Photoshop in a Nutshell, 2nd Edition : A Desktop Quick Reference By Donnie O'Quinn 2nd Edition April 1999 1-56592-565-3, Order Number: 5653 660 pages, $24.95

Sample Chapter 3:

Special Tools

Pen Tool

(type "P")

The Pen Tool is used only for manually creating object-oriented paths. These are based on BÈzier curves, the same technology employed by vector-based programs like Adobe Illustrator or Macromedia FreeHand.

Paths offer an impressive array of editing capabilities. However, the techniques required to create and modify a path are completely different than any other facet of Photoshop. Before you begin using the Pen Tool, you must understand the fundamental concepts of paths (see Figure 3-1).

Common Uses

Refer to Appendix A for full descriptions of the following:

• Drawing a basic path
• Continuing an existing path
• Creating multiple open paths
• Joining two open paths
• Transforming a path
• Deleting an entire path

Common Errors

Attempting to output Photoshop paths. These shapes -- although they are object-oriented, just like Illustrator's or FreeHand's -- can only be used to further affect a Photoshop image. If you want to print a Photoshop path, you must choose File: Export: Paths to Illustrator, open the new file in a vector-based editing program, apply color, and print from there. Or, you can select the path, choose Edit: Copy, and paste the outlines directly into Illustrator.

Special Notes

• Any path you create automatically appears in the Paths Palette, which contains all the commands you need to make the path interact with your image. Once a path appears there, however, the terminology changes: there, a path is any specific grouping of object-oriented shapes. One specific shape, whether open or closed, is called a subpath.
• The Pen Tool is only used to create the initial path. Unless you create a path perfectly the first time -- which rarely happens -- you must use the remaining path tools to modify its shape.
• Each curve handle affects a segment on one side of a point. Therefore, a segment can be controlled by two curve handles -- one on each end.
• After creating a path, you must use the Convert Point Tool to change a point from one type to another.

Components of a Path

1. Point

Click with the Pen Tool to place a single point. Paths are created one point at a time -- they're the hot-spots, acting like the dots in a connect-the-dots puzzle.

2. Segment

As you click, a line connects the new point with the previous point. These segments ultimately form the shape of a path.

3. Curve Handles

Each point contains two curve handles. When you simply click to place a point, both handles are hidden. If you drag the cursor before you release the mouse button, you extend the handles. Manipulate them with the Arrow Tool to curve the segments connected to the point. Itís not necessary to reveal the handles, but without them, you can only create straight lines.

4. Corner Point

This point displays no handles, resulting in straight segments. Place a corner point by simply clicking with the Pen Tool.

5. Smooth Point

This point displays two locked and symmetrical handles, allowing two segments to meet in a smooth, continuous curve. Place a smooth point by click-dragging with the Pen Tool to place a smooth point.

6. Single-curve Point (straight segment into curved)

This point displays one handle, resulting in a straight segment meeting a curved segment. After clicking to place a corner point (which forms the straight segment), click and drag from the same point to reveal one handle. This adds curve to the following segment, which appears when you place the next point.

7. Single-curve Point (curved segment into straight)

This point displays one handle, resulting in a curved segment meeting a straight segment. After placing a smooth point (which forms the curved segment), hold down the (Option) [Alt] key and click the same point to hide the forward handle. This results in no curve being added to the following segment, which appears when you place the next point.

8. Double-curve Point

This point displays two unlocked handles, allowing you to separately adjust the two segments on either side of the point. To create a double-curve point with the Pen Tool, start by placing a smooth point. Hold down the (Option) [Alt] key and drag from the same point to redirect the forward handle. This adds an independent curve to the following segment, which appears when you place the next point.

9. Open Path

A path with a distinct beginning and end is considered open. A path consisting of two points and a connecting segment is the simplest example. Using the Stroke Path command in the Paths Palette, this type of path is commonly used as the basis for creating curved lines in an image.

10. Closed Path

A path with no distinct beginning and end is considered closed. As you create a path, close it by targeting your last mouse-click on the very first point of the path. A circular path -- a shape with no beginning or end -- is the simplest example. Depending on the command chosen from the Paths Palette, this type of path is commonly the basis for filled shapes, clipping paths, and new selections.

See Also

Appendix A (Special Tools: Pen Tool)

The Paths Palette

File: Export: Paths to Illustrator

Magnetic Pen Tool

(type "P")

This tool allows you to draw a path that adheres to a contrasting color or shape. In theory, this allows you to avoid manually drawing a path with the standard Pen Tool. In reality, like most automatic path creation tools, the results are uneven at best.

Unlike the Pen Tool, you do not create a path by click-placing points and adjusting handles. After setting the desired values in the Options Palette, creating a path with this tool involves the following:

• Click once on-screen to insert the first point of the path.
• Direct the cursor around the object you wish to select. As you do so, Photoshop automatically places a series of points and segments around the object. If unhappy with the outline, back the cursor up and draw again. Additionally, anchor points appear along the more prominent edges of the selected shape. To remove a point on the fly, press Delete. To remove a backward series of points, press Delete multiple times. To add your own points (which better directs the placement of the outline), click as you move the cursor.
• Complete the path by clicking once on the first point you placed. Or, double-click to automatically close the outline.

Once you've finished drawing the path, adjust it with the remaining path editing tools.

To cancel a path before its completion, press the Esc key, or double-click to complete the path and immediately press Delete.

