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2015-09-25T11:44:00.001-07:00

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2015-01-03T20:32:00.001-08:00

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Mastering Autodesk Revit Architecture 2015 eBook Free Download

2014-12-15T21:04:00.001-08:00

Mastering Autodesk Revit Architecture 2015

Description

The Ultimate Guide to Autodesk Revit Architecture 2015 Responding to reader and instructor feedback, the expert author team updated and refreshed the book's content to make it even more useful, complete, and approachable. Mastering Revit Architecture is organized by real-world workflows and features detailed explanations, interesting real-world examples, and practical tutorials to help readers understand Revit and BIM concepts so that they can quickly start accomplishing vital Revit tasks.

Part I discusses key BIM and Revit concepts before giving readers a hands-on look at the Revit interface.
Part II explores today's Revit workflows and introduces readers to templates, worksharing, and managing Revit projects.
Part III dives into modeling and massing and offers detailed information on the crucial Family Editor as well as visualization techniques for various industries.
Part IV covers documentation, including annotation and detailing, and explains how to work with complex walls, roofs and floors as well as curtain walls and advanced stair and railings.

The companion website features before-and-after tutorial files (metric and Imperial sets), additional advanced content, and an hour of video on crucial techniques. Whether you are a beginner or an advanced Revit user, this book offers the detailed instruction you need to get the most out of this powerful software product.
====================================================

Table of Contents

Introduction xxv Part 1 • Fundamentals 1
Chapter 1 • Introduction: The Basics of BIM 3
What Is Revit? 3
Understanding a BIM Workflow 4
Leveraging BIM Processes 4
Visualizing 7
Analyzing 10
Strategizing 12
Focusing Your Investment in BIM 12
Staffing for BIM 13
Understanding Project Roles 14
Establishing a BIM Execution Plan 16
The Bottom Line 17
Chapter 2 • Applying the Principles of the User Interface and Project Organization 19
Understanding the User Interface 19
Accessing and Using the Application Menu 20
Using the Quick Access Toolbar 20
Using the InfoCenter 21
Getting to Know the Ribbon 21
Using Other Aspects of the UI 25
Defining Project Organization 34
Introducing Datum Objects (Relationships) 36
Using Content 47
Working with Views 49
Highlighting Project Management 62
The Bottom Line 63
Chapter 3 • The Basics of the Toolbox 65
Selecting, Modifying, and Replacing Elements 65
Selecting Elements 65
Selection Options 67
Filtering Your Selection 67
Using Selection-based Filters 68
Selecting All Instances 68
Using the Properties Palette 68
Matching Properties 70
Using the Context Menu 70
Editing Elements Interactively 71
Moving Elements 71
Copying Elements 74
Rotating and Mirroring Elements 75
Arraying Elements 77
Scaling Elements 80
Aligning Elements 80
Trimming or Extending Lines and Walls 81
Splitting Lines and Walls 82
Offsetting Lines and Walls 83
Keeping Elements from Moving 84
Exploring Other Editing Tools 85
Using the Join Geometry Tool 85
Using the Split Face and Paint Tools 86
Copying and Pasting from the Clipboard 86
Using the Create Similar Tool 88
Using Keyboard Shortcuts (Accelerators) 89
Double-click to Edit 90
Modeling Site Context 90
Using a Toposurface 91
Creating a Building Pad 99
Generating Property Lines 100
Cut/Fill Schedules 103
The Bottom Line 104
Chapter 4 • Configuring Templates and Standards 107
Introducing Project Templates 107
Customizing Project Settings for Graphic Quality 108
Discovering Object Styles 108
Using Line Settings 111
Defining Materials 115
Defining Fill Patterns 124
Preconfiguring Color Schemes 130
Increasing Efficient View Management 132
Organizing Views 133
Creating and Assigning Filters 135
Using View Templates 137
Creating Custom Annotations 141
Introducing Tag Family Fundamentals 142
Creating a Custom Door Tag 143
Customizing View Tags 145
Starting a Project with a Custom Template 151
Strategies for Managing Templates 151
Aggregating Template Data 152
The Bottom Line 157
Part 2 • Collaboration and Teamwork 159
Chapter 5 • Working in a Team 161
Understanding Worksharing Basics 161
Enabling Worksharing on Your Project 163
Describing the Types of Worksets 165
Creating a Central File 165
Selecting a Starting View 168
Creating a Local File 169
Using Worksharing Usernames 172
Organizing Worksets 172
Moving Elements between Worksets 174
Managing Workflow with Worksets 178
Saving Work 179
Saving at Intervals 181
Loading Work from Other Team Members 182
Using Worksharing Visualization 182
Managing Workset Visibility in View Templates 185
Closing Revit 185
Disabling Worksharing 186
Understanding Element Ownership in Worksets 187
Understanding Editing Requests 189
Placing an Editing Request 189
Granting an Editing Request 191
Relinquishing Permission 192
Using the Worksharing Monitor 192
Collaborating in the Cloud 193
The Bottom Line 195
Chapter 6 • Working with Consultants 197
Preparing for Collaboration 197
Managing the Coordination Process 198
Using Linked Models in Revit 202
Agreeing on Shared Positioning 202
Using Project Base Point and Survey Point 205
Using Worksets to Organize Linked Models 211
Summarizing the Benefits and Limitations of Linked Models 213
Using Linked Models - Two Exercises 214
Using the Coordination Tools 217
Using the Copy/Monitor Command 218
Using the Copy/Monitor Command - An Exercise 220
Using the Coordination Review Tool 222
Using the Coordination Review Tool - An Exercise 224
Using Interference Checking in 3D Coordination 225
The Bottom Line 228
Chapter 7 • Interoperability: Working Multiplatform 229
Examining Interoperability on a BIM Curve 229
Inserting CAD Data 230
Using Predefined Settings for Inserted CAD Data 230
Importing vs Linking 232
Using Options During Importing/Linking 233
Manipulating Inserted CAD Data 234
Using Inserted 2D Data 238
Setting Options for BIM Conversion 238
Using CAD Data in Other Ways 239
Linking Details 240
Using Inserted 3D Data 242
Using CAD Data as a Mass 242
Using CAD Data as a Face 243
Using CAD Data as an Object 246
Exporting CAD Data 248
Preparing for CAD Exports 249
Exporting DWG Settings 251
Exporting 2D CAD Data 256
Exporting 3D Model Data 258
Exporting to SketchUp 258
Using IFC Interoperability 261
The Bottom Line 267
Part 3 • Modeling and Massing for Design 269
Chapter 8 • Advanced Modeling and Massing 271
The Massing User Interface and Functionality 271
Creating Mass Geometry 274
Creating an In-Place Mass 275
Placing a Mass 280
Creating Mass Floors 281
Scheduling Masses 282
Massing Surfaces 285
Using Freeform Building Massing 289
Dissolving and Rebuilding 296
Creating Formula-driven Massing 303
Creating a Generic Model Mass Family 304
Creating a Complex Mass Family 316
The Bottom Line 324
Chapter 9 • Conceptual Design and Design Analysis 325
Analysis for Sustainability 325
Creating a Conceptual Mass 326
Modeling an Adaptive Component 327
Building the Massing Framework 333
Energy Modeling 338
Conceptual Energy Analysis 339
Energy Analysis Setup 340
Running Energy Analysis Simulations 345
Refining the Conceptual Analysis 349
Detailed Energy Modeling 356
Exporting to gbXML 357
The Bottom Line 362
Chapter 10 • Working with Phasing, Groups, and Design Options 363
Using Phasing 363
What Can You Phase? 366
Implementing Phase Settings 368
Illustrating the Geometry Phase 373
Using the View Phase 376
Creating and Using Groups 382
Creating Groups 382
Modifying Groups 384
Creating New Groups 385
Excluding Elements within Groups 387
Saving and Loading Groups 389
Creating Groups from Links 391
Using Best Practices for Groups 392
Making Design Options for Design Iteration 394
Creating Design Options 395
Editing Design Options 397
Viewing and Scheduling Design Options 398
Removing Design Options and Option Sets 399
Combining Phasing, Groups, and Design Options 402
Phase 1: Demolition 404
Phase 1: Proposed 405
Phase 2: Demolition 407
Phase 2: Proposed 408
Scheduling 410
Using the Design Option Tool 413
The Bottom Line 416
Chapter 11 • V isualization 417
Explaining the Role of Visualization 417
Understanding View Controls 418
Setting the Detail Level 419
Working with Graphic Display Options 421
Working with the Section Box 432
Understanding Analytic Visualization 433
Project Parameters 434
Setting User-Defined Parameters 437
Identifying Design Elements 440
Setting Solar and Shadow Studies 441
Understanding Photo-realistic Visualization 443
Rendering Sequence and Workflow 443
Creating Perspective Views 444
Locking Your View 447
Creating a Walkthrough 448
Exporting a Walkthrough 451
Rendering Settings 453
Using Monochromatic Views to Examine Context and Lighting 455
Adjusting Lighting and Interior Renderings 460
Placing Artificial Lighting 461
Manipulating Light Groups 462
Assigning Materials 468
Rendering in the Cloud 469
The Bottom Line 471
Part 4 • Extended Modeling Techniques 473
Chapter 12 • Creating Walls and Curtain Walls 475
Using Extended Modeling Techniques for Basic Walls 475
Creating Basic Wall Types 476
Adding Wall Articulation 485
Modeling Techniques for Basic Walls 492
Creating Custom In-Place Walls 499
Creating Stacked Walls 500
Creating Simple Curtain Walls 503
Designing a Curtain Wall 505
Customizing Curtain Wall Types 511
Creating Complex Curtain Walls 516
Dividing the Surface 517
Dividing the Surface with Intersects 519
Applying Patterns 520
Editing the Pattern Surface 521
Editing a Surface Representation 522
Adding Definition 523
Creating Custom Patterns 531
Limiting the Size of Pattern-based Families 532
Using the Adaptive Component Family 534
Scheduling Pattern-based Panels 536
The Bottom Line 537
Chapter 13 • Modeling Floors, Ceilings, and Roofs 539
Understanding Floor Types 539
Modeling a Floor 539
Creating a Structural Floor 542
Modeling Floor by Face 544
Defining a Pad 544
Sketching for Floors, Ceilings, and Roofs 545
Modeling Slab Edges 546
Creating a Custom Floor Edge 547
Modeling Floor Finishes 550
Using a Split Face for Thin Finishes 550
Modeling Thick Finishes 551
Creating Ceilings 554
Understanding Roof Modeling Methods 555
Constructing a Roof by Footprint 557
Applying a Roof by Extrusion 560
Roof In-Place 561
Creating a Roof by Face 562
Creating a Sloped Glazing 562
Using Slope Arrows 563
Using Additional Roof Tools 564
Using Advanced Shape Editing with Floors and Roofs 567
Creating a Roof with a Sloped Topping 568
Applying a Variable Thickness to a Roof Layer 569
The Bottom Line 570
Chapter 14 • Designing with the Family Editor 573
Getting Started with a Family 573
Understanding In-Place Families 574
Choosing the Right Family Template and Category 575
Choosing Between Hosted and Non-hosted Family Types 579
Creating Other Types of Families in the Family Editor 580
Understanding the Family Editor 583
Creating the Framework for a Family Component 585
Creating the Necessary Reference Planes, Lines, and Points 585
Using Dimensions to Control Geometric Parameters 590
Reviewing the Differences Between Type and Instance Parameters 594
Organizing Solids and Lines in a Family Editor 597
Modeling Techniques in the Family Editor 602
Creating an Extrusion 602
Creating a Sweep 604
Creating a Revolve 608
Creating a Blend and Swept Blend 609
Nesting Families 614
Troubleshooting Techniques 617
Doing a Visibility Check 617
Applying Parametric Arrays and Family Type Parameters 618
The Bottom Line 621
Chapter 15 • Creating Stairs and Railings 623
Designing Stairs and Railings 623
Reviewing the Key Components of Stairs and Railings 625
Reviewing the Basic Rules of Stairs 625
Working with Stair Components 627
Reviewing the Components of Railings 628
Creating Stairs 635
Understanding the Stair Tools 636
Using the Components for Customizing Stairs 642
Creating Stairs with Other Tools 656
Annotating Stairs 664
Creating Railings 667
Creating a Custom Railing 670
Creating Glass Railings with the Curtain Wall Tool 675
Using the Railing Tool for Other Objects 677
The Bottom Line 681
Part 5 • Documentation 683
Chapter 16 • Detailing Your Design 685
Creating Details 685
View Types for Detailing 685
Working with the Detailing Process 688
Detailing Tools 689
Using the Detail Line Tool 689
Using the Linework Tool 690
Using Filled Regions and Masking Regions 691
Adding Detail Components 696
Repeating Detail Component 700
Using Line-based Detail Components 704
Drafting Insulation 704
Creating Detail Groups 705
Adding Detail Components to Families 707
Reusing Details from Other Files 710
Using CAD Details 710
Using Details from Other Revit Projects 711
The Bottom Line 715
Chapter 17 • Documenting Your Design 717
Documenting Plans 717
Calculating Space Using Room Objects 717
Creating Area Plans 720
Adding Area Objects 724
Modifying Area Plans 727
Creating Schedules and Legends 728
Creating Schedules 728
Using Legends 739
Laying Out Sheets 741
Adding the Area Plan 741
Activating a View 742
Using Guide Grids 743
Adding the Schedule 745
Finishing the Sheet 746
The Bottom Line 747
Chapter 18 • Annotating Your Design 749
Annotating with Text and Keynotes 749
Using Text 750
Using Keynotes 754
Annotating with Tags 765
Inserting Tags 766
Using the Tag Toolset 767
Adding Dimensions 771
Using Dimension Equality 773
Customizing Dimension Text 774
Editing Dimension Strings 777
Using Alternate Units 778
Annotating with Project and Shared Parameters 780
Creating Project Parameters 781
Creating Shared Parameters 784
The Bottom Line 792
Part 6 • Construction and Beyond 795
Chapter 19 • Working in the Construction Phase 797
Using Revisions in Your Project 797
Creating a Revision Cloud 797
Placing Revision Clouds 800
Tagging a Revision Cloud 802
Disabling the Leader 802
Using Digital Markups 803
Publishing to Design Review 803
Modeling for Construction 808
Creating Parts 809
Modifying Parts 810
Scheduling Parts 817
Creating Assemblies 818
Creating Assembly Views 819
The Bottom Line 821
Chapter 20 • Presenting Your Design 823
Understanding Color Fill Legends 823
Making a Color Fill Legend for Rooms 824
Customizing a Color Fill Legend 828
Modifying Other Settings 830
Using Numerical Ranges for Color Schemes 832
Presenting with 3D Views 834
Orienting to Other Views 834
Annotating 3D Views 837
Editing Viewport Types 838
Creating “Exploded” Axonometric Views 839
The Bottom Line 845
Chapter 21 • Working with Point Clouds 847
Understanding LiDAR 847
Selecting the Hardware 848
Benefitting from LiDAR 848
Planning for a LiDAR Survey 852
Deciding on an Exterior or Interior Scan 853
Determining the Level of Detail 853
Using Imagery 853
Setting a Scanning Schedule 854
Using the Scan in a Project 854
Getting Started with a Point Cloud 856
Modeling with a Point Cloud 860
The Bottom Line 865
Appendices 867
Appendix A • The Bottom Line 869
Chapter 1: Introducing the Basics of BIM 869
Chapter 2: Applying the Principles of the User Interface and Project Organization 870
Chapter 3: The Basics of the Toolbox 870
Chapter 4: Configuring Templates and Standards 871
Chapter 5: Working in a Team 872
Chapter 6: Working with Consultants 873
Chapter 7: Interoperability Working Multiplatform 874
Chapter 8: Advanced Modeling and Massing 875
Chapter 9: Conceptual Design and Design Analysis 876
Chapter 10: Working with Phasing, Groups, and Design Option 877
Chapter 11: Visualization 878
Chapter 12: Creating Walls and Curtain Walls 879
Chapter 13: Modeling Floors, Ceilings, and Roofs 880
Chapter 14: Designing with the Family Editor 881
Chapter 15: Creating Stairs and Railings 882
Chapter 16: Detailing Your Design 883
Chapter 17: Documenting Your Design 884
Chapter 18: Annotating Your Design 885
Chapter 19: Working in the Construction Phase 886
Chapter 20: Presenting Your Design 887
Chapter 21: Working with Point Clouds 888
Appendix B • Tips, Tricks, and Troubleshooting 889
Optimizing Performance 889
Use Best Practices 892
Quality Control 896
Keeping an Eye on File Size 896
Using Schedules 901
Reviewing Warnings 905
Other Tips and Shortcuts 906
Additional Resources 909
Appendix C • Autodesk Revit Architecture Certification 911
Index 919
=====================================================

Author Information

Eddy Krygiel is an Autodesk Authorized Author and registered architect at HNTB Architects, where he implements BIM and has used Revit to complete projects of all sizes. James Vandezande is a registered architect, an Autodesk Authorized Author, and Principal at HOK, where he is one of the company’s BIM leaders. Vandezande is also involved in developing the US National BIM Standard and the LOD Specification.

