We continue to progress through the tricks and details of using the Pen Tool in Photoshop, and today we look at ways of converting anchor points from corners, to smooth curves, to cusp points and back. This final skill, combined with what we’ve learned in the previous videos, will give you everything you need to manage creating and editing of virtually any complex path in any image.
In this, our 5th instalment of our series on using the Pen Tool in Photoshop, we explore the problem of cusp points. Cusps are formed when two curves meet, but not in a smooth point – rather in a corner or sharp angle, as you might see on a heart, or perhaps on the fin of a fish. The technique for drawing this type of shape in Photoshop is not obvious, but it is easy once you know how.
We’ve been chipping away at the Pen Tool in Photoshop, and in this part 4 of our series, we finally begin to draw curved paths, freeform, with the Pen Tool. Learning to use control points and control handles requires some practice and some experience, but with the knowledge base from the first three segments in this series, we’re ready to tackle curved paths.
In part 2 of my series on using the Pen Tool within Photoshop, we finally do break out the Pen Tool, and start drawing straight line paths. Learn how to place and modify corner anchor points, and how to close a path. With the closed path, we’ll learn how to save the path, load the path as a selection and use it as a layer mask.
In this series of videos, we are going to work our way from the basics to pen tool mastery, but we need to start with the fundamentals. In fact, in this video, I’m not even going to use the pen tool. Instead, we’ll spend our time understanding how paths work in Photoshop, so that when we do start using the pen tool, we’ll be on familiar ground.
It’s inevitable when you’re making digital photographs that you are going to encounter digital noise. Noise in an image is the result of variability in the light level readings from one sensor pixel to the next. Even the best quality sensors will produce some level of noise, and the noise will be amplified under certain conditions. Fortunately, with Lightroom, we have built-in noise reduction capability, and the performance is exceptionally good.
Wouldn’t it be great (for image artists) if you could arrange to have all your light sources share the same temperature? Unfortunately, that doesn’t happen in real life, and between flash, tungsten lights, fluorescent lights, and sunlight, you may find yourself with a mixed lighting bag. No single white balance setting will correct the entire image, so you have to resort to local corrections.
In this video, I’ll show you a technique in Photoshop for selecting the contaminated color areas easily, then a way to match the color of these areas to the rest of the image using some layer blending mode tricks.
Plugin by Social Author Bio