In this month’s Photoshop Elements tutorial I’m going to demonstrate a neat trick for changing the view through a window. There are many ways to approach this, of course, this is a particularly versatile method, however. Instead of cutting out the glass areas of the window and putting the new view beneath, we’ll use the window panes as a clipping mask. If you’re unfamiliar with the concept of clipping masks, it’s a way of hiding parts of a layer based on the visible areas of the layer below. In this case, only the parts of the new view will be visible where they overlap the window panes, giving the impression that we’re seeing the scene behind the window frame. This is often preferable to the usual masking technique, particularly if we want to use multiple images to build the composite, where the layers would need to be beneath the target layer as we can control the visibility without the need to move the layers around in the stack. If we want to see the whole image, we simply unclip it.
I recently wrote an article here on TipSquirrel about using Photoshop’s Pencil tool to make complicated selections. A comment was posted asking if the same thing was possible using Photoshop Elements. The answer to that is yes, but, as with a few things in Elements, we have to use a couple of workarounds. The original tutorial used Photoshop’s Quick Mask feature. This allows us to create selections by painting them with the Brush tool (or any other of the drawing tools); the selected areas show up as a coloured overlay. Elements doesn’t have this feature, sadly, so we’ll be using an adjustment layer and its mask to achieve the same result.
If you do any kind of Photoshop work using selections and cutouts, you’ll know how important it is to be as accurate as possible, particularly when working with images of people. It’s easy to miss areas of an object when using the Quick Selection tool, especially when working in intricate areas such as hands, bits of clothing and so on; irregularities can stick out like a sore thumb – or a missing one. They also have a habit of only showing themselves after we think we’ve finished the cutout, or worse still, we don’t notice them at all!
With the release of Elements 11 came three new filters: Pen and Ink, Comic and Graphic Novel. You could be excused from not having known about them as they reside in the Sketch category of the Filters menu, a place you visit in the early stages of using Elements but rarely return. Many of these special effects filters fail to live up to their expectations, not without a lot of additional work afterward, at least. These new sketch filters are different: on the whole they actually do what they’re supposed to, and often with fantastic results! My favourite of the three filters is Graphic Novel and that’s what we’ll be looking at in this tutorial. The effect it produces gives the image a hand-drawn effect with intricate lines similar to those drawn with Rotring precision pens.
This month I’m donning my top hat and tuxedo to perform a spectacular card trick for you. First, I’ll tear the card in half and then, without so much as a wave of a magic wand, I’ll seamlessly mend it right in front of your very eyes!
Seriously, though, if you’ve ever gone delving into the many filters available in Photoshop and Photoshop Elements, you will no doubt have come across the Torn Edges filter. As the name suggests, it will give you a super torn edge effect on your image. Well, no, actually it won’t, not if it’s applied directly to the image, that is; all you’ll end up creating is a fuzzy monochrome graphic element.
Inspiration often comes from things we’ve seen as we go about out day-to-day business; posters, TV and printed ads, etc. I was in town the other day and noticed a poster in a bus shelter for a soft drink. The ad headline featured a fancy glittery text effect. I took a photo with my phone for reference and set about seeing what I could come up when I got back to the computer. I wanted to make sure it was easy to create and versatile enough to apply in different situations.
This month I thought I’d highlight a feature of Smart Objects in Photoshop and, to an extent, Photoshop Elements that often gets overlooked. Aside from the ability to scale and distort layers without loss of quality and change the contents simultaneously across multiple copies, another useful trait is that they remember the previous distortion settings; image warp in particular. This is incredibly useful for designers, as it makes it far easier to experiment with idea or creating photo montages, where objects need to be placed into a scene in perspective
We’ll be using Photoshop layer styles to achieve the effect as well as the somewhat obscure Type Mask tool. If you’re not familiar with this tool, it’s a little like a cross between the Type tool and Quick Mask; we can type our text as usual but when it’s committed, instead of creating a layer with the text it creates a selection; this is perfect for the technique as we do not need to work on the text directly. You can follow the original tutorial using the link above but change the dimensions to 1000×200 pixels to create the correct document size. If you don’t want to start the image from scratch, it can be downloaded here.
In this tutorial we’re going to conjure a marble-style texture in Photoshop and Photoshop Elements. This can be used for anything from 3D textures to creating a fancy background for a web banner; as we have done here.
The effect hinges around the Clouds filter; yes, the highly versatile filter that’s great for creating anything other than clouds. By combining this with further filters, adjustments and layer blend modes, we can achieve a fairly realistic texture quickly and easily. Let’s get started.
We all have photographic mishaps from time to time; many of them are only minor, thankfully. Sometimes, however, they can be real howlers and that can be frustrating, especially if they were shots that are not easy to recapture.
In this article we’re going to be looking at an example of a very underexposed image, that, ordinarily we would consign to the trash without a second thought. Before we stab at the delete key, however, let’s see what we can do in the Develop module of Lightroom 4; you will be pleasantly surprised!
When we talk about the Levels dialog in Elements, we generally stick to the default mode of adjusting the shadows, midtones and highlights of the overall image in order to correct and boost the existing tones. There is far more to the Levels adjustment, however, as we’ll find out in the following tutorial.
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