS2 756 User Guide Result Windows Mac OS Cycle through tools with the same shortcut Shift-press shortcut key (*when Use Shift Shift-press shortcut key (*when Use Shift Key for Tool Switch preference is disabled) Key for Tool Switch preference is disabled)
Page 765 ADOBE PHOTOSHOP CS2 757 User Guide Result Windows Mac OS Dodge tool* Burn tool* Sponge tool* Path Selection tool* Direct Selection tool* Horizontal Type tool Vertical Type tool* Horizontal Type mask tool* Vertical Type mask tool* Pen tool* Freeform Pen tool*...
Page 766 ADOBE PHOTOSHOP CS2 User Guide Keys for selecting tools in the Extract toolbox Result Windows Mac OS Edge Highlighter tool Fill tool Eyedropper tool Cleanup tool Edge Touchup tool Keys for selecting tools in the Liquify toolbox Result Windows Mac OS...
Page 767 ADOBE PHOTOSHOP CS2 759 User Guide Result (Extract* and Pattern Maker*) Windows Mac OS Fit in window Control + 0 Command + 0 Temporarily selects Zoom In tool Control + Spacebar Command + Spacebar Select Zoom Out tool Alt + Spacebar...
Page 768 ADOBE PHOTOSHOP CS2 User Guide Result (Liquify only) Windows Mac OS Decrease/increase brush size by 2, or den- Left Arrow/Right Arrow with Brush Size, Left Arrow/Right Arrow with Brush Size, sity, pressure, rate, or turbulent jitter by 1 Density, Pressure, Rate, or Turbulent Jitter Density, Pressure, Rate, or Turbulent Jitter †...
Page 769 ADOBE PHOTOSHOP CS2 User Guide Keys for using the Camera Raw dialog box Result Windows Mac OS Zoom tool Hand tool White Balance tool Color Sampler tool Straighten tool Rotate image left Rotate image right Zoom in Control + - (hyphen)
Page 770 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Switch to Hand tool Spacebar Spacebar Step backward Control + Z Command + Z Step forward Control + Shift + Z Command + Shift + Z Move selected image 1 pixel...
Page 771 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Fill a selection with image under the pointer Alt-drag Option-drag Create a duplicate of a floating selection Control + Alt-drag Command + Opt-drag Constrain dragging to 90 degree angles Shift-drag object...
Page 772 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Shift + Alt + U Shift + Option + U Saturation Shift + Alt + T Shift + Option + T Color Shift + Alt + C Shift + Option + C...
Page 773 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Move zoom marquee while dragging with Spacebar-drag Spacebar-drag the zoom tool* Apply zoom percentage, and keep zoom Shift + Enter in Navigator palette Shift + Return in Navigator palette percentage box active* Zoom in on specified area of an image* Control-drag over preview in Navigator pal...
Page 774 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Apply/cancel an operation of the Magnetic Enter/Esc or Control+period Return/Esc or Command + period Lasso* ‡ Move copy of selection Move tool + Alt-drag selection Move tool + Option-drag selection‡ Move selection area 1 pixel Any selection + Right Arrow, Left Arrow, Up Any selection + Right Arrow, Left Arrow, Up †...
Page 775 ADOBE PHOTOSHOP CS2 User Guide Keys for painting objects This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips. Result Windows Mac OS Eyedropper tool...
Page 776 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Cancel Control + . (period) or Esc Command + . (period) or Esc Free transform with duplicate data Control + Alt + T Command + Option + T Transform again with duplicate data...
Page 777 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Choose 100% horizontal scale* Control + Shift + X Command + Shift + X Choose 100% vertical scale* Control + Shift + Alt + X Command + Shift + Option + X...
Page 778 ADOBE PHOTOSHOP CS2 User Guide Keys for using palettes This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips. Result Windows Mac OS Set options (except for Actions, Animation,...
Page 779 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Create new action and begin recording Alt-click the New Action button Option-click the New Action button without confirmation Select contiguous items of the same kind* Shift-click the action/command Shift-click the action/command...
Page 780 ADOBE PHOTOSHOP CS2 User Guide Keys for using the Channels palette Result Windows Mac OS Set options for Save Selection as Channel Alt-click button Option-click button button Create a new spot channel Control-click Create New Channel button Command-click Create New Channel but...
Page 781 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Duplicate any image state, except the cur Alt-click the image state Option-click the image state rent state* Permanently clear history (no Undo)* Alt + Clear History (in History palette Option + Clear History (in History palette...