Downloads

Download Title	Size	Download
Chapter 2_ UI	984.02 KB	Click to Download
Chapter 3 Tool-chest	36.79 MB	Click to Download
Chapter 4 Templates	18.20 MB	Click to Download
Chapter 5 Work sharing	10.28 MB	Click to Download
Chapter 6 Consultant	52.48 MB	Click to Download
Chapter 7 Inter-op	34.27 MB	Click to Download
Chapter 8 Advanced Modeling	71.53 MB	Click to Download
Chapter 9 Conceptual Design	37.13 MB	Click to Download
Chapter 10 Phases and Groups	39.31 MB	Click to Download
Chapter 11 Visualization	33.33 MB	Click to Download
Chapter 12 Walls	36.76 MB	Click to Download
Chapter 13 Floors and Roofs	24.63 MB	Click to Download
Chapter 14 Family Editor	9.67 MB	Click to Download
Chapter 15 Stairs	56.41 MB	Click to Download
Chapter 16 Detailing	20.88 MB	Click to Download
Chapter 17 Documenting	16.52 MB	Click to Download
Chapter 18 Annotating	55.91 MB	Click to Download
Chapter 19 Construction	8.91 MB	Click to Download
Chapter 20 Presenting	36.57 MB	Click to Download
Chapter 21 Point Clouds	6.03 MB	Click to Download
Chapter 21 Fort Gratiot Lighthouse reference file Click to Download

3DS MAX 2014 All Chapter Free download .PDF ebook

2014-12-15T20:30:00.001-08:00

Autodesk 3ds Max 2014 All Chapters Bible eBook free download .PDF

Description

A complete reference covering the newest version of 3ds Max software

Autodesk 3ds Max is the popular 3D modeling, animation, rendering, and compositing software preferred by game developers and graphic designers in film and television. This comprehensive reference not only introduces beginners to this pricey and complex software, but also serves as a reference for experienced users. Packed with expert advice from popular author Kelly Murdock, it begins with a Quick Start tutorial to get you up and running, then continues with more than 150 step-by-step tutorials, advanced coverage, and plenty of tips and timesavers.

3ds Max is professional modeling and animation software used in the film, television, and game development industries; this complete guide gets beginners started and teaches experienced users how to take advantage of the program's newest capabilities
Covers all the basics as well as advanced topics including crowd simulation, particle systems, rigid body dynamics, state sets, compositing, radiosity, network rendering, and MAXScript
Features more than 150 step-by-step tutorials and complete references detailing all primitives, modifiers, materials, maps, and controllers
Companion website includes examples from the book, unique models and textures that you can customize, before-and-after examples from the tutorials, and bonus Quick Starts from previous editions

Table of Contents

Acknowledgments xi Preface xliii
Part I: Getting Started with Autodesk 3ds Max 2014 1
Quick Start: Adding a Crowd to the City Center 3
Chapter 1: Exploring the Interface 13
Chapter 2: Controlling and Configuring the Viewports 39
Chapter 3: Working with Files, Importing, and Exporting 83
Chapter 4: Setting Preferences 109
Part II: Manipulating Objects 137
Chapter 5: Creating and Editing Primitive Objects 139
Chapter 6: Selecting Objects and Using Layers 177
Chapter 7: Transforming Objects, Pivoting, Aligning, and Snapping 211
Chapter 8: Cloning Objects and Creating Object Arrays 241
Chapter 9: Grouping, Linking, and Parenting Objects 265
Chapter 10: Organizing Scenes with Containers, XRefs, and the Schematic View 277
Part III: Modeling 3D Assets 313
Chapter 11: Accessing Subobjects and Modifiers and Using the Modifier Stack 315
Chapter 12: Drawing and Editing 2D Splines and Shapes 339
Chapter 13: Modeling with Polygons 375
Chapter 14: Using the Graphite Modeling Tools and Painting with Objects 411
Chapter 15: Working with Compound Objects 443
Chapter 16: Deforming Surfaces and Using the Mesh Modifiers 457
Part IV: Applying Materials and Textures 509
Chapter 17: Creating and Applying Standard Materials with the Slate Material Editor 511
Chapter 18: Adding Material Details with Maps 541
Chapter 19: Using Specialized Material Types 581
Chapter 20: Creating Compound Materials and Using Material Modifiers 593
Chapter 21: Unwrapping UVs and Mapping Textures 611
Chapter 22: Painting in the Viewport Canvas and Rendering Surface Maps 635
Chapter 23: Creating Baked Textures and Normal Maps 653
Part V: Working with Backgrounds, Cameras, and Lighting 663
Chapter 24: Configuring and Aiming Cameras 665
Chapter 25: Matching Perspective to Background Images 681
Chapter 26: Using Lights and Basic Lighting Techniques 687
Chapter 27: Using the Sunlight and Daylight Systems 707
Chapter 28: Working with Advanced Lighting, Light Tracing, and Radiosity 713
Part VI: Rendering a Scene 731
Chapter 29: Rendering a Scene and Enabling Quicksilver 733
Chapter 30: Managing Render States 749
Chapter 31: Batch and Network Rendering 757
Chapter 32: Rendering with mental ray and iray 781
Chapter 33: Compositing with Render Elements and the Video Post Interface 801
Part VII: Animating Objects and Scenes 825
Chapter 34: Understanding Animation and Keyframes 827
Chapter 35: Animating with Constraints and Simple Controllers 851
Chapter 36: Exploring the Complex Controllers 873
Chapter 37: Using Animation Layers and Animation Modifiers 903
Chapter 38: Wiring Parameters 925
Chapter 39: Editing Animation Curves in the Track View 935
Part VIII: Working with Characters 969
Chapter 40: Understanding Rigging, Kinematics, and Working with Bones 971
Chapter 41: Skinning Characters 991
Chapter 42: Animating Characters with CAT 1011
Chapter 43: Creating Crowds and Using Populate 1031
Part IX: Adding Special Effects 1041
Chapter 44: Creating Particles and Particle Flow 1043
Chapter 45: Using Space Warps 1081
Chapter 46: Using Atmospheric and Render Effects 1105
Chapter 47: Creating Volume Light Effects 1129
Chapter 48: Adding Lens Effects 1135
Part X: Using Dynamic Animation Systems 1155
Chapter 49: Simulating Physics-Based Motion with MassFX 1157
Chapter 50: Working with Hair and Cloth 1175
Appendix A: What’s New with Autodesk 3ds Max 2014 1199
Appendix B: Automating with MAXScript 1203
Appendix C: What’s on the Website 1219
Index 1221

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Downloads

Download Title	Size	Download
Quick Start	65.99 MB	Click to Download
Chapter 1	252.92 KB	Click to Download
Chapter 2	3.38 MB	Click to Download
Chapter 3	437.31 KB	Click to Download
Chapter 4	24.93 KB	Click to Download
Chapter 5	1.51 MB	Click to Download
Chapter 6	5.66 MB	Click to Download
Chapter 7	821.91 KB	Click to Download
Chapter 8	1.55 MB	Click to Download
Chapter 9	1.53 MB	Click to Download
Chapter 10	2.48 MB	Click to Download
Chapter 11	1.43 MB	Click to Download
Chapter 12	296.50 KB	Click to Download
Chapter 13	1.00 MB	Click to Download
Chapter 14	2.24 MB	Click to Download
Chapter 15	850.38 KB	Click to Download
Chapter 16	4.96 MB	Click to Download
Chapter 17	2.92 MB	Click to Download
Chapter 18	9.18 MB	Click to Download
Chapter 19	902.53 KB	Click to Download
Chapter 20	1.09 MB	Click to Download
Chapter 21	991.35 KB	Click to Download
Chapter 22	2.16 MB	Click to Download
Chapter 23	1.14 MB	Click to Download
Chapter 24	2.40 MB	Click to Download
Chapter 25	4.31 MB	Click to Download
Chapter 26	775.98 KB	Click to Download
Chapter 27	60.77 KB	Click to Download
Chapter 28	5.75 MB	Click to Download
Chapter 29	1.44 MB	Click to Download
Chapter 30	1.57 MB	Click to Download
Chapter 31	733.75 KB	Click to Download
Chapter 32	4.73 MB	Click to Download
Chapter 33	17.46 MB	Click to Download
Chapter 34	7.46 MB	Click to Download
Chapter 35	8.10 MB	Click to Download
Chapter 36	480.31 KB	Click to Download
Chapter 37	13.48 MB	Click to Download
Chapter 38	2.11 MB	Click to Download
Chapter 39	890.59 KB	Click to Download
Chapter 40	3.02 MB	Click to Download
Chapter 41	6.25 MB	Click to Download
Chapter 42	2.21 MB	Click to Download
Chapter 43	14.56 MB	Click to Download
Chapter 44 A	61.00 MB	Click to Download
Chapter 44 B	30.93 MB	Click to Download
Chapter 45	1.44 MB	Click to Download
Chapter 46	2.59 MB	Click to Download
Chapter 47	507.33 KB	Click to Download
Chapter 48	1.90 MB	Click to Download
Chapter 49	521.56 KB	Click to Download
Chapter 50	17.57 MB	Click to Download
Appendix B	659.14 KB	Click to Download

Photoshop Shortcut Keys for Vanishing Point

2014-12-02T20:23:00.001-08:00

Photoshop Shortcut Keys for Vanishing Point

Result	Windows	Mac OS
Zoom 2x (temporary)	X	X
Zoom in	Control + + (plus)	Command + + (plus)
Zoom out	Control + - (hyphen)	Command + - (hyphen)
Fit in view	Control + 0 (zero), Double-click Hand tool	Command + 0 (zero), Double-click Hand tool
Zoom to center at 100%	Double-click Zoom tool	Double-click Zoom tool
Increase brush size (Brush, Stamp tools)	]	]
Decrease brush size (Brush, Stamp tools)	[	[
Increase brush hardness (Brush, Stamp tools)	Shift + ]	Shift + ]
Decrease brush hardness (Brush, Stamp tools)	Shift + [	Shift + [
Undo last action	Control + Z	Command + Z
Redo last action	Control + Shift + Z	Command + Shift + Z
Deselect all	Control + D	Command + D
Hide selection and planes	Control + H	Command + H
Move selection 1 pixel	Arrow keys	Arrow keys
Move selection 10 pixels	Shift + arrow keys	Shift + arrow keys
Copy	Control + C	Command + C
Paste	Control + V	Command + V
Repeat last duplicate and move	Control + Shift + T	Command + Shift + T
Create a floating selection from the current selection	Control + Alt + T
Fill a selection with image under the pointer	Control-drag	Command-drag
Create a duplicate of the selection as a floating selection	Control + Alt-drag	Command + Option-drag
Constrain selection to a 15° rotation	Alt + Shift to rotate	Option + Shift to rotate
Select a plane under another selected plane	Control-click the plane	Command-click the plane
Create 90 degree plane off parent plane	Control-drag	Command-drag
Delete last node while creating plane	Backspace	Delete
Make a full canvas plane, square to the camera	Double-click the Create Plane tool	Double-click the Create Plane tool
Show/hide measurements (Photoshop Extended only)	Control + Shift + H	Command + Shift + H
Export to a DFX file (Photoshop Extended only)	Control + E	Command + E
Export to a 3DS file (Photoshop Extended only)	Control + Shift + E	Command + Shift + E

Photoshop Shortcut Keys for the Camera Raw dialog box

2014-12-02T20:23:00.000-08:00

Photoshop Shortcut Keys for the Camera Raw dialog box

Note:

Holding down a key temporarily activates a tool. Letting go of the key returns to the previous tool.

Result	Windows	Mac OS
Zoom tool	Z	Z
Hand tool	H	H
White Balance tool	I	I
Color Sampler tool	S	S
Crop tool	C	C
Straighten tool	A	A
Spot Removal tool	B	B
Red Eye Removal tool	E	E
Basic panel	Ctrl+Alt+1	Command+Option+1
Tone Curve panel	Ctrl+Alt+2	Command+Option+2
Detail panel	Ctrl+Alt+3	Command+Option+3
HSL/Grayscale panel	Ctrl+Alt+4	Command+Option+4
Split Toning panel	Ctrl+Alt+5	Command+Option+5
Lens Corrections panel	Ctrl+Alt+6	Command+Option+6
Camera Calibration panel	Ctrl+Alt+7	Command+Option+7
Presets panel	Ctrl+Alt+9	Command+Option+9 (Mac OS Universal Access zoom shortcut must be disabled in System Preferences)
Open Snapshots panel	Ctrl+Alt+9	Command+Option+9
Parametric Curve Targeted Adjustment tool	Ctrl+Alt+Shift+T	Command+Option+Shift+T
Hue Targeted Adjustment tool	Ctrl+Alt+Shift+H	Command+Option+Shift+H
Saturation Targeted Adjustment tool	Ctrl+Alt+Shift+S	Command+Option+Shift+S
Luminance Targeted Adjustment tool	Ctrl+Alt+Shift+L	Command+Option+Shift+L
Grayscale Mix Targeted Adjustment tool	Ctrl+Alt+Shift+G	Command+Option+Shift+G
Last-used Targeted Adjustment tool	T	T
Adjustment Brush tool	K	K
Graduated Filter tool	G	G
Increase/decrease brush size	] / [	] / [
Increase/decrease brush feather	Shift + ] / Shift + [	Shift + ] / Shift + [
Increase/decrease Adjustment Brush tool flow in increments of 10	= (equal sign) / - (hyphen)	= (equal sign) / - (hyphen)
Temporarily switch from Add to Erase mode for the Adjustment Brush tool, or from Erase to Add mode	Alt	Option
Increase/decrease temporary Adjustment Brushtool size	Alt + ] / Alt + [	Option + ] / Option + [
Increase/decrease temporary Adjustment Brushtool feather	Alt + Shift + ] / Alt + Shift + [	Option + Shift + ] / Option + Shift + [
Increase/decrease temporary Adjustment Brushtool flow in increments of 10	Alt + = / Alt + -	Option = / Option + -
Switch to New mode from Add or Erase mode of the Adjustment Brush tool or the Graduated Filter	N	N
Toggle Auto Mask for Adjustment Brush tool	M	M
Toggle Show Mask for Adjustment Brush tool	Y	Y
Toggle pins for Adjustment Brush tool	V	V
Toggle overlay for Graduated Filter, Spot Removaltool, or Red Eye Removal tool.	V	V
Rotate image left	L or Ctrl + ]	L or Command + ]
Rotate image right	R or Ctrl + [	R or Command + [
Zoom in	Ctrl + + (plus)	Command + + (plus)
Zoom out	Ctrl + - (hyphen)	Command + - (hyphen)
Temporarily switch to Zoom In tool (Doesn’t work when Straighten tool is selected. If Crop tool is active, temporarily switches to Straighten tool.)	Ctrl	Command
Temporarily switch to Zoom Out tool and change the Open Image button to Open Copy and the Cancel button to Reset.	Alt	Option
Toggle preview	P	P
Full screen mode	F	F
Temporarily activate the White Balance tool and change the Open Image button to Open Object. (Does not work if Crop tool is active.)	Shift	Shift
Select multiple points in Curves panel	Click the first point; Shift-click additional points	Click the first point; Shift-click additional points
Add point to curve in Curves panel	Control-click in preview	Command-click in preview
Move selected point in Curves panel (1 unit)	Arrow keys	Arrow keys
Move selected point in Curves panel (10 units)	Shift-arrow	Shift-arrow
Open selected images in Camera Raw dialog box from Bridge	Ctrl + R	Command + R
Open selected images from Bridge bypassing Camera Raw dialog box	Shift + double-click image	Shift + double-click image
Display highlights that will be clipped in Preview	Alt-drag Exposure, Recovery, or Black sliders	Option-drag Exposure, Recovery, or Black sliders
Highlight clipping warning	O	O
Shadows clipping warning	U	U
(Filmstrip mode) Add 1 - 5 star rating	Ctrl+1 - 5	Command+1 - 5
(Filmstrip mode) Increase/decrease rating	Ctrl+. (period) / Ctrl+, (comma)	Command+. (period) / Command+, (comma)
(Filmstrip mode) Add red label	Ctrl+6	Command+6
(Filmstrip mode) Add yellow label	Ctrl+7	Command+7
(Filmstrip mode) Add green label	Ctrl+8	Command+8
(Filmstrip mode) Add blue label	Ctrl+9	Command+9
(Filmstrip mode) Add purple label	Ctrl+Shift+0	Command+Shift+0
Camera Raw preferences	Ctrl + K	Command + K
Deletes Adobe Camera Raw preferences	Ctrl + Alt (on open)	Option + Shift (on open)

How to reset Password of mobile

2014-12-02T20:21:00.002-08:00

Nokia Mobile hard reset code

Video Tutorial

Use-full Nokia mobile reset code, how to restore nokia mobile, How to reset Password of mobile

View this video tutorial.