Page 782 ADOBE PHOTOSHOP CS2 774 User Guide Result Windows Mac OS Select next layer down/up Alt + [ or ] Option + [ or ] Move target layer down/up Control + [ or ] Command + [ or ] Merge a copy of all visible layers into target Control + Shift + Alt + E...
Page 783 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS § Display layer options Alt + double-click layer Option + double-click layer Select/deselect multiple contiguous layers Shift-click Shift-click Select/deselect multiple discontiguous lay Control-click Command-click * Not in ImageReady § ImageReady only...
Page 784 Shift + F7 * Not in ImageReady § ImageReady only Keys for working with Adobe Bridge This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips.
Page 785 ADOBE PHOTOSHOP CS2 777 User Guide Result Windows Mac OS Open Adobe Bridge from other Creative Control + Alt + O, Control + Shift + O Command + Option + O, Command + Shift Suite application Switch to the next open Bridge window...
Page 786 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Move down a folder (in folder view) or a row Down Arrow Down Arrow Move up a level (in folder view) Control + Up Arrow Command + Up Arrow Move left one item...
Page 787 ADOBE PHOTOSHOP CS2 User Guide Result Windows Mac OS Open selected file Enter Return Delete selected file or files Delete Command + backspace Cancel dialog Escape Escape Keys for viewing in Version Cue Result Windows Mac OS Details Control + 1...
Page 788: Index
Adobe InDesign duplicating 737 Adobe applications, integration metadata in 95 excluding commands from 733 between 700 Adobe PDF presets. See PDF files inserting nonrecordable Adobe Bridge commands in 733 Adobe Premiere 680 See also Bridge window inserting paths in 732...
Page 789 INDEX Adobe Version Cue Administration shapes 465 brush option 477 utility slices 582 global lighting 420 about 156 Alignment buttons 403 Angled Strokes filter 518 deleting projects in 163 alignment. See aligning Angular Gradient tool 493 duplicating projects in 163...
Page 790 Apply Image command 446 Black Body option 240 batches of data sets 752 Arrange command 401 black point 190 saving templates for other Adobe Arrange Slices command 582 applications 751 black point compensation 271 arrowhead options 452 through scripting 746...
Page 791 82 canvas distributed 84 main components 79 filling 498 Calculations command 447 Bridge. See Adobe Bridge resizing 346 camera data, adding to files 98 brightness Canvas Size command 346 Camera Raw adjusting 290 capitalizing text 554...
Page 792 INDEX viewing in Histogram palette 277 about 701 about 250, 251, 252 Channels palette printing 702 appearance of CMYK black 255 about 438 Close command 49, 50 basic steps for setting up 253 changing display of 439 Close Window command 81 color settings reference 268 rearranging channels in 440 Clouds filter 521...
Page 793 Windows 238, 241 working spaces 268, 269 See also color management, color color pickers models Color Table command 240 Adobe Color Picker 241 deleting 642 Color Table palette 638 Apple Color Picker 248 for type 548 color tables Windows Color Picker 247...
Page 794 422 command 299 compression using drag and drop 332 Custom filter 525 about 678 while dragging 331 custom ink colors, choosing in Adobe PDF 661 copyright information Color Picker 246 Conditional Mode Change adding 689 Custom Spot Function option 722...
Page 795 INDEX Delete Slice command 587 Digimarc Detect Watermark plug viewing file information in 32 in 32 Delete Slice Selection command 578 documents Digimarc filters Delete Slices command 583 keyboard shortcuts for 764 about 689 Delete Workspace command 83 documents folder, in Version before adding 690, 691 Cue 119 Deleted file status, in Version...
Page 796 Dust & Scratches filter 520 backgrounds 492 file compression. See compression Dynamic Color Sliders option 506 fastening points in a selection 317 file conflicts in Adobe Version dynamic range 190 lasso segments 318 Cue 154 Dynamic Shortcuts 555 to history to restore previous...
Page 797 INDEX placing, in Version Cue 134 Lens Blur 516 missing 556 rating 91 Lighting Effects 527 previewing family and styles 547 saving preferences 692 Neon Glow 515 selecting 546 selecting in Bridge 87 Noise 520 foreground color Fill command 498, 499 Other 525 choosing 503, 507 fill layers...
Page 798 INDEX Normal option for 665 grids 60 channels 439 optimization options for 635 groups grid and guides 61 web optimization settings 632 adding layers to 400 layer styles 417 weighted optimization and 645, blending modes 410 text selections 545 646 grouping layers 400 tool tips 46 Glass filter 513, 518...
Page 799 INDEX in Adobe Color Picker 242, 244 layer-based 591 pseudocolor 240 selecting colors in 243 modifying in image 595 resampling 182 HTML server-side 596 restoring 71 ALT element 589, 593 tool-based 591 reverting to any state 72, 75 cell alignment for text 590...