Coloring and Line Work in Illustrator CS5

2014-12-01T21:00:00.000-08:00

Coloring and Line Work in Illustrator CS5

t.

Do a search on "coloring comics," and you get dozens of Photoshop tutorials. They all seem to involve building up areas of color with transparent brushes. Now you can achieve that same effect with Illustrator CS5, using the Bristle Brush.
Unlike Photoshop, however, Illustrator gives you the flexibility to edit individual paths. Since Illustrator's brush strokes are vector, you can change the shape, width, color and blending mode to achieve exactly the look you want. You can even delete a brush stroke you don't want. Try that, Photoshop! This tutorial will use another feature introduced in CS5, Draw Inside. Let's get started!

Step 1

You can use this technique with any line art or illustration. I am going to quickly create my line art by tracing a source photo from Wikimedia Commons, photo by Guillaume Piolle.

Place the photo in your document and make a Template layer by double-clicking the layer name to bring up its options. The Template layer will be locked by default. Make a new layer for the line work.

Step 2

To create the line art, use the "Tapered Strokes" brush from the default set. You can adjust the brush settings by double-clicking the Brush Tool to bring up its options. This is a matter of personal preference; experiment until you find a setting that works for you. I prefer to set the brush so that the paths confirm fairly closely to my strokes, but don't end up with too many points.

Using the photo to trace, paint the outline with black strokes. Stick to the major shapes and lines — don't worry about the shadows or any of the highlights. Once you have the line work done, it should look something like the image below. You can edit individual paths, and add or delete strokes as you see fit.

Step 3

Now you'll do the modeling with the Bristle Brush. Lock the line work layer and create a new one below it.
In order to get the most out of the Bristle Brush, it's best to understand its settings. I'll add a detailed explanation of each setting at the end of this tutorial for reference.
It's also important to note that to get the full benefit of the Bristle Brush, you must use a Wacom Intuous 3 or higher tablet and a 6D Art pen. The tablet and pen combination will respond to tilt, bearing, rotation, and pressure. A mouse alone will only respond to movement, but will still work fine for this tutorial.
To create a new bristle brush click the new brush icon on the brushes panel. Choose Bristle Brush, which will bring up its options. There are tons of possibilities with a Bristle Brush, but to start, choose Flat Angle as the shape, and increase the size to 5mm. Leave the other settings as they are, with the exception of the Opacity. Set it low, to about 30%.

Step 4

Using the Pen Tool, outline a flat area of shadow on the artwork. Here, I've drawn around the top lip. Select the shape and then choose Draw Inside at the bottom of the tool panel. Dotted-line brackets will appear around the shape, letting you know that you're in Draw Inside mode. You can deselect the shape, but the brackets will remain.

Step 5

Choose a warm gray for the stroke color. I've used some swatches from the "Neutral" library, which can be accessed by clicking the Swatch Libraries Menu icon on the bottom left of the Swatches panel.
If you didn't deselect the lip shape in the previous step, it may frustrate you to see that it now has the stroke color you just picked. This can be really annoying, but you just have to remember to deselect the shape. The dotted-line brackets indicate that the shape is still in Draw Inside mode.

Step 6

You may wish to turn off the photo layer, or move the photo to the side so you can use it as a reference. Now just start drawing strokes inside the lip shape. Depending on your Opacity setting, it may be hard to see a single stroke. You may also want to increase the brush size in the Strokes panel for wider swaths of color.
Keep painting and building up color and texture. Note that different brush strokes will interact in this way, but if you just use one brush and scrub back and forth, it won't build up. In other words, a single brush stroke does not interact with itself, so deselect the existing strokes and paint new ones to layer the color.

Step 7

Do the same for the other shadow areas. First choose Draw Normal mode, then select the new shape and choose Draw Inside again. Make sure you're finished with one before proceeding to the next. Once you exit Draw Inside Mode for a shape, you can't access it again.
TIPS: If you want a darker stroke, you can change the opacity on the fly by using the numeric keys: 1 for 10%, 2 for 20% and so on.
You can double-click any Bristle Brush in the Brushes panel to edit it. If the brush you are changing is already in use in your file, you'll get this warning. Unless you want every brush stoke to update with your changes, click "Leave Strokes" to leave the existing brush strokes unchanged.

Step 8

Once all the shadow shapes have been drawn and painted, your image should look something like the one below. "Draw Inside" simply creates a Clipping Mask before you draw. So if you want to edit some of the paths or start over, you can go to Object > Clipping Mask > Edit Contents.

Step 9

If you haven't saved your work, now's a good time to do that. You'll most likely get a warning when you save, telling you that your document contains Bristle Brush paths and transparency. Well, duh. Actually, this is an important warning to heed, because Bristle Brushes can make the document very complex and the file size quite large. You can turn off the warning so it doesn't appear again during this work session.

Step 10

Now we're going to add some more color, texture and modeling. Create a new Bristle Brush if you want to experiment — a Flat Fan will work nicely.
As before, set the Opacity fairly low, then begin painting along the contours of the face and neck. It's kind of a sculptural process, with the advantage of being able to edit the paths or start over if you want. If you paint a stroke you like, you can copy it and move it to another part of the illustration. You can change the stroke width, the opacity and the blending mode, just as you can with any vector path.
If you're using a graphics tablet and pen, you'll get visual feedback as to the direction, tilt and bearing of your brush. Still, it can be a rather random process, but that's part of the fun, and can lend itself to some happy accidents.

Step 11

I can't tell you exactly where and how to paint the rest of the strokes, you'll just have to play around until it looks right. The beauty of using Illustrator instead of Photoshop (or real paint, for that matter), is that if it gets too muddy, you can just delete some strokes or change their opacity. The final image is below.

Conclusion

Due to their transparency and fluidity, Bristle Brushes can be used for a wide variety of coloring applications. And because they're vector paths, you get the best of both worlds: The painterly effects of Photoshop brushes with the control and flexibility of Illustrator.
Keys to the Bristle Brush Options:

Name: Self-explanatory.
Shape: There are 10 styles. Each one attempts to mimic a real-life brush.
Size: This is the diameter of the brush. When you buy brushes in an art supply store, their size is measured at the point where the bristles meet the handle, so this measurement refers to that. Use the slider to change, or enter numerals from 1mm to 10mm.
Bristle Length: Measured from the bristle tip to the point where the bristles meet the handle.
Bristle Density: Has to do with the number of bristles in a brush. 1% is basically one bristle, but unlike a real-life brush, that one bristle will be the diameter of the brush as it is set in the Size field.
Bristle Thickness: Use the slider or enter numbers in the field.
Paint Opacity: 1% is translucent and 100% is opaque.
Stiffness: I like to think of Stiffness as the "squirly-ness" of the brush. That is, the lower the stiffness, the less the stroke will conform to the path you actually draw. This can be good for random strokes and surprises.

Advanced Glow Effects Using Photoshop CS

2014-12-01T20:57:00.000-08:00

Advanced Glow Effects Using Photoshop CS

Step 1:

As with pretty much every tutorial I've ever written, we begin with a radial gradient. This one is pretty harsh and goes from a reddish brown color to black. Here are the exact color codes:
Foreground color - #922f00
Background color - #000000

Step 2:

In this tutorial, we actually need a pretty intense center, so what we'll do is duplicate the layer we just made and set the one above to a blending mode of Color Dodge. There are a few types of blending modes, darkening ones, lightening ones, colorizing ones and inverting ones. Color Dodge is probably the strongest of the lightening ones. As you can see in the screenshot, it produces a pretty full-on center.

Step 3:

Now in our glow effect, it helps to have a nice textured background. So we are going to create a sort of smoky haze. To do this, create a new layer, then make sure you have white, #ffffff, and black, #000000, selected as your background and foreground colors.
Then go to Filter > Render > Clouds. This will give you the same random cloud pattern as above.

Step 4:

Now set the opacity of your layer to Overlay and 30% transparency. In some instances this would be enough, but for our needs we want it even smokier looking!
So go to Filter > Sketch > Chrome and use default settings of 4 and 7 for detail and smoothness respectively. Actually you can probably mess around with those if you want, but the defaults seem to be fine.
When you're done, the result should look a lot smokier (once its overlayed at 30% transparency that is). You can see the result in the background of the next screenshot.

Step 5:

Now before we can start making glows, we need to have something to glow. Here's where we break out the pen tool. If you have used the pen tool much I suggest playing around with it a little. There are some tricky things you can do with shortcuts, but for this tutorial you don't need those.
In fact all we want to achieve are some nice curves. Fortunately this isn't too hard. I find the trick is not to use too many points. Instead rely on the Pen Tool's natural curving and drag the mouse out for each point so you get a big angle. In this S-curve shown above, I've only used three points, the starting point, the end point and one in between to give it the bend.

Step 6:

Once you have a nice curve, create a new layer. Then click on the Paintbrush Tool (B) and choose a very thin, hard brush. As you know, soft brushes are the blurry ones and hard brushes are more solid. In this case I suggest using a thickness of 3.
Note that you can have any color selected as your brush color because we'll go over it with a layer style shortly.

Step 7:

Now switch back to the Pen Tool. You must switch tools in order to do this next bit.
Then right-click and select Stroke Path. A little dialog box will appear as in the screenshot. Choose Brush and make sure there is a tick next to Simulate Pressure. This is important as it will give your curve tapered ends which will make it rock!
Next right click again and select Delete Path.

Step 8:

You should now have something like the above. Just a thin, cool swishy thing.

Step 9:

Now we add some glows. The easiest way to make our glows is to use layer styles. And the best way to tell you what layer styles to use is to tell you to download the sample Photoshop PSD from the bottom of this page and then open it up and look through them there.
In a nutshell, I've added two sets of glows. To do this I first use Outer Glow and then because I want a second glow, I change the Drop Shadow settings so that it becomes a glow (you can do this by reducing the Distance and changing the blend mode to something like Color Dodge)
Oh and also I've used a Color Overlay to make the item white so that its like the center of an intense glow.

Step 10:

So now you have the same line but with a cool glow coming off it. The beauty of using a layer style is that you can copy and paste it to other layers. To do this you just right-click the layer and select Copy Layer Style then create a new layer and right-click and choose Paste Layer Style.

Step 11:

So now repeat the same process a couple of times to make more squiggly lines.
In this instance, I made one a little thicker by changing the paint brush size before I did the Stroke Path bit of the process. I also made a third line and erased part of it and sorta made it join the other two to look like a cool triangular shape.

Step 12:

Here I've added some text in and applied the same layer style to the text layers.
It's important to pay lots of care and attention to your text. When you're first starting out, use simple fonts and play with spacing between letters, words and sizes. You can achieve a lot with just some small tricks. Here I've contrasted the three words by making Glow a lot larger and in regular casing, then made Advanced and FX much smaller, with greater space between the letters and all caps.
You can control spacing with text using the Character window. If it isn't already open go to Window > Character and it should appear. Mess about with the different settings until you learn what each controls.

Step 13:

Now we add some particles. To do this, create a new layer then select a tiny paint brush - size 3 - and just paint some dots on. It helps if they are clustered towards the center of the glow so that it looks like they are emanating from there.
You can make some of the central ones larger by doubling over on them with a second paint brush dab.
Then paste our Glow layer style on to that layer too!

Step 14:

Now that's looking pretty cool, but it will look even cooler if we give it some subtle coloring instead of this super gaudy red.
So create a new layer, and using a radial gradient, draw a blue to white gradient as shown.

Step 15:

Then set that layer to a blending mode of Color and change the opacity to 50%.
You'll see that it turns the image kind of bluish. I think that's looking much cooler already, but just to go that extra step I also created a couple of extra layers, one with some faint yellow and one with faint purple. You can see them in the screenshot above.
I set each layer to blending mode of Color and thin opacities so that they all fade together.

Step 16:

And there you have it: advanced glow effects with a cool color blend and subtle smoky background combined make for a pretty great effect.
Just remember to experiment with settings and try applying the glow to different things to see how it turns out. And try different color combinations, some surprising combinations turn out really beautiful. Good luck!

Matte Painting 101: Lighting Fires Photoshop CS6

2014-12-01T19:46:00.001-08:00

Matte Painting 101: Lighting Fires Photoshop CS6

Matte painting is a technique that filmmakers use to create backgrounds for scenes that can't or don't exist in real life. In the early days, matte paintings were actually painted onto glass. Today, modern filmmakers use digital applications such as Photoshop to produce the backdrops that they need. We have published many matte painting tutorials on this site meant for intermediate and advanced users. This tutorial is part of a series of tutorials that we will be publishing on this meant for those of you who may be relatively new to Photoshop or matte painting in general.
Today's tutorial, Matte Painting 101: Lighting Fires will teach you how to extract and combine two images, use adjustment layers to make a nighttime scene, how to paint with masks, create highlights, and how to paint fires and torches. Let's get started!

Tutorial Assets

The following assets were used during the production of this tutorial.

Photoshop Shortcut Keys for viewing images

2014-12-01T19:46:00.000-08:00

Photoshop Shortcut Keys for viewing images

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Cycle through open documents	Control + Tab	Control + Tab
Switch to previous document	Shift + Control + Tab	Shift + Command + `
Close a file in Photoshop and open Bridge	Shift-Control-W	Shift-Command-W
Toggle between Standard mode and Quick Mask mode	Q	Q
Toggle (forward) between Standard screen mode, Full screen mode with menu bar, and Full screen mode	F	F
Toggle (backward) between Standard screen mode, Full screen mode with menu bar, and Full screen mode	Shift + F	Shift + F
Toggle (forward) canvas color	Space + F (or right-click canvas background and select color)	Space + F (or Control-click canvas background and select color)
Toggle (backward) canvas color	Space + Shift + F	Space + Shift + F
Fit image in window	Double-click Hand tool	Double-click Hand tool
Magnify 100%	Double-click Zoom tool or Ctrl + 1	Double-click Zoom tool or Command + 1
Switch to Hand tool (when not in text-edit mode)	Spacebar	Spacebar
Simultaneously pan multiple documents simultaneously with Hand tool	Shift-drag	Shift-drag
Switch to Zoom In tool	Control + spacebar	Command + spacebar
Switch to Zoom Out tool	Alt + spacebar	Option + spacebar
Move Zoom marquee while dragging with the Zoom tool	Spacebar-drag	Spacebar-drag
Apply zoom percentage, and keep zoom percentage box active	Shift + Enter in Navigator panel zoom percentage box	Shift + Return in Navigator panel zoom percentage box
Zoom in on specified area of an image	Control-drag over preview in Navigator panel	Command-drag over preview in Navigator panel
Temporarily zoom into an image	Hold down H and then click in the image and hold down the mouse button	Hold down H and then click in the image and hold down the mouse button
Scroll image with Hand tool	Spacebar-drag, or drag view area box in Navigator panel	Spacebar-drag, or drag view area box in Navigator panel
Scroll up or down 1 screen	Page Up or Page Down^†	Page Up or Page Down^†
Scroll up or down 10 units	Shift + Page Up or Page Down^†	Shift + Page Up or Page Down^†
Move view to upper-left corner or lower right corner	Home or End	Home or End
Toggle layer mask on/off as rubylith (layer mask must be selected)	\ (backslash)	\ (backslash)
^†Hold down Ctrl (Windows) or Command (Mac OS) to scroll left (Page Up) or right (Page Down)

Photoshop Shortcut Keyboard Keys Tutorial

2014-12-01T19:45:00.000-08:00

Photoshop Shortcut Keys for Puppet Warp

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Cancel completely	Esc	Esc
Undo last pin adjustment	Ctrl + Z	Command + Z
Select all pins	Ctrl + A	Command + A
Deselect all pins	Ctrl + D	Command + D
Select multiple pins	Shift-click	Shift-click
Move multiple selected pins	Shift-drag	Shift-drag
Temporarily hide pins	H	H

Result	Windows	Mac OS
Open the Refine Edge dialog box	Control + Alt + R	Command + Option + R
Cycle (forward) through preview modes	F	F
Cycle (backward) through preview modes	Shift + F	Shift + F
Toggle between original image and selection preview	X	X
Toggle between original selection and refined version	P	P
Toggle radius preview on and off	J	J
Toggle between Refine Radius and Erase Refinements tools	Shift + E	Shift + E

Result	Windows	Mac OS
Apply a new filter on top of selected	Alt-click a filter	Option-click a filter
Open/close all disclosure triangles	Alt-click a disclosure triangle	Option-click a disclosure triangle
Change Cancel button to Default	Control	Command
Change Cancel button to Reset	Alt	Option
Undo/Redo	Control + Z	Command + Z
Step forward	Control + Shift + Z	Command + Shift + Z
Step backward	Control + Alt + Z	Command + Option + Z

Design a Retro Typographic Poster Using 3D Elements in Photoshop

2014-12-01T19:44:00.002-08:00

Design a Retro Typographic Poster Using 3D Elements in Photoshop

Step 1

The first thing you need to do is create a new scene in C4D. Switch to your front view and draw a profile line for the trumpet. We're going to rotate this along its own axis with the Lathe NURBS effect. This will give us the end of the trumpet.

Step 2

As mentioned before, use the Lathe NURBS to create the following shape.

Step 3

It's now time to create the second section of the trumpet. Draw another spline.

Step 4

This time use the Sweep NURBS effect with a large circle spline. Sweep the circle along the path. To make the end smaller, go to the Object tab and click on the arrow next to 'Details'. Expand it and drag one of the ends to a similar size.

Step 5

Use the same technique to sweep the next portion of the trumpet, but in a different direction.

Step 6

Remember to add details that hold the pipes in place. I used 'Tubes' and 'Cillinders'.

Step 7

Remember that while you are creating these shapes, you need to maintain the resemblance of a letter. Create the following portion using the same techniques.

Step 8

Just to keep things interesting, I'm using a 'Helix' spline to create a twisting pipe. Use the following settings.

Step 9

Sweep the helix with a NURBS effect and use the same portion as on the bottom, but rotated by 180 degrees.

Step 10

Duplicate the trumpet and make a smaller, rotated version for the bottom of the letter.

Step 11

It's now time to create the next letter. I'm using Illustrator for this part. When importing paths straight into C4D as splines, be sure to save them at Illustrator version 8 or earlier, or C4D won't import them.
Create a large (I'm using 200 pt, but you'll need to make it a little smaller in C4D) Helvetica 55 Roman letter 'N'. Expand it.

Step 12

Give it a 20 pt outline and round off its corners.

Step 13

Expand its appearance, ungroup it and with the Pathfinder tool, Merge the expanded outline and the main body together.
At this point I also changed the background color to red, so that the strokes remain visible.

Step 14

Just as before, create an outline but this time make half of its previous thickness (10 pt) and instead of merging the two objects, extract the outline from the body. This should give us a nice rounded look for our font.

Step 15

Create a circle from side to side of the slab and merge it with the body.

Step 16

The letter we're making now plays of on old cassette tapes, so right now we're going to make the spinners and some tape. Create a similar pattern of paths that you can extrude and sweep in C4D in order to create these objects.

Step 17

rab the body of the letter, place it in a file separate from any other elements and save it as a Legacy format. Import the path into C4D and extrude it.

Step 18

Do the same for the rest of the paths.

Step 19

Add a few elements to further realism, like teeth and edges.

Step 20

Time to move on to letter 'V'. Use the same technique as with the 'N' for the body. Create a Spline mask using Mograph and cutout two connected circles from the body. Then extrude the resulting mask.

Step 21

If you have the Broadcast edition of C4D, you can import the lens of an HD camera into the scene. Simply import the camera found under 3D Objects (accessible through the Content Browser) and delete everything except the lens and its casing. Erase all materials as well.

Step 22

Place the lenses and a record button on the bottom center.

Step 23

Next up is letter A. For this letter, I'm creating a network of power cables. Create the spline in whatever program you're more comfortable with. I created them in Illustrator.

Step 24

Use point by point mode to move points up and down so they don't intersect.

Step 25

Sweep them using a 1m circle spline.

Step 26

Don't forget to create the jacks.

Step 27

Duplicate these elements, spin them by 180 degrees and place them behind.

Step 28

On to letter 'T'. Use components from a TV, also found in the Content Browser under Broadcast Edition.

Step 29

To create the casing, place 4 rectangle splines with rounded corners as seen below.

Step 30

Use the Loft NURBS to merge these splines together.

Step 31

Use the same rectangles with different proportions and extrude them to create the face of the T.V.

Step 32

Use the cage you made for the letter 'E' and add some cables on each side of the screen.

Step 33

Use the T.V's original buttons and place them on the front.

Step 34

And finally, letter 'O'. This one's the easiest. Use the same technique as with the letters 'N' and 'V, but create an extra outline too. This one's going to be a drum.

Step 35

Extrude each of these separately, and create a pair of drumsticks using a profile spline and the Lathe NURBS.

Step 36

It's now time to prep the scene. Place all the letters as seen below and create a large plane behind them. Place a camera as well in the front.

Step 37

To light the scene, I'm using the Greyscale Gorilla Light Kit Pro. If you don't have this kit, using regular lights works the same way, it just saves time. Place one large Overhead Softbox on top, and two smaller on each side.

Step 38

Create a new material and disable all except Color. Choose a similar color and place the material on the background plane.

Step 39

Create a new material and change the color to white.

Step 40

Add a 10% Bright Reflection.

Step 41

Make sure Specularity is enabled as well.

Step 42

From the Broadcast Edition Content Browser, find the Chrome2 material under Resources > Materials > Natural.

Step 43

Raise the color brightness.

Step 44

Change the Specular as shown below.

Step 45

Apply the white material to the letters, and Chrome to specific details.

Step 46

Time to set up the Render Settings. I'm using a small resolution for this tutorial, but that keeps an A4 ratio.

Step 47

Enable Ambient Occlusion and choose these settings.

Step 48

Enable Global Illumination and change the Depth to two.

Step 49

Add a Color Correction Effect and change the Gamma to 1.8.

Step 50

Render! :)

Step 51

We need a few different versions as well. Add a Cel Render Effect now.

Step 52

Render again and save this separately.

Step 53

After you've rendered the second file, get ready for a third. Disable the background plane, uncheck all effects, and delete all light sources. We need an alpha mask version that we can use to quickly isolate the elements from the background. Even if nothing is visible in the final render, the Alpha Channel will be there if you save as a Photoshop file and check the Alpha Channel option.

Step 54

And finally, the fourth file which is just an overlay of harsh shadows. Make sure there are no other lights in the scene and place a single light in a top right corner. Change its shadows to 'Hard'.

Step 55

Render this one as well.

Step 56

Go into Photoshop and isolate the letters from the background. To do this, open the Alpha Channel file, and go to the Alpha panel. Command/Ctrl + Click on the Alpha Channel to make a selection. Go to Select > Save Selection and save it in the document with the original, colored render. Switch to the color render and Load the selection. Add a Layer Mask, but to each letter individually.

Step 57

Place the Shadows layer as a mask to each letter. Change the blending mode to Mulitiply and Opacity to 50%.

Step 58

Add the Cel Render in the same way, but keep the Opacity at 100%.

Step 59

Create a new layer as a mask and fill it with a 50% gray.

Step 60

Go to Filter > Noise > Add Noise.

Step 61

Go to Filter > Blur > Gaussian Blur.

Step 62

Change the Layer Style to Overlay and Opacity to 50%.

Step 63

Add a Gradient Overlay as a mask and change the left color to #282828 and right to #cb5050.

Step 64

Alternate letters with a checkerboard pattern of red and cyan colors.

Step 65

Change the background color to #282828 and repeat the Noise process to give it a bit of grunge. Place this underneath all the letter layers.

Thanks ...

Photoshop All CS Keyboard shortcut Key

2014-12-01T19:44:00.001-08:00

Photoshop All CS Keyboard shortcut Key

Keys for the Black-and-White dialog box

Result	Windows	Mac OS
Open the Black-and-White dialog box	Shift + Control + Alt + B	Shift + Command + Option+ B
Increase/decrease selected value by 1%	Up Arrow/Down Arrow	Up Arrow/Down Arrow
Increase/decrease selected value by 10%	Shift + Up Arrow/Down Arrow	Shift + Up Arrow/Down Arrow
Change the values of the closest color slider	Click-drag on the image	Click-drag on the image

Result	Windows	Mac OS
Open the Curves dialog box	Control + M	Command + M
Select next point on the curve	+ (plus)	+ (plus)
Select the previous point on the curve	- (minus)	- (minus)
Select multiple points on the curve	Shift-click the points	Shift-click the points
Deselect a point	Control + D	Command + D
To delete a point on the curve	Select a point and press Delete	Select a point and press Delete.
Move the selected point 1 unit	Arrow keys	Arrow keys
Move the selected point 10 units	Shift + Arrow keys	Shift + Arrow keys
Display highlights and shadows that will be clipped	Alt-drag black/white point sliders	Option-drag black/white point sliders
Set a point to the composite curve	Control-click the image	Command-click the image
Set a point to the channel curves	Shift + Control-click the image	Shift + Command-click the image
Toggle grid size	Alt-click the field	Option-click the field

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Reposition marquee while selecting^‡	Any marquee tool (except single column and single row) + spacebar-drag	Any marquee tool (except single column and single row) + spacebar-drag
Add to a selection	Any selection tool + Shift-drag	Any selection tool + Shift-drag
Subtract from a selection	Any selection tool + Alt-drag	Any selection tool + Option-drag
Intersect a selection	Any selection tool (except Quick Selection tool) + Shift-Alt-drag	Any selection tool (except Quick Selection tool) + Shift-Option-drag
Constrain marquee to square or circle (if no other selections are active)^‡	Shift-drag	Shift-drag
Draw marquee from center (if no other selections are active)^‡	Alt-drag	Option-drag
Constrain shape and draw marquee from center^‡	Shift + Alt-drag	Shift + Option-drag
Switch to Move tool	Control (except when Hand, Slice, Path, Shape, or any Pen tool is selected)	Command (except when Hand, Slice, Path, Shape, or any Pen tool is selected)
Switch from Magnetic Lasso tool to Lasso tool	Alt-drag	Option-drag
Switch from Magnetic Lasso tool to polygonal Lasso tool	Alt-click	Option-click
Apply/cancel an operation of the Magnetic Lasso	Enter/Esc or Control + . (period)	Return/Esc or Command + . (period)
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 Arrow, or Down Arrow^†	Any selection + Right Arrow, Left Arrow, Up Arrow, or Down Arrow^†
Move selection 1 pixel	Move tool + Right Arrow, Left Arrow, Up Arrow, or Down Arrow^†‡	Move tool + Right Arrow, Left Arrow, Up Arrow, or Down Arrow^†‡
Move layer 1 pixel when nothing selected on layer	Control + Right Arrow, Left Arrow, Up Arrow, or Down Arrow^†	Command + Right Arrow, Left Arrow, Up Arrow, or Down Arrow^†
Increase/decrease detection width	Magnetic Lasso tool + [ or ]	Magnetic Lasso tool + [ or ]
Accept cropping or exit cropping	Crop tool + Enter or Esc	Crop tool + Return or Esc
Toggle crop shield off and on	/ (forward slash)	/ (forward slash)
Make protractor	Ruler tool + Alt-drag end point	Ruler tool + Option-drag end point
Snap guide to ruler ticks (except when View > Snap is unchecked)	Shift-drag guide	Shift-drag guide
Convert between horizontal and vertical guide	Alt-drag guide	Option-drag guide
^†Hold down Shift to move 10 pixels ^‡Applies to shape tools

Photoshop tutorial and Keyboard shortcut

2014-12-01T19:44:00.000-08:00

Photoshop tutorial and Keyboard shortcut

Keys for slicing and optimizing

Result	Windows	Mac OS
Toggle between Slice tool and Slice Selection tool	Control	Command
Draw square slice	Shift-drag	Shift-drag
Draw from center outward	Alt-drag	Option-drag
Draw square slice from center outward	Shift + Alt-drag	Shift + Option-drag
Reposition slice while creating slice	Spacebar-drag	Spacebar-drag
Open context-sensitive menu	Right-click slice	Control-click slice

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Set options for new items (except for Actions, Animation, Styles, Brushes, Tool Presets, and Layer Comps panels)	Alt-click New button	Option-click New button
Delete without confirmation (except for the Brush panel)	Alt-click Delete button	Option-click Delete button
Apply value and keep text box active	Shift + Enter	Shift + Return
Show/Hide all panels	Tab	Tab
Show/Hide all panels except the toolbox and options bar	Shift + Tab	Shift + Tab
Highlight options bar	Select tool and press Enter	Select tool and press Return
Increase/decrease selected values by 10	Shift + Up Arrow/Down Arrow	Shift + Up Arrow/Down Arrow

Result	Windows	Mac OS
Turn command on and all others off, or turns all commands on	Alt-click the check mark next to a command.	Option-click the check mark next to a command.
Turn current modal control on and toggle all other modal controls	Alt-click	Option-click
Change action or action set options	Alt + double-click action or action set	Option + double-click action or action set
Display Options dialog box for recorded command	Double-click recorded command	Double-click recorded command
Play entire action	Control + double-click an action	Command + double-click an action
Collapse/expand all components of an action	Alt-click the triangle	Option-click the triangle
Play a command	Control-click the Play button	Command-click the Play button
Create new action and begin recording without confirmation	Alt-click the New Action button	Option-click the New Action button
Select contiguous items of the same kind	Shift-click the action/command	Shift-click the action/command
Select discontiguous items of the same kind	Control-click the action/command	Command-click the action/command

If you prefer channel shortcuts starting with Alt/Option + 1 for red, choose Edit > Keyboard Shortcuts, and select Use Legacy Channel Shortcuts. Then restart Photoshop.

Result	Windows	Mac OS
Choose specific channel for adjustment	Alt + 3 (red), 4 (green), 5 (blue)	Option + 3 (red), 4 (green), 5 (blue)
Choose composite channel for adjustment	Alt + 2	Option + 2
Delete adjustment layer	Delete or Backspace	Delete
Define Auto options for Levels or Curves	Alt-click Auto button	Option-click Auto button

Result	Windows	Mac OS
Select/deselect multiple contiguous frames	Shift-click second frame	Shift-click second frame
Select/deselect multiple discontiguous frames	Control-click multiple frames	Command-click multiple frames
Paste using previous settings without displaying the dialog box	Alt + Paste Frames command from the Panel pop‑up menu	Option + Paste Frames command from the Panel pop‑up menu

Note:

To enable all shortcuts, choose Enable Timeline Shortcut Keys from the Animation (Timeline) panel menu.