Page 800 INDEX showing 280 JP2 format. See JPEG 2000 format in Adobe Color Picker 242, 245 using 56 JPEG 2000 format Lab images information box 182 about 666, 681 blending modes for 410 Ink Outlines filter 518 alpha channels 667 channel display in 439...
Page 801 INDEX presets, creating 421 hiding and showing 398 letters. See type presets, deleting 421 in animations 623 Levels command presets, loading 422 in channel calculations 446, 447 about 284 presets, renaming 421 knockout 411 adjusting gamma with 284 presets, saving 421 linking 401 adjusting tonal range with 284, 285 removing 423...
Page 802 INDEX Link Slices For Optimization tonal and color adjustment Make Alternates command, in command 584 settings 282 Version Cue 151 linked files lock protection, in Version Cue 162, Make Frames From Layers 165 command 623 color management considerations 256, 257 Lock Slice command 583 Make Primary Alternate command, in Version Cue 150...
Page 803 Maximum filter 358 Mezzotint filter 521 Measure tool 59 midtones, adjusting with Levels 285 Navigator palette 52 measuring migrating to Adobe Version Cue negatives, creating 312 2.0 159 about 59 Neon Glow filter 515 Minimum and Maximum filter 526 angle of rotation 55...
Page 804 INDEX Optimize By Redundant Pixel out-of-gamut colors Removal option 622 Ocean Ripple filter 518 about 283 Optimize palette Offline Copy file status, in Version shown in Info palette 55 Cue 128 about 631 output device profiles 262, 263, 266 Offset filter 526 adding metadata in 634, 638 Output Settings dialog box OLE (Object Linking and...
Page 805 See also work paths PCX file format 682 warming filters 299 about 460 PDF files photo galleries adjusting 462, 464 Adobe PDF preset 663 creating 597 adjusting segments 462 color management styles 600 considerations 258, 262 clipping 701 using tokens in 600, 602...
Page 806 188 gamut warning color 283 PICT Resource 196 for unsupported file format 678 interpolation 184 PICT Resource files 683 in Adobe Store 9 optimization 632 Picture Package command Plug-Ins & Scratch Disks palette location 64 preferences 70...
Page 807 INDEX printer driver color management 714 PSD format 678 editing conditions during 735 printer profile targets 717 publishing excluding commands during 733 printer’s marks 719 Version Cue projects with inserting conditions during 735 GoLive 160 printer’s points 59 inserting stops in 732 Pucker tool 385 printing paths 732...
Page 808 230 Save Workspace command 83 rotating RGB Color mode 227 saving images 347, 363 in Adobe Color Picker 242, 244 See also individual file format layers 360 selecting color in 243 names layers and selections 363 tonal and color adjustments in 282...
Page 809 700 resources for 8 anti-aliasing 326 image previews 655 scripting guides contracting 325 images 653 Adobe Bridge 94 converting from slices 322 layers 655 for developers 9 converting to layer 397 optimized images 650 Scripts Events Manager 747...
Page 810 Color Range Share Project command 125 creating 578 command 321 sharing projects deleting 578 stroking 497 Adobe Creative Suite 125, 126 showing and hiding 578 subtracting from 324 using Version Cue Administration slice symbols 576 subtracting from channel 344 utility 162...
Page 811 109 pop-up sliders 37 special characters signing in 110 scrubby sliders 38 about 546 Stock Photos. See Adobe Stock Slideshow command 85 in OpenType fonts 556 Photos small caps 554 special effects with filters 514 stops, inserting in recordings 732...
Page 812 See also tonal and color adjustment Swatches palette commands on Adobe.com 9 about 506 about 274 templates, using with other Adobe keyboard shortcuts for 775 applications 751 automatic adjustments 307, 308 loading color table into 241 text on a path 541...
Page 813 Twirl Clockwise tool 385 assigning to slices 589 about 535 Twirl filter 519 Use Accurate Screens option 728 anti-aliased 536 Two-dimensional (2D) Use Adobe Dialog command 115 changing orientation 536 transformations 360 Use Embedded Color Profile rasterizing 536 type command 231...
Page 814 562 designing 571 viewing and comparing in Version Cue 144 word spacing 560 opening in Adobe GoLive 571 vertical scale of type, adjusting 551 work paths rollovers in 571 VGA color palette 682 about 450...
Page 815 INDEX converting selection to 468 creating 458, 459 Workgroup Size preference 117 working files editing, in Version Cue 152 using, in Version Cue 126 working spaces, color 268, 269 workspaces about 64 changing font size in 64 customizing menus in 65 deleting menus from 66 in Bridge 82 menu colors in 66...

Adobe PHOTOSHOP CS2 User Manual

Chapter 1: Getting Started

Chapter 2: Tutorials

Chapter 3: Work Area

Chapter 4: Adobe Bridge

Chapter 5: Adobe Stock Photos

Chapter 6: Adobe Version Cue

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Summary of Contents for Adobe PHOTOSHOP CS2