Result	Windows	Mac OS
Start playing the timeline or Animation panel	Spacebar	Spacebar
Switch between timecode and frame numbers (current time view)	Alt + click the current-time display in the upper-left corner of the timeline.	Option + click the current-time display in the upper-left corner of the timeline.
Expand and collapse list of layers	Alt + click	Option + click on list triangles
Jump to the next/previous whole second in timeline	Hold down the Shift key when clicking the Next/Previous Frame buttons (on either side of the Play button).	Hold down the Shift key when clicking the Next/Previous Frame buttons (on either side of the Play button)
Increase playback speed	Hold down the Shift key while dragging the current time.	Hold down the Shift key while dragging the current time.
Decrease playback speed	Hold down the Control key while dragging the current time.	Hold down the Command key while dragging the current time.
Snap an object (keyframe, the current time, layer in point, and so on) to the nearest object in timeline	Shift-drag	Shift-drag
Scale (evenly distribute to condensed or extended length) a selected group of multiple keyframes	Alt-drag (first or last keyframe in the selection)	Option-drag (first or last keyframe in the group)
Back one frame	Left Arrow or Page Up	Left Arrow or Page Up
Forward one frame	Right Arrow or Page Down	Right Arrow or Page Down
Back ten frames	Shift + Left Arrow or Shift + Page Up	Shift + Left Arrow or Shift Page Up
Forward ten frames	Shift + Right Arrow or Shift + Page Down	Shift + Right Arrow or Shift + Page Down
Move to the beginning of the timeline	Home	Home
Move to the end of the timeline	End	End
Move to the beginning of the work area	Shift + Home	Shift + Home
Move to the end of the work area	Shift + End	Shift + End
Move to In point of the current layer	Up Arrow	Up Arrow
Move to the Out point of the current layer	Down Arrow	Down Arrow
Back 1 second	Shift + Up Arrow	Shift + Up Arrow
Foward 1 second	Shift + Down Arrow	Shift + Down Arrow
Return a rotated document to its original orientation	Esc	Esc

Photoshop Key Brush panel Channels panel Clone Source panel

2014-12-01T19:43:00.001-08:00

Keys for the Brush panel

Result	Windows	Mac OS
Delete brush	Alt-click brush	Option-click brush
Rename brush	Double-click brush	Double-click brush
Change brush size	Alt + right click + drag left or right	Ctrl + Option + drag left or right
Decrease/increase brush softness/hardness	Alt + right click + drag up or down	Ctrl + Option + drag up or down
Select previous/next brush size	, (comma) or . (period)	, (comma) or . (period)
Select first/last brush	Shift + , (comma) or . (period)	Shift + , (comma) or . (period)
Display precise cross hair for brushes	Caps Lock or Shift + Caps Lock	Caps Lock
Toggle airbrush option	Shift + Alt + P	Shift + Option + P

If you prefer channel shortcuts starting with Ctrl/Command + 1 for red, choose Edit > Keyboard Shortcuts, and select Use Legacy Channel Shortcuts.

Result	Windows	Mac OS
Select individual channels	Ctrl + 3 (red), 4 (green), 5 (blue)	Command + 3 (red), 4 (green), 5 (blue)
Select composite channel	Ctrl + 2	Command + 2
Load channel as selection	Control-click channel thumbnail, or Alt + Ctrl + 3 (red), 4 (green), 5 (blue)	Command-click channel thumbnail, or Option + Command + 3 (red), 4 (green), 5 (blue)
Add to current selection	Control + Shift-click channel thumbnail.	Command + Shift-click channel thumbnail
Subtract from current selection	Control + Alt-click channel thumbnail	Command + Option-click channel thumbnail
Intersect with current selection	Control + Shift + Alt-click channel thumbnail	Command + Shift + Option-click channel thumbnail
Set options for Save Selection As Channel button	Alt-click Save Selection As Channel button	Option-click Save Selection As Channel button
Create a new spot channel	Control-click Create New Channel button	Command-click Create New Channel button
Select/deselect multiple color-channel selection	Shift-click color channel	Shift-click color channel
Select/deselect alpha channel and show/hide as a rubylith overlay	Shift-click alpha channel	Shift-click alpha channel
Display channel options	Double-click alpha or spot channel thumbnail	Double-click alpha or spot channel thumbnail
Toggle composite and grayscale mask in Quick Mask mode	~ (tilde)	~ (tilde)

Result	Windows	Mac OS
Show Clone Source (overlays image)	Alt + Shift	Opt + Shift
Nudge Clone Source	Alt + Shift + arrow keys	Opt + Shift + arrow keys
Rotate Clone Source	Alt + Shift + < or >	Opt + Shift + < or >
Scale (increase or reduce size) Clone Source	Alt + Shift + [ or ]	Opt + Shift + [ or ]

Result	Windows	Mac OS
Select background color	Alt-click color in color bar	Option-click color in color bar
Display Color Bar menu	Right-click color bar	Control-click color bar
Cycle through color choices	Shift-click color bar	Shift-click color bar

Result	Windows	Mac OS
Create a new snapshot	Alt + New Snapshot	Option + New Snapshot
Rename snapshot	Double-click snapshot name	Double-click snapshot name
Step forward through image states	Control + Shift + Z	Command + Shift + Z
Step backward through image states	Control + Alt + Z	Command + Option + Z
Duplicate any image state, except the current state	Alt-click the image state	Option-click the image state
Permanently clear history (no Undo)	Alt + Clear History (in History panel pop‑up menu)	Option + Clear History (in History panel pop‑up menu)

Result	Windows	Mac OS
Change color readout modes	Click eyedropper icon	Click eyedropper icon
Change measurement units	Click crosshair icon	Click crosshair icon

Result	Windows	Mac OS
Load layer transparency as a selection	Control-click layer thumbnail	Command-click layer thumbnail
Add to current selection	Control + Shift-click layer thumbnail.	Command + Shift-click layer thumbnail.
Subtract from current selection	Control + Alt-click layer thumbnail.	Command + Option-click layer thumbnail.
Intersect with current selection	Control + Shift + Alt-click layer thumbnail.	Command + Shift + Option-click layer thumbnail.
Load filter mask as a selection	Control-click filter mask thumbnail	Command-click filter mask thumbnail
Group layers	Control + G	Command + G
Ungroup layers	Control + Shift + G	Command-Shift + G
Create/release clipping mask	Control + Alt + G	Command-Option + G
Select all layers	Control + Alt + A	Command + Option + A
Merge visible layers	Control + Shift + E	Command + Shift + E
Create new empty layer with dialog box	Alt-click New Layer button	Option-click New Layer button
Create new layer below target layer	Control-click New Layer button	Command-click New Layer button
Select top layer	Alt + . (period)	Option + . (period)
Select bottom layer	Alt + , (comma)	Option + , (comma)
Add to layer selection in Layers panel	Shift + Alt + [ or ]	Shift + Option + [ or ]
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 layer	Control + Shift + Alt + E	Command + Shift + Option + E
Merge layers	Highlight layers you want to merge, then Control + E	Highlight the layers you want to merge, then Command + E
Move layer to bottom or top	Control + Shift + [ or ]	Command + Shift + [ or ]
Copy current layer to layer below	Alt + Merge Down command from the Panel pop‑up menu	Option + Merge Down command from the Panel pop‑up menu
Merge all visible layers to a new layer above the currently selected layer	Alt + Merge Visible command from the Panel pop‑up menu	Option + Merge Visible command from the Panel pop‑up menu
Show/hide this layer/layer group only or all layers/layer groups	Right-click the eye icon	Control-click the eye icon
Show/hide all other currently visible layers	Alt-click the eye icon	Option-click the eye icon
Toggle lock transparency for target layer, or last applied lock	/ (forward slash)	/ (forward slash)
Edit layer effect/style, options	Double-click layer effect/style	Double-click layer effect/style
Hide layer effect/style	Alt-double-click layer effect/style	Option-double-click layer effect/style
Edit layer style	Double-click layer	Double-click layer
Disable/enable vector mask	Shift-click vector mask thumbnail	Shift-click vector mask thumbnail
Open Layer Mask Display Options dialog box	Double-click layer mask thumbnail	Double-click layer mask thumbnail
Toggle layer mask on/off	Shift-click layer mask thumbnail	Shift-click layer mask thumbnail
Toggle filter mask on/off	Shift-click filter mask thumbnail	Shift-click filter mask thumbnail
Toggle between layer mask/composite image	Alt-click layer mask thumbnail	Option-click layer mask thumbnail
Toggle between filter mask/composite image	Alt-click filter mask thumbnail	Option-click filter mask thumbnail
Toggle rubylith mode for layer mask on/off	\ (backslash), or Shift + Alt-click	\ (backslash), or Shift + Option-click
Select all type; temporarily select Type tool	Double-click type layer thumbnail	Double-click type layer thumbnail
Create a clipping mask	Alt-click the line dividing two layers	Option-click the line dividing two layers
Rename layer	Double-click the layer name	Double-click the layer name
Edit filter settings	Double-click the filter effect	Double-click the filter effect
Edit the Filter Blending options	Double-click the Filter Blending icon	Double-click the Filter Blending icon
Create new layer group below current layer/layer set	Control-click New Group button	Command-click New Group button
Create new layer group with dialog box	Alt-click New Group button	Option-click New Group button
Create layer mask that hides all/selection	Alt-click Add Layer Mask button	Option-click Add Layer Mask button
Create vector mask that reveals all/path area	Control-click Add Layer Mask button	Command-click Add Layer Mask button
Create vector mask that hides all or displays path area	Control + Alt-click Add Layer Mask button	Command + Option-click Add Layer Mask button
Display layer group properties	Right-click layer group and choose Group Properties, or double-click group	Control-click the layer group and choose Group Properties, or double-click group
Select/deselect multiple contiguous layers	Shift-click	Shift-click
Select/deselect multiple discontiguous layers	Control-click	Command-click

Note:

If Kotoeri is your Japanese language input method, the “Toggle rubylith mode for layer mask on/off” shortcut starts an action in Kototeri. Please switch to another mode (for example, “U.S.”) to enable this shortcut.

Photoshop Function keys, measurement, 3D tools, Paths panel Keys

2014-11-29T21:37:00.000-08:00

Photoshop Function keys, measurement,

3D tools, Paths panel Keys

Keys for the Layer Comps panel

Result	Windows	Mac OS
Create new layer comp without the New Layer Comp box	Alt-click Create New Layer Comp button	Option-click Create New Layer Comp button
Open Layer Comp Options dialog box	Double-click layer comp	Double-click layer comp
Rename in-line	Double-click layer comp name	Double-click layer comp name
Select/deselect multiple contiguous layer comps	Shift-click	Shift-click
Select/deselect multiple discontiguous layer comps	Control-click	Command-click

Result	Windows	Mac OS
Load path as selection	Control-click pathname	Command-click pathname
Add path to selection	Control + Shift-click pathname	Command + Shift-click pathname
Subtract path from selection	Control + Alt-click pathname	Command + Option-click pathname
Retain intersection of path as selection	Control + Shift + Alt-click pathname	Command + Shift + Option-click pathname
Hide path	Control + Shift + H	Command + Shift + H
Set options for Fill Path with Foreground Colorbutton, Stroke Path with Brush button, Load Path as a Selection button, Make Work Path from Selection button, and Create New Path button	Alt-click button	Option-click button

Result	Windows	Mac OS
Create new swatch from foreground color	Click in empty area of panel	Click in empty area of panel
Set swatch color as background color	Control-click swatch	Command-click swatch
Delete swatch	Alt-click swatch	Option-click swatch

Result	Windows	Mac OS
Enable 3D object tools	K	K
Enable 3D camera tools	N	N
Hide nearest surface	Alt + Ctrl + X	Option + Command + X
Show all surfaces	Alt + Shift + Ctrl + X	Option + Shift + Command + X

3D Object Tool	Right-click (Windows) / Control-click (Mac OS)	Alt (Windows) / Option (Mac OS )
Rotate	Changes to Drag tool	Changes to Roll tool
Roll	Changes to Slide tool	Changes to Rotate tool
Drag	Changes to Orbit tool	Changes to Slide tool
Slide	Changes to Roll tool	Changes to Drag tool
Scale	Scales on the Z plane	Scales on the Z plane

To scale on the Y plane, hold down the Shift key.

Camera Tool	Right-click (Windows) / Control-click (Mac OS)	Alt (Windows) / Option (Mac OS )
Orbit	Changes to Drag tool	Changes to Roll tool
Roll	Changes to Slide tool	Changes to Rotate tool
Pan	Changes to Orbit tool	Changes to Slide tool
Walk	Changes to Roll tool	Changes to Drag tool

Result	Windows	Mac OS
Record a measurement	Shift + Control + M	Shift + Command + M
Deselects all measurements	Control + D	Command + D
Selects all measurements	Control + A	Command + A
Hide/show all measurements	Shift + Control + H	Shift + Command + H
Removes a measurement	Backspace	Delete
Nudge the measurement	Arrow keys	Arrow keys
Nudge the measurement in increments	Shift + arrow keys	Shift + arrow keys
Extend/shorten selected measurement	Ctrl + left/right arrow key	Command + left/right arrow key
Extend/shorten selected measurement in increments	Shift + Ctrl + left/right arrow key	Shift +Command + left/right arrow key
Rotate selected measurement	Ctrl + up/down arrow key	Command + up/down arrow key
Rotate selected measurement in increments	Shift + Ctrl + up/down arrow key	Shift + Command + up/down arrow key

Result	Windows	Mac OS
Zoom tool	Z	Z
Hand tool	H	H
Window Level tool	W	W
Select all frames	Control + A	Command + A
Deselect all frames except the current frame	Control + D	Command + D
Navigate through frames	Arrow keys	Arrow keys

Result (Extract and Pattern Maker)	Windows	Mac OS
Fit in window	Control + 0	Command + 0
Zoom in	Control + + (plus)	Command + + (plus)
Zoom out	Control + - (hyphen)	Command + - (hyphen)
Cycle through controls on right from top	Tab	Tab
Cycle through controls on right from bottom	Shift + Tab	Shift + Tab
Temporarily activate Hand tool	Spacebar	Spacebar
Change Cancel to Reset	Alt	Option
Result (Extract only)	Windows	Mac OS
Edge Highlighter tool	B	B
Fill tool	G	G
Eyedropper tool	I	I
Cleanup tool	C	C
Edge Touchup tool	T	T
Toggle between Edge Highlighter tool and Eraser tool	Alt + Edge Highlighter/Eraser tool	Option + Edge Highlighter/Eraser tool
Toggle Smart Highlighting	Control with Edge Highlighter tool selected	Command with Edge Highlighter tool selected
Remove current highlight	Alt + Delete	Option + Delete
Highlight entire image	Control + Delete	Command + Delete
Fill foreground area and preview extraction	Shift-click with Fill tool selected	Shift-click with Fill tool selected
Move mask when Edge Touchup tool is selected	Control-drag	Command-drag
Add opacity when Cleanup tool is selected	Alt-drag	Option-drag
Toggle Show menu options in preview between Original and Extracted	X	X
Enable Cleanup and Edge Touchup tools before preview	Shift + X	Shift + X
Cycle through Display menu in preview from top to bottom	F	F
Cycle through Display menu in preview from bottom to top	Shift + F	Shift + F
Decrease/increase brush size by 1	Down Arrow/Up Arrow in Brush Size text box^†	Down Arrow or Up Arrow in Brush Size text box^†
Decrease/increase brush size by 1	Left Arrow/Right Arrow with Brush Size Slider showing^†	Left Arrow/Right Arrow with Brush Size Slider showing^†
Set strength of Cleanup or Edge Touch‑up tool	0–9	0–9
^†Hold down Shift to decrease/increase by 10
Result (Pattern Maker only)	Windows	Mac OS
Delete current selection	Control + D	Command + D
Undo a selection move	Control + Z	Command + Z
Generate or generate again	Control + G	Command + G
Intersect with current selection	Shift + Alt + select	Shift + Option + select
Toggle view: original/generated pattern	X	X
Go to first tile in Tile History	Home	Home
Go to last tile in Tile History	End	End
Go to previous tile in Tile History	Left Arrow, Page Up	Left Arrow, Page Up
Go to next tile in Tile History	Right Arrow, Page Down	Right Arrow, Page Down
Delete current tile from Tile History	Delete	Delete
Nudge selection when viewing the original	Right Arrow, Left Arrow, Up Arrow, or Down Arrow	Right Arrow, Left Arrow, Up Arrow, or Down Arrow
Increase selection nudging when viewing the original	Shift + Right Arrow, Left Arrow, Up Arrow, or Down Arrow	Shift + Right Arrow, Left Arrow, Up Arrow, or Down Arrow

Result	Windows	Mac OS
Start Help	F1	Help key
Undo/Redo		F1
Cut	F2	F2
Copy	F3	F3
Paste	F4	F4
Show/Hide Brush panel	F5	F5
Show/Hide Color panel	F6	F6
Show/Hide Layers panel	F7	F7
Show/Hide Info panel	F8	F8
Show/Hide Actions panel	F9	Option + F9
Revert	F12	F12
Fill	Shift + F5	Shift + F5
Feather Selection	Shift + F6	Shift + F6
Inverse Selection	Shift + F7	Shift + F7

All photoshop shortcut key for Windows and Mac Os

2014-11-29T21:30:00.003-08:00

All Photoshop shortcut key for Windows and Mac Os

Keys for transforming selections, selection borders, and paths

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Transform from center or reflect	Alt	Option
Constrain	Shift	Shift
Distort	Control	Command
Apply	Enter	Return
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	Control + Shift + Alt + T	Command + Shift + Option + T

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Select multiple anchor points	Direct selection tool + Shift-click	Direct selection tool + Shift-click
Select entire path	Direct selection tool + Alt-click	Direct selection tool + Option-click
Duplicate a path	Pen (any Pen tool), Path Selection or Direct Selection tool + Control + Alt-drag	Pen (any Pen tool), Path Selection or Direct Selection tool+ Command + Option-drag
Switch from Path Selection, Pen, Add Anchor Point, Delete Anchor Point, or Convert Point tools, to Direct Selection tool	Control	Command
Switch from Pen tool or Freeform Pen tool to Convert Point tool when pointer is over anchor or direction point	Alt	Option
Close path	Magnetic Pen tool-double-click	Magnetic Pen tool-double-click
Close path with straight-line segment	Magnetic Pen tool + Alt-double-click	Magnetic Pen tool + Option-double-click

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Select foreground color from color picker	Any painting tool + Shift + Alt + right-click and drag	Any painting tool + Control + Option + Command and drag
Select foreground color from image with Eyedropper tool	Any painting tool + Alt or any shape tool + Alt (except when Paths option is selected)	Any painting tool + Option or any shape tool + Option (except when Paths option is selected)
Select background color	Eyedropper tool + Alt-click	Eyedropper tool + Option-click
Color sampler tool	Eyedropper tool + Shift	Eyedropper tool + Shift
Deletes color sampler	Color sampler tool + Alt-click	Color sampler tool + Option-click
Sets opacity, tolerance, strength, or exposure for painting mode	Any painting or editing tool + number keys (e.g., 0 = 100%, 1 = 10%, 4 then 5 in quick succession = 45%) (When airbrush option is enabled, use Shift + number keys)	Any painting or editing tool + number keys (e.g., 0 = 100%, 1 = 10%, 4 then 5 in quick succession = 45%) (When airbrush option is enabled, use Shift + number keys)
Sets flow for painting mode	Any painting or editing tool + Shift + number keys (e.g., 0 = 100%, 1 = 10%, 4 then 5 in quick succession = 45%) (When airbrush option is enabled, omit Shift)	Any painting or editing tool + Shift + number keys (e.g., 0 = 100%, 1 = 10%, 4 then 5 in quick succession = 45%) (When airbrush option is enabled, omit Shift)
Mixer Brush changes Mix setting	Alt + Shift + number	Option + Shift + number
Mixer Brush changes Wet setting	Number keys	Number key
Mixer Brush changes Wet and Mix to zero	00	00
Cycle through blending modes	Shift + + (plus) or – (minus)	Shift + + (plus) or – (minus)
Open Fill dialog box on background or standard layer	Backspace or Shift + Backspace	Delete or Shift + Delete
Fill with foreground or background color	Alt + Backspace or Control + Backspace^†	Option + Delete or Command + Delete^†
Fill from history	Control + Alt + Backspace^†	Command + Option + Delete^†
Displays Fill dialog box	Shift + Backspace	Shift + Delete
Lock transparent pixels on/off	/ (forward slash)	/ (forward slash)
Connects points with a straight line	Any painting tool + Shift-click	Any painting tool + Shift-click
^†Hold down Shift to preserve transparency

Result	Windows	Mac OS
Cycle through blending modes	Shift + + (plus) or – (minus)	Shift + + (plus) or – (minus)
Normal	Shift + Alt + N	Shift + Option + N
Dissolve	Shift + Alt + I	Shift + Option + I
Behind (Brush tool only)	Shift + Alt + Q	Shift + Option + Q
Clear (Brush tool only)	Shift + Alt + R	Shift + Option + R
Darken	Shift + Alt + K	Shift + Option + K
Multiply	Shift + Alt + M	Shift + Option + M
Color Burn	Shift + Alt + B	Shift + Option + B
Linear Burn	Shift + Alt + A	Shift + Option + A
Lighten	Shift + Alt + G	Shift + Option + G
Screen	Shift + Alt + S	Shift + Option + S
Color Dodge	Shift + Alt + D	Shift + Option + D
Linear Dodge	Shift + Alt + W	Shift + Option + W
Overlay	Shift + Alt + O	Shift + Option + O
Soft Light	Shift + Alt + F	Shift + Option + F
Hard Light	Shift + Alt + H	Shift + Option + H
Vivid Light	Shift + Alt + V	Shift + Option + V
Linear Light	Shift + Alt + J	Shift + Option + J
Pin Light	Shift + Alt + Z	Shift + Option + Z
Hard Mix	Shift + Alt + L	Shift + Option + L
Difference	Shift + Alt + E	Shift + Option + E
Exclusion	Shift + Alt + X	Shift + Option + X
Hue	Shift + Alt + U	Shift + Option + U
Saturation	Shift + Alt + T	Shift + Option + T
Color	Shift + Alt + C	Shift + Option + C
Luminosity	Shift + Alt + Y	Shift + Option + Y
Desaturate	Sponge tool + Shift + Alt + D	Sponge tool + Shift + Option + D
Saturate	Sponge tool + Shift + Alt + S	Sponge tool + Shift + Option + S
Dodge/burn shadows	Dodge tool/Burn tool + Shift + Alt + S	Dodge tool/Burn tool + Shift + Option + S
Dodge/burn midtones	Dodge tool/Burn tool + Shift + Alt + M	Dodge tool/Burn tool + Shift + Option + M
Dodge/burn highlights	Dodge tool/Burn tool + Shift + Alt + H	Dodge tool/Burn tool + Shift + Option + H
Set blending mode to Threshold for bitmap images, Normal for all other images	Shift + Alt + N	Shift + Option + N

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Move type in image	Control-drag type when Type layer is selected	Command-drag type when Type layer is selected
Select 1 character left/right or 1 line down/up, or 1 word left/right	Shift + Left Arrow/Right Arrow or Down Arrow/Up Arrow, or Control + Shift + Left Arrow/Right Arrow	Shift + Left Arrow/Right Arrow or Down Arrow/Up Arrow, or Command + Shift + Left Arrow/Right Arrow
Select characters from insertion point to mouse click point	Shift-click	Shift-click
Move 1 character left/right, 1 line down/up, or 1 word left/right	Left Arrow/Right Arrow, Down Arrow/Up Arrow, or Control + Left Arrow/Right Arrow	Left Arrow/Right Arrow, Down Arrow/Up Arrow, or Command + Left Arrow/Right Arrow
Create a new text layer, when a text layer is selected in the Layers panel	Shift-click	Shift-click
Select a word, line, paragraph, or story	Double-click, triple-click, quadruple-click, or quintuple-click	Double-click, triple-click, quadruple-click, or quintuple-click
Show/Hide selection on selected type	Control + H	Command + H
Display the bounding box for transforming text when editing text, or activate Move tool if cursor is inside the bounding box	Control	Command
Scale text within a bounding box when resizing the bounding box	Control-drag a bounding box handle	Command-drag a bounding box handle
Move text box while creating text box	Spacebar-drag	Spacebar-drag

This partial list provides shortcuts that don’t appear in menu commands or tool tips.

Result	Windows	Mac OS
Align left, center, or right	Horizontal Type tool + Control + Shift + L, C, or R	Horizontal Type tool + Command + Shift + L, C, or R
Align top, center, or bottom	Vertical Type tool + Control + Shift + L, C, or R	Vertical Type tool + Command + Shift + L, C, or R
Choose 100% horizontal scale	Control + Shift + X	Command + Shift + X
Choose 100% vertical scale	Control + Shift + Alt + X	Command + Shift + Option + X
Choose Auto leading	Control + Shift + Alt + A	Command + Shift + Option + A
Choose 0 for tracking	Control + Shift + Q	Command + Control + Shift + Q
Justify paragraph, left aligns last line	Control + Shift + J	Command + Shift + J
Justify paragraph, justifies all	Control + Shift + F	Command + Shift + F
Toggle paragraph hyphenation on/off	Control + Shift + Alt + H	Command + Control + Shift + Option + H
Toggle single/every-line composer on/off	Control + Shift + Alt + T	Command + Shift + Option + T
Decrease or increase type size of selected text 2 points or pixels	Control + Shift + < or >^†	Command + Shift + < or >^†
Decrease or increase leading 2 points or pixels	Alt + Down Arrow or Up Arrow^††	Option + Down Arrow or Up Arrow^††
Decrease or increase baseline shift 2 points or pixels	Shift + Alt + Down Arrow or Up Arrow^††	Shift + Option + Down Arrow or Up Arrow^††
Decrease or increase kerning/tracking 20/1000 ems	Alt + Left Arrow or Right Arrow^††	Option + Left Arrow or Right Arrow^††
^†Hold down Alt (Win) or Option (Mac OS) to decrease/increase by 10 ^††Hold down Ctrl (Windows) or Command (Mac OS) to decrease/increase by 10

Photoshop Shortcut Keys for selecting tools

2014-11-29T21:18:00.001-08:00

Photoshop Shortcut Keys for selecting tools

Holding down a key temporarily activates a tool. Letting go of the key returns to the previous tool. To customize shortcuts, see Define new keyboard shortcuts. To view keyboard shortcuts for features that were introduced in Photoshop CS6, see Key shortcuts for CS6 features.

Note:

In rows with multiple tools, repeatedly press the same shortcut to toggle through the group.

Result	Windows	Mac OS
Cycle through tools with the same shortcut key	Shift-press shortcut key (if Use Shift Key for Tool Switch preference is selected)	Shift-press shortcut key (if Use Shift Key for Tool Switch preference is selected)
Cycle through hidden tools	Alt-click + tool (except add anchor point, delete anchor point, and convert point tools)	Option-click + tool (except add anchor point, delete anchor point, and convert point tools)
Move tool	V	V
Rectangular Marquee tool^† Elliptical Marquee tool	M	M
Lasso tool Polygonal Lasso tool Magnetic Lasso tool	L	L
Magic Wand tool Quick Selection tool	W	W
Crop tool Slice tool Slice Select tool	C	C
Eyedropper tool^† Color Sampler tool Ruler tool Note tool Count tool^*	I	I
Spot Healing Brush tool Healing Brush tool Patch tool Red Eye tool	J	J
Brush tool Pencil tool Color Replacement tool Mixer Brush tool	B	B
Clone Stamp tool Pattern Stamp tool	S	S
History Brush tool Art History Brush tool	Y	Y
Eraser tool^† Background Eraser tool Magic Eraser tool	E	E
Gradient tool Paint Bucket tool	G	G
Dodge tool Burn tool Sponge tool	O	O
Pen tool Freeform Pen tool	P	P
Horizontal Type tool Vertical Type tool Horizontal Type mask tool Vertical Type mask tool	T	T
Path Selection tool Direct Selection tool	A	A
Rectangle tool Rounded Rectangle tool Ellipse tool Polygon tool Line tool Custom Shape tool	U	U
3D Object Rotate tool* 3D Object Roll tool* 3D Object Pan tool* 3D Object Slide tool* 3D Object Scale tool*	K	K
3D Camera Rotate tool* 3D Camera Roll tool* 3D Camera Pan tool* 3D Camera Walk tool* 3D Camera Zoom*	N	N
Hand tool^†	H	H
Rotate View tool	R	R
Zoom tool^†	Z	Z
^†Use same shortcut key for Liquify ^*Photoshop Extended only

Shortcut Keys for Liquify in Photoshop

2014-11-29T21:16:00.002-08:00

Shortcut Keys for Liquify in Photoshop

Keys for Liquify

Result	Windows	Mac OS
Forward Warp tool	W	W
Reconstruct tool	R	R
Twirl Clockwise tool	C	C
Pucker tool	S	S
Bloat tool	B	B
Push Left tool	O	O
Mirror tool	M	M
Turbulence tool	T	T
Freeze Mask tool	F	F
Thaw Mask tool	D	D
Reverse direction for Bloat, Pucker, Push Left, and Mirror tools	Alt + tool	Option + tool
Continually sample the distortion	Alt-drag in preview with Reconstruct tool, Displace, Amplitwist, or Affine mode selected	Option-drag in preview with reconstruct tool, Displace, Amplitwist, or Affine mode selected
Decrease/increase brush size by 2, or density, pressure, rate, or turbulent jitter by 1	Down Arrow/Up Arrow in Brush Size, Density, Pressure, Rate, or Turbulent Jitter text box^†	Down Arrow/Up Arrow in Brush Size, Density, Pressure, Rate, or Turbulent Jittertext box^†
Decrease/increase brush size by 2, or density, pressure, rate, or turbulent jitter by 1	Left Arrow/Right Arrow with Brush Size, Density, Pressure, Rate, or Turbulent Jitter slider showing^†	Left Arrow/Right Arrow with Brush Size, Density, Pressure, Rate, or Turbulent Jitter slider showing^†
Cycle through controls on right from top	Tab	Tab
Cycle through controls on right from bottom	Shift + Tab	Shift + Tab
Change Cancel to Reset	Alt	Option
^†Hold down Shift to decrease/increase by 10

10 Custom Keyboard Shortcuts You Need to Be Using in Photoshop

2014-11-29T21:14:00.001-08:00

10 Custom Keyboard Shortcuts You Need to Be Using in Photoshop

Show, Hide, and Isolate Layers

This one is a big time saver. Once you start using it, you will never click on the eye icons in the Layers Panel ever again. The great thing about setting up a custom keyboard shortcut for this feature is that it can turn on or off the visibility of a selected layer or layers. This makes it especially useful. If you want to check your composition without a specific layer or set of layers, all you need to do is select them and press the shortcut you assigned to the Show/Hide Layers command.

Set F3 to Show/Hide layer. Set Command/Ctrl + F3 on a selected layer to isolate it.

2. Convert to Smart Objects and Edit Contents

Smart Objects are probably the most important element of a non-destructive workflow in Photoshop, but strangely there is no default shortcut assigned to them. I like to use two shortcuts with Smart Objects, one for converting layers into them and one to edit their contents. For editing a Smart Object's contents you can also double click on the layer's thumbnail, but that also takes time. Around 1 second each time you do it, but if you have to do that around 100 times a day that means you have wasted 2 minutes. That is 10 minutes a week and around 10 hours a year. One simple custom shortcut can save you a whole working day a year.

Set F5 to Convert to Smart Objects. Set Command/Ctrl + F5 to edit its contents.

3. Adjustments and Properties Panels

The process of showing and hiding panels can also be assigned keyboard shortcuts. I prefer to use the function keys for this as they can be used without having to hold down Command/Ctrl together with them. I have custom shortcuts assigned to these two panels as they are the ones I always want to see or hide. I don't like having them always visible because they take up quite a lot of real estate on the screen.

Set F7 to show/hide Adjustments Panel. Set F8 to show/hide Properties Panel.

4. Arrange: Tile and Consolidate All to Tabs

These two options can be found under the Window Menu - Arrange command group. With these commands, you will be able to quickly switch between seeing all your open documents in a grid and seeing only one of them open, with the others all collapsed into tabs. Unfortunately, with this feature you won't be able to use the same shortcut to switch back and forth, you will have to assign two different shortcuts. You can always make them similar to each other to make it easier to switch between the two modes.

Set Command/Ctrl + F to arrange as tiles. Set Command/Ctrl + Shift + F to consolidate all to Tabs.

5. Camera Raw Filter

The Camera Raw filter makes it possible to use all the features of the Camera Raw plug-in directly in any of your layers in Photoshop. You can even use them completely non-destructively as Smart Filters if you apply them to a Smart Object.
This new filter was introduced in Photoshop CC and it came with no default keyboard shortcuts. I love to work with Camera Raw adjustments so I immediately assigned a shortcut to it and it saves me a lot of time. This filter can only be used in RGB mode but there is a trick that will allow you to use it in a CMYK document. If the Smart Object's source is set to RGB, the main document can still be in CMYK color mode.

Set Command/Ctrl + Shift + R to activate the Camera Raw Filter.

6. Convert to Paragraph/Point Text

There are two ways to create separate, fully editable Type layers in Photoshop. If you just click with the Type Tool anywhere on the canvas you will create a Point Type Layer, which won't automatically break the lines of your text. For automatic line-break you will need to create a Paragraph Type Layer, for which you need to click and drag with the Type Tool on the canvas to define an area for the paragraph. In the type menu, you will find a feature that can convert these two types to one another.

Set Command/Ctrl + Shift + P to convert to Paragraph/Point text.

7. Deselect All Layers

In some cases you might want to make sure that you don't have any layers selected in Photoshop. For that, there is no default keyboard shortcut, but there is a feature under the Select Menu called Deselect Layers. I like to use Command/Ctrl + Shift + A for this, that keyboard shortcut performs the same task in InDesign by default.

Set Command/Ctrl + Shift + A to Deselect All Layers.

8. Share on Behance

Behance is a great addition to the Creative Cloud set of services. Once you have an account you can link that to Photoshop and save any of your work directly from Photoshop into your portfolio on Behance. I use this option frequently so I decided to set up a custom shortcut for it, which is similar to saving the file to the desktop (Command/Ctrl + Alt + Shift + S). You can upload your work-in-progress to Behance, as well, and re-upload it at every stage. This will make the whole revision process much faster between you and your client.

Set Command/Ctrl + Alt + Shift + S to share your work on Behance.

9. Show/Hide All Effects

In documents where you have several layers with Layer Styles it might be difficult to quickly check the effect of all the Layer Styles used in the document. With the Show/Hide All Effects command from the Layer menu you can do this easily but it can be even faster by assigning a custom keyboard shortcut to it.

Set Command/Ctrl + Shift + H to Show/Hide All Effects.

10. Mixer Brush Tool

Last but not least, it is worth mentioning that the Mixer Brush deserves its own unique custom keyboard shortcut. This tool is mainly used together with the Brush Tool, which is set B by default. So why not assign N to the Mixer Brush, which is directly next to B on the keyboard? N by default is assigned to a 3D Tool, but that tool is used much less than the Mixer Brush Tool, which can beautifully merge different colors together and can even reduce the noise of your photos.

Set the N key to the Mixer Brush Tool.

Super Slick Dusky Lighting Effects in Photoshop

2014-11-29T20:55:00.002-08:00

Super Slick Dusky Lighting Effects in Photoshop

One of the best sites around for desktops has to be Desktopography. I've been inspired by their amazing work, so today we are going to put together a sunset image mixing some vector shapes and dusky lighting effects to produce a slick image that would make a nice album cover for a chillout mix!

Steps and Assets

As always you can download the PSD file to follow along at the bottom of this tutorial. It's a pretty large file so be warned! Additionally we are using a few assets including a photo from iStockPhoto and some vectors from Arsenal's Freebie Section. Note that in the sample PSD, I've merged some text onto the original image to protect its copyright since it's such a large copy.

Step 1:

So here's our original photo from iStock. It's a pretty gorgeous photo with great sunset lighting and contrast for us to build on.

Step 2:

First off we duplicate the photo, press Ctrl-Shift-U to desaturate the image to Black and White. Then go to Image > Adjustments > Brightness/Contrast and make the image a bit brighter and contrastier as shown.

Step 3:

Now go to Filters > Blur > Gaussian Blur and apply a mild blur of 2px.

Step 4:

Now we set the blurred black and white layer to blending mode Overlay and Opacity 50%. This gives us a slightly surreal blurring on the image. BE WARNED: This effect (blurring then overlaying) is a bit of favorite of amateurs, so go easy on it. When you do use it, make sure you fade it out a reasonable amount so it doesn't look too tacky.

Step 5:

Now the lighting is pretty nice already, but I'd like some pinkish hues in the image as it makes the image a lot warmer than bluish colors.
So in a new layer, use the Paintbucket to fill with a bright pink color. Then use the Eraser Tool with a large, soft brush and remove some areas where you don't want as much pink to shine through (this was pretty arbitrary for me and just gives the image more depth rather it being uniformly colored). We then set the blending mode to Color and 20% Opacity. Actually I did those two steps the other way around (I blended first then erased the bits I didn't want).

Step 6:

Here's the image after adding the pink.

Step 7:

Now to make the sun rays, we are going to use a combination of glowing edges and radial blurring. So duplicate the original colored layer and put it on top of all the other layers. Then go to Filter > Stylize > Glowing Edges and use settings of 1, 11, and 15 respectively for Width, Brightness, and Smoothness.

Step 8:

Now we go to Filter > Blur > Radial Blur and apply settings as shown. Make sure that you have set the blur method to Zoom (not Spin). Also importantly move the Blur Center until it's roughly in the position of the image where the woman was standing, i.e. where the 'sun' is going to be. You may have to do this a couple of times to get the positioning exactly right because it's a bit trial and error.
Once you've got it, apply the Radial Blur again by pressing Ctrl+F (to repeat the last filter used).

Step 9:

Now set the blending mode for this layer to Screen.
Screen blending mode basically knocks out darker colors to only leave the lighter ones. This is the opposite to Multiply which knocks out any lighter colors and just leaves darker ones. This is really handy for when you have say a logo on a white background and you want to apply it to an image but don't want to cut it out - instead you just set it to Multiply (or Screen if it's on black).

Step 10:

To get the light looking more like sunlight, we go to Image > Adjustments > Hue/Saturation and tick the box that says Colorize to add some more color to the light rays. Then move the sliders around until you get a reddish tint and press OK.

Step 11:

Now repeat the process (Glowing Edges > Radial Blur > Screening the Image) a couple of times to get more light rays as shown. Try moving the Radial Zoom filter around a little to get different casts of light to mix together.
Also as you add extra layers on you can always use the Eraser tool to remove some parts of a layer and leave others so that they blend together well. This is generally a matter of playing around with the image until it looks right. Also note that you can use Layer Masks to do this without losing any image data, but because I never used Masks when I was learning Photoshop, out of habit I still do things the old (and probably a bit dumb) way :-)

Step 12:

Next we want to add the big glowing center to the image. So create a new layer on top of all the others and get a large, soft brush and with White as your foreground color paint a blob of white over where the woman's silhouette is.

Step 13:

To this blob of white, we now add an Outer Glow of yellow set to Overlay (as shown). You can do this by right clicking on the layer and selecting Blending Options.

Step 14:

Now in your tools palette choose the Smudge Tool (R) which you can see in the image. Using your mouse, smudge your ball of light outwards. Note that in the image shown, I've done some pretty big smudges so you can see roughly what we're doing, but in reality you should make smaller, more subtle smudges.
What you are trying to do here is give it a burst of light feel. You might want to duplicate the layer and have a couple of them together which is what I've done in the sample PSD.

Step 15:

Now what sunset would be complete without a lens flare? Rather than using the filter though just create a new layer on top and draw a circle as shown and fill it with white. Set it to blending mode Overlay and about 10% Opacity. Then create a new layer and do the same with a smaller circle and repeat again a couple of times until you have a subtle lens flare as shown.
Then merge the layers together and set it all to about 30% because we want this to be really subtle!

Step 16:

Now in new layers we paste in some of our vector images. I've used a sort of swirly wing thing from Arsenal's Freebie Section and also the capital letter A from a font called Porcelain, which you can get from Misprinted Type for free.
I chose both because they have lots of lines and swirls which fits what I want to do. I also duplicated the swirly wing vector, flipped it by going to Edit > Transform > Flip Horizontal, then Ctrl+T to scaled it down in the transform menu. That way its good for little details.

Step 17:

Now fit the three images together as shown. When we switch them to white, we want most of the objects to be obscured with just bits of swirl poking out the edges.

Step 18:

So now for each layer we press Ctrl+I to invert the color from Black to White and then right-click the layers and select Blending Options. Then we add an Outer Glow as shown to make them fit in with the main ball of light.

Step 19:

You should now have something that looks like the image below.

Step 20:

Now for the final touches, I've added some text using the font Chalet which is wonderfully elegant but isn't too over the top. Note that you might feel tempted to add a swirly, cursive type font for text, but this would be overkill. It's much better to contrast the complexity of the main image with a very simple and understated type treatment (in my opinion). Anyhow as you can see I've placed it near the center of the image.
Looking at the final image, I also decided it needed a little more color so I added a layer at the very top filled with a reddish color (#957070) and set it to Overlay at 30%. This warms up the image a little more, and you'll see that layer in the final shot.

Final Image:

And finally we're all done. Click the image below for the high-res version of our finished product!

Create Beautiful Wedding card and Invitations Card Design

2014-11-29T20:51:00.002-08:00

Create Beautiful Wedding Invitations Card Design

Set Up Three New Custom Page Sizes

Wedding invitations come in three standard sizes:

Large: 6 3/8 in x 8 7/8 in (162 mm x 226 mm)
Medium: 5 1/2 in x 7 1/2 in (140 mm x 191 mm)
Small: 4 1/2 in x 6 1/4 in (114 mm x 159 mm)

Each size fits snugly into a standard-sized envelope. Invitations can be portrait or landscape, so it’s really up to you how you would like your invitation to look.
Let’s start by creating these custom sizes in InDesign. You can create all these sizes in InDesign to save for future use.

Step 1

Open InDesign. In the welcome window select New Document, or go to File > New > Document. Set the Intent to Print, keep No. of Pages as 1, and uncheck Facing Pages.
From the Page Size drop-down menu select Custom... and type Wedding Invitation - Small under Name. Set the Width to 114 mm and Height to 159 mm. Click Add.
Type again into the Name text box, this time Wedding Invitation - Medium. Set the Width to 140 mm and Height to 191 mm. Click Add.
Create a third and final Custom Page Size by typing Wedding Invitation - Large under Name and setting the Width to 162 mm and Height to 226 mm. Click Add.
Click OK.

Step 2

We’ll first create an example of a small-size wedding invitation. So, back in the New Document window, select Wedding Invitation - Small from the Page Size drop-down menu, and keep the page orientation as Portrait. Set the Margins on all sides to 7 mm and set the Bleed on all sides to 3 mm.
Click OK.

2. Create a Small Invitation with a Classic, Elegant Look

In this tutorial, we’ll create a small-size invitation step-by-step. Jump to the end of the tutorial to see some font and style recommendations for a medium- and large-size invitation too.

Step 1

Open the Layers panel (Window > Layers) and double-click on the default Layer 1 name to open the Layer Options window.
Rename the layer Background and click OK.

Select the Create New Layer icon at the bottom right of the Layers panel and rename this second layer as Border. Click OK.

Create a third layer and rename this as Typography. Click OK.

Lock the Typography and Border layers by clicking once in the blank square to the left of the layers’ names in the Layers panel. Click once on the Background layer to ensure you’re working on this layer.

Step 2

Open the Swatches panel by going to Window > Color > Swatches. We’re going to create a new set of swatches for use on our invitation design.
Select New Color Swatch from the drop-down menu, accessible from the top-right corner of the Swatches panel.

Ensure the Color Type is Process and select CMYK from the Color Mode drop-down menu. Set the sliders to the following values: C=7 M=5 Y=6 K=0, and rename the swatch as Light Cream. Click OK.

Repeat the process above to create two more new CMYK swatches:

Navy: C=92 M=77 Y=42 K=44
Silver: C=25 M=20 Y=20 K=0

You could pull out the silver-colored elements onto another layer and ask your printer to apply metallic foiling, but in this example, we’re just going to use a light-grey CMYK colour to get a similar effect.

Step 3

Remaining on the Background layer, select the Rectangle Tool (M) and drag to create a frame that extends to the edges of the bleed on all sides of the page. From the top control panel, set the Stroke Color to [None] and the Fill to Light Cream.

Lock the Background layer.

Step 4

Unlock the Border layer.
Select the Rectangle Tool (M), as before, and drag to create a frame 120 mm in Width and 165 mm in Height. Center it on the page.
From the top control panel or the Stroke panel (Window > Stroke) set the Weight to 24 pt. Set the Fill Color to [None] and the Stroke to Navy.
Hop up to the top menu and select Object > Corner Options and set the Size to 3 mm and Shape to Rounded on all sides. Click OK.

Step 5

Remaining on the Border layer, select the Rectangle Tool (M) and drag to create a frame 109 mm in Width and 154 mm in Height. Place centrally on the page.
Set the Fill to [None], Stroke to Silver, Weight to 2 pt and Type to Thin - Thin. Go to Object > Corner Options and set the Size to 0.3 mm and Shape to Rounded on all sides.

Lock the Border Layer.

Step 6

Select the Type Tool (T) and navigate up to the top left corner of the screen. Click on the drop-down menu next to the default Font name in the Character Formatting Controls panel. You’ll see that InDesign CC offers you the option to Add Font to Typekit.
If you click this it will take you to the online Typekit Library. Here you can browse from the hundreds of fonts available and choose to sync them to your Creative Cloud. When creating formal, ornamental invitations, you want to set the search criteria to Decorative (for Classification) and Desktop Use (under Available For).

Look for something that has a classic, elegant look, and that looks great at both small and large scale. Typefaces which have ornamental characters, like a fancy ampersand (&) will give you lots of flexibility when designing your invites.
Here are some of my recommended Typekit picks for wedding invitations:
Sail by LatinoType

Kinesis Pro 3 by Adobe

Sorts Mill Goudy by The League of Moveable Type

Sanvito Pro Display by Adobe

All of these typefaces will look fantastic on formal invitations. But there are a whole bunch of great fonts available already in Adobe InDesign CC which will work well on your wedding invitation too...

Step 7

In this example, we’re going to use two fonts already available to us in InDesign CC, Zapfino and Centaur MT Std.
Back in your InDesign document, unlock the Typography layer in the Layers panel.
Select the Type Tool (T) and drag to create a text frame 104 mm in Width and 45 mm in Height. Center the frame on the page at Y position 12 mm. Type name of bride (paragraph break) name of groom. Highlight the groom’s name and set the text alignment to Align Right.
Highlight all the text and set the Font to Centaur MT Std Regular, Size 60 pt, Leading 72 pt and Font Color to Navy.

Step 8

Select the Type Tool (T), as before, and drag to create a square text frame about 60 mm in diameter. Put your cursor into the frame and set the Font to Zapfino.
Open the Glyphs panel (Window > Type & Tables > Glyphs) and select a swirly, ornamental & from the characters available. Double-click on the symbol in the panel to insert the glyph.

Adjust the Font Size to 70 pt and Font Color to Silver. Switch to the Selection Tool (V, Escape) and hover your cursor to a corner of the frame until a rotate icon appears. Grab and rotate the frame a little to the left until it fits snugly between the bride’s and groom’s names.

Gorgeous!

Step 9

Select the Type Tool (T) again and drag to create a large text frame 104 mm in Width and 67 mm in Height. Position this below the text frames you created in the previous two steps, at around Y position 71 mm.
Type:
request the presence of
(paragraph break)
name of guest here
(paragraph break)
to celebrate with family and friends
(paragraph break)
on the occasion of their wedding,
(paragraph break)
to be held on
(paragraph break x 2)
Day Date Month Year
(paragraph break x 2)
at Venue
(paragraph break)
Location
Highlight all the text and set the Font to Centaur MT Ltd, Size 14 pt and Leading to 16.8 pt (Auto). Adjust the text alignment to Align Center, and the Font Color to Navy.
Highlight name of guest here alone and set the Weight to Italic. Adjust the Size to 21 pt, Leading to 25.2 pt and Font Color to Silver. Adjust the Leading of the line below it to 23 pt to even the text out.
Highlight the Day Date Month Year alone and adjust the Weight to Bold and Size to 15 pt. You can also pull out the name of the Venue in Bold too.
Finally, highlight the Location and adjust the Weight to Italic.

Step 10

To add a final flourish to the invitation, select the Type Tool (T) and create a small square text frame about 12 mm in diameter. Insert a decorative glyph from the selection under the Zapfino font in the Glyphs panel (Window > Type & Tables > Glyphs). Here I chose a decorative leaf glyph.

Set the Font Color to Silver and Size to 14 pt. Position the frame to the left of the date text. You can rotate the frame a little to the left until you’re happy with the position.

Once you’re happy, select the text frame and Edit > Copy and Edit > Paste. Right-Click (Windows) or Control-Click (Mac OS) > Transform > Flip Horizontal this second text frame. Position it on the right side of the page in a mirrored position.

Your design is complete, as quick and simple as that!

To export your invitation ready for print, go to File > Export and select Adobe PDF (Print) from the Format drop-down menu. Under the General options, select Press Quality from the Adobe PDF Preset drop-down menu.

Under the Marks and Bleeds options (scroll through the options from the left-hand side of the window) check All Printers Marks and Use Document Bleed Settings.

Click Export.

To create a Photoshop mock-up of your invitation, place a JPEG version of the invitation in Photoshop, layered on top of a rustic wooden texture, like this one from Photodune.

3. More Typeface Recommendations for Invitations

There are loads of beautiful, ornate fonts available in InDesign CC and Typekit. Here are some extra font suggestions for creating other invitation styles.
For a vintage-inspired invitation, why not try Engravers LT Std to give a classic twist to headers? For this medium-size invitation, I contrasted soft colors, like silvers and pastels, with a Rich Black (try C=75 M=68 Y=67 K=90 to give your black a deep, inky quality).
Also used on this example, for the lower section of text, is New Century Schoolbook LT Std, set in All Caps and with Tracking set to 210.
The decorative flourishes are characters taken from the Centaur MT Std glyph set, set in coral and silver swatches.

For a more kitsch invitation which has a more friendly, approachable look, try using Sail (available in Typekit), set in All Caps, and arrange on a curved path (use the Ellipse Tool (L) and Type on a Path Tool (Shift-T) to replicate this effect).
For this large-size invitation, I adjusted the Page Orientation to Landscape, which gives you more room to the left and right of the page to add playful colored sections. A color palette of gold, pale pink, dark grey and white gives a warm, chocolate-box appeal to the design.
The decorative characters are taken from the Zapfino glyph set. There’s really no need to create or download custom graphics, because many typefaces have fantastic decorative characters automatically included as part of the glyph set.

I hope you have fun creating your wedding invitations!

Create a Fire and Rust Text Effect Using the Flame Filter in Adobe Photoshop CC

2014-11-29T20:48:00.002-08:00

Create a Fire and Rust Text Effect Using the Flame Filter in Adobe Photoshop CC

Creating the Background and the Text, and Styling the Text

Step 1

Create a new 1740 x 1170 px document, and fill it with the color #111111.
Then, create the text using the font Intro Regular, the color #d2b593, the Size 350 pt, and change the Tracking value to 50, or whatever other value you like depending on the result you're looking for.

Step 2

Double-click the text layer to apply the following layer style:
Add a Bevel and Emboss with these settings:

Technique: Chisel Hard
Size: 35
Highlight Mode: Vivid Light
Color: #fae8c1
Shadow Mode: Color Burn
Color: #b07133

Step 3

Add a Contour with these settings:

Contour: Gaussian
Check the Anti-aliased box.

Step 4

Add an Inner Shadow with these settings:

Blend Mode: Color Burn
Color: #b0764c
Distance: 0
Size: 8

Step 5

Add an Inner Glow with these settings:

Blend Mode: Linear Light
Color: #dd8238

Step 6

Add an Outer Glow with these settings:

Blend Mode: Linear Light
Color: #edc09f

Step 7

This will style the text and give it a 3D look.

2. Adding the Rust Texture and Smudging the Edges of the Text

Step 1

Place the Rust texture on top of the text layer, rename its layer to Texture and change its Blend Mode to Multiply, and then right-click it and choose Create Clipping Mask.
Once you do that, the texture will be clipped to the text, and you can then resize and move the texture around until you like the result you get.

Step 2

Select both the text and the Texture layers, duplicate them, then go to Layer > Merge Layers. Make sure that the merged layer's Blend Mode is set to Normal.

Step 3

Right-click the text layer and choose Create Work Path.

Step 4

Pick the Smudge Tool, choose a 25 px soft round tip, and make sure that the Mode and Strength values in the Options bar are set to Normal and 50%.
Select the Texture copy layer, then hit the Return key once to smudge the edges. Alternatively, you can pick the Direct Selection Tool (A), right-click the work path and choose Stroke path, then choose Smudge from the Tool drop-down menu, uncheck the Simulate Pressure box, and click OK.
With the Direct Selection Tool selected, hit the Return key to get rid of the work path.

Step 5

Place the Fireworks0017_1 image on top of all layers, change its layer's Blend Mode to Linear Dodge (Add), go to Edit > Transform > Rotate 90° Clockwise, and resize it as you like.

Step 6

Go to Image > Adjustments > Hue/Saturation, check the Colorize box, and change the Hue to 35 and the Saturation to 50.

3. Adding the Paths and Rendering the Flames

Step 1

Pick the Pen Tool and choose the Path option in the Options bar. What you'll need to do next is add a couple of straight vertical paths randomly over the text.
To do so, click once where you want the path to start, press and hold the Shift key, then click once more where you want the path to end. Then, press and hold the Command key and click anywhere outside the path so that you can start creating a separate new one.
Repeat the same steps until you create a couple of paths all over the text. Longer paths will give longer flames.

Step 2

Create a new layer on top of all layers and call it Flames.

Step 3

Go to Filter > Render > Flame, and use the following settings to create the flames:

Flame Type: One Flame Along Path

Width: 34

Flame Lines (Complexity): 29

Turbulent: 49

Jag: 43

Opacity: 40

Flame Bottom Alignment: 20

Flame Style: Violent
Flame Shape: Spread

Check the Randomize Shapes box.

Step 4

Once you click OK, the flames will be rendered. Pick the Direct Selection Tool and hit Return to get rid of the paths.

4. Styling the Flames

Step 1

Change the Flames layer's Blend Mode to Screen.

Step 2

Duplicate the Flames layer.

Step 3

Double click the Flames layer to apply an Outer Glow effect using the following settings:

Blend Mode: Linear Dodge (Add)
Opacity: 60%
Color: #e0b455
Size: 70

Step 4

This will make the flames a lot brighter and more vibrant.

Step 5

Create a new layer below the Flames layer and call it Dark Spots. Set the Foreground color to #111111 and pick the Brush Tool. Choose a soft round tip, and add a dark spot right at the bottom of each flame. This will make the effect look more realistic.

5. Adding the Smoke

Step 1

Place the Smoke0281 and Smoke0282 images on top of all layers, and change the Blend Mode of both layers to Lighter Color. This will enable you to see the text behind them. Resize, rotate, and move those images around until you like how the smoke that covers the text looks.

Step 2

Select all the smoke texture layers you have, and then go to Layer > Merge Layers. Rename the merged layer to Smoke Top and change its Blend Mode to Lighter Color. Then, click the Add layer mask icon down the Layers panel.

Step 3

Pick the Brush Tool, choose a soft round tip, and set the Foreground color to Black. Start painting all over the areas that you want to remove, so that the smoke covers the text and extends a little bit outside it.

6. Adding the Text Sparks

Step 1

Place the Fireworks0001_6 image right below the Dark Spots layer, change its layer's Blend Mode to Linear Dodge (Add), and resize it as needed.

Step 2

Command-click the text layer's thumbnail to create a selection.

Step 3

Click the Add layer mask icon again. This will remove all the texture parts outside the text.

Step 4

Pick the Brush Tool and set the Foreground color to White. Use a soft round tip to paint over some areas around the text's edges and corners to show back the sparks there. This will blend the sparks much better with the text without leaving lots of harsh edges.

7. Adding the Background Smoke

Step 1

Place the Smoke0392 image on top of the Background layer and change its layer's Blend Mode to Color Dodge. Go to Edit > Transform > Rotate 90° Clockwise, and then resize the texture as needed and place it behind the text.

Step 2

Go to Image > Adjustments > Hue/Saturation, and change the Hue to 162 and the Saturation to 35.

8. Applying the Iris Blur Filter

Step 1

Select all the layers you have, duplicate them, and go to Layer > Merge Layers. Rename the merged layer to Final then go to Filter > Convert for Smart Filters.

Step 2

Go to Filter > Blur Gallery > Iris Blur. Change the Focus value at the top to 95%, and the Blur value under the Blur Tools panel to the right to 10.
Change the shape of the ellipse by clicking and dragging the four dots that are connected by the line, and modify the Transition Area by clicking and dragging the four larger dots between the center pin and the outer blur line. You can also move those individually by pressing and holding the Option key and then clicking and dragging one of the dots.

Step 3

The blur will add a nice finishing touch to the effect.

Collage Photo Manipulation in Photoshop

2014-11-29T20:42:00.002-08:00

Collage Photo Manipulation in Photoshop

Follow the step by step process below and try to recreate this awesome collage photo manipulation. Let’s get started! Step 1 – Create a new 8.5×11 document in Photoshop (Ctrl+N>Preset: U.S. Paper).

Step 2 – Place the background image (shutterstock_137585213) from the resources folder on top of the new document. Scale the image to a size just enough to fill the whole document.

Step 3 – Open another image (shutterstock_170568074) from the folder and isolate the man on a skateboard and make selection using Pen Tool (P). Place the isolated image on top of the background image.

Step 4 – Duplicate the skateboarder layer. (Layer>Duplicate Layer) or (Ctrl+J). Select the duplicated layer and set its blending mode to Overlay.

Here’s how it should look like.

Step 5 – While the duplicated layer is selected, go to Filter>Other>High Pass and set the radius to 4.5 pixels. The next thing we have to do is select both layers of the skateboarder and merge them (Layer>Merge Layers) or (Ctrl+E).

Step 6 – Using the pen tool, select the part of the skateboarder shown in the image below. Make selection and cut (Ctrl+X) it. Create a new layer (Shift+Ctrl+N) and Paste In Place (Shift+Ctrl+V) the cut part on top of it.

Step 7 – Select the layer of the cut part and set its blending mode to Multiply and master Opacity to 45%.

Step 8 – We’ll kinda just repeat what we did in steps 6 and 7. Select the part of the skateboarder layer shown in the image below using pen tool, make selection, cut the selected part (Ctrl+X), create a new layer (Shift+Ctrl+N) and Paste In Place (Shift+Ctrl+V) the cut part on top of it. Set the cut part layer’s master Opacity to 76%.

Step 9 – Select the background image then go to Image>Adjustments>Curves (Ctrl+M). Pick a point then set the Input to 178 and Output to 88.

Step 10 – Place the wing image (shutterstock_140933794) from the resources folder on top of the document then Flip it horizontally (Edit>Transform>Flip Horizontal).

Step 11 – Divide and separate the wing image vertically so that we can individually manipulate each part.

Step 12 – Drag both wing image layers underneath all skateboarder layers. Set the blending mode of both wing image layers to Multiply. Using Free Transform (Ctrl+T), rotate/resize and fix the position of both layers.

Here’s how they should look like depending on the transformation we did.

Step 13 - The next thing we’d like to do is eliminate the parts where the arms and the wings overlap. While the left wing layer is active, select the left arm of the skateboarder using pen tool (P), make selection, and press Delete. Repeat the steps for the right wing and arm.

Here’s the result

Step 14 – Place the cracked wall image (shutterstock_143259865) on top of the background image and set its blending mode to Multiply.

Step 15 – On top of all the current layers, place the flying birds image (shutterstock_154031132) and set its blending mode to Color Burn. Go to Image>Adjustments>Curves (Ctrl+M). Pick a point then set the Input to 89 and Output to 211.

Step 16 – Add splat images (Splat_201887173) on top of the document. Duplicate (Ctrl+J) the splat image layer three times then arrange them as seen on the image below. Adjust the Hue (Ctrl+U) of each duplicate and set their blending mode to Color Burn. Send some of the splat image layers above or underneath the skateboarder image.

Here’s the result:

Step 17 – Using the brush tool (B), we’re going to create four round brush splats of different colors. Create a new layer (Shift+Ctrl+N) and create the round brush splats as seen on the image below. Set the round brush splats layer’s blending mode to Screen and master Opacity to 50%.

Here’s how it should look like

Step 18 – On top of all current layers, place the grain image (shutterstock_191743223) from the resources folder. Resize the grain image just enough that it fills the whole document and set its blending mode to Overlay. Erase some parts where the skateboarder’s body and the grain image overlaps using the eraser tool (E) in 40% Opacity.

Here’s the result

Step 19 – Place the dog image (shutterstock_106206842) on top of all current layers. Drop out the white background by doing the same thing we did on the skateboarder in Step 3 using the pen tool (P). Using again the pen tool (P), select the lower body of the dog image as seen on the image below and make selection. Cut the selected part of the dog image (Ctrl+X), create a new layer (Shift+Ctrl+N), and paste in place the cut part (Shift+Ctrl+V). Set the layer’s master Opacity to 38% then go to Image>Adjustments>Curves (Ctrl+M). Pick a point then set the Input to 187 and Output to 143.

Step 20 – Select the skateboarder layer and burn some parts using the burn tool (O) (Exposure: 30) as seen on the image below.

As of this step, our artwork is actually finished and the next steps are just optional.
Step 21 - Place the first snake image (shutterstock_89072905) on top of all current layers. Drop out the background by doing the same thing we did on the dog image using the pen tool (P). Resize (Ctrl+T) the snake image and position it as seen on the image below. Go to Image>Adjustments>Curves (Ctrl+M). Pick a point then set the Input to 87 and Output to 62. Burn some parts using the burn tool (O) (Exposure: 30) as seen on the image below.

Result

Step 22 - Place the second snake image (shutterstock_55631374) on top of all current layers. Drop out the background and crop the image using the pen tool (P). Flip it horizontally (Edit>Transform>Flip Horizontal). Resize (Ctrl+T) the snake image and position it as seen on the example below. Burn some parts using the burn tool (O) (Exposure: 30) as seen on the image below.

Step 23 - Place the crow image (shutterstock_104612966) on top of all current layers. Drop out the background using the pen tool (P). Flip it horizontally (Edit>Transform>Flip Horizontal). Resize (Ctrl+T) the crow image and position it as seen on the example below. Send the crow image underneath the red round brush splat layer. Go to Image>Adjustments>Curves (Ctrl+M). Pick two points then set the Input to 83 and Output to 66 to emphasize shadows and highlights.

Here again is the FINAL result
You may also view more works of Romel Belga on Behance or Shadowness.

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