Common Errors

Attempting to create finely-detailed path or trace a low-contrast image. Because of the difficulty in pinpointing the precise values, this tool is a poor choice for drawing delicate paths. It works best in high-contrast situations, such as isolating an object photographed in front of a white backdrop. For more accurate selections, youíre better off using the Pen Tool, or using alpha channel techniques to create a complex mask. (See Select: Save Selection for more info.)

Special Notes

• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.
• To add a straight segment to the path, hold down the (Option) [Alt] key while clicking a point, similar to using the Magnetic Lasso or Freehand Pen Tool. A straight line extends from the cursor, waiting for you to place the next point. Release the (Option) [Alt] key to revert back to normal behavior. Note, however, that if you release the mouse button before releasing the (Option) [Alt] key, the path will automatically close with a straight segment.
• This tool only creates closed paths. To use an automatic path tool to create an open path, you can do one of two things:
• Use the Pen Tool or Freehand Pen Tool to draw the desired shape.
• Draw a closed path with the Magnetic Pen Tool. Since the path is closed, you must locate the segment that connects the two points you wish to separate. Use the Add Point Tool to place a new anchor point between these two points. Select only the new point and press Delete, opening the path.

Magnetic Pen Tool Options Palette

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1. Curve Fit (0.5-10 pixels)

This option determines the overall smoothness of the path. The value actually represents the amount of detail, measured in pixels, that the tool will ignore as it applies curve to each segment. For example, if the value is 5, the tool will ignore any detail measuring less than 5 pixels in size. The lower the value, the more intricate the path; the higher the value, the smoother (and less accurate) the path. This value defaults to 2 -- most users prefer a value between 2 and 5.

2. Pen Width

This value determines how closely you must move the cursor to the edge of the object you wish to trace with a path. For example, if the value is 10, you can drag the cursor within 10 pixels of the target shape, and the outline will still shrink to fit. If the cursor is more than 10 pixels away, you may include unwanted image pixels in the path.

For the best results, raise this value for higher-contrast target shapes, and lower it for lower-contrast shapes. If the Other Cursors option in the File: Preferences: Display & Cursors dialog is set to Precise, the cursor will display as a circle, sized at the current value.

You can change this setting as you drag. Press the open-bracket key to lower the value in increments of 1. Press the close-bracket key to raise the value in increments of 1.

3. Frequency

This value determines how often anchor points are placed as you move the cursor. Typically, Photoshop loosely matches your movements. A point will occasionally appear if you keep the cursor in one spot for more than a couple of seconds.

Raise the value to place points more frequently. Lower the value for fewer points. For the best results, use a higher value when selecting rough-edged images, and use a lower value when selecting smooth-edged images.

4. Edge Contrast

This value determines how much contrast must exist between the object you wish to trace and the surrounding pixels. Higher values mean that there must be more contrast; lower values will accommodate less contrast. For the best results, raise the value when tracing high-contrast images, and lower it when less contrast exists.

5. Stylus: Pressure

This option is only available when using a drawing tablet. When checked, the Pen Width value will automatically lower when you apply more pressure, and automatically raise when you apply less. When unchecked, the Pen Width behaves the same as described above.

See Also

The Pen Tool

Path Select Tool

File: Preferences: Display & Cursors

Select: Save Selection

Freehand Pen Tool

(type "P")

This tool allows you to create a path by simply drawing the desired shape. An outline appears on-screen as you drag the cursor, allowing you to monitor your progress. As soon as you release the mouse button, Photoshop assigns the points and curve handles necessary to duplicate the outline as a path.

Special Notes

• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.
• To add a straight segment to the path, hold down the (Option) [Alt] key while clicking a point, similar to using the Magnetic Lasso or Freehand Pen Tool. A straight line extends from the cursor, waiting for you to place the next point. Release the (Option) [Alt] key to revert back to normal behavior. Note, however, that if you release the mouse button before releasing the (Option) [Alt] key, the path will automatically close with a straight segment.
• This tool can be used to create both open and closed paths:
• Create a closed path by placing the cursor directly on top of the first inserted point and releasing the mouse button.
• Create an open path by releasing the mouse button when the cursor is not touching the first inserted point.
• If you accidentally create an open path when you wanted a closed path (usually, by releasing the mouse button too early), you cannot use the Freehand Pen Tool to close the path. Instead, with the standard Pen Tool, click one endpoint of the open path, then the other.

Freehand Pen Tool Options Palette

1. Curve Fit

This option determines the overall smoothness of the path. The value actually represents the amount of detail, measured in pixels, that the tool will ignore as it applies curve to each segment. For example, if the value is 5, the tool will ignore any detail measuring less than 5 pixels in size. The lower the value, the more intricate the path; the higher the value, the smoother (and less accurate) the path. This value defaults to 2 -- most users prefer a value between 2 and 5.

See Also

The Pen Tool

The Magnetic Pen Tool

The Path Select Tool

The Insert Point Tool

Path Select (Arrow) Tool

(type "P")

The Path Select Tool, commonly referred to as the Arrow Tool, is used to move and manipulate the different parts of a path.

Common Uses

• Selecting a point. Click on a single point to independently select it. This displays the curve handles, if any have been extended. If desired, you can reposition the point by dragging it.
• Selecting multiple points. Hold down the Shift key and click a series of existing points. Or, drag a marquee with the tool -- any points included in the box are selected when you release the mouse button. If desired, reposition multiple points by dragging them.
• Selecting a path. Hold down the (Option) [Alt] key and click the path. Or, drag a marquee around the entire path. If desired, reposition the entire path by dragging it.
• Deselecting a path. Click on the image, away from the path. The path remains visible, but no points are selected.
• Repositioning a segment. When you drag a straight segment, it moves along with the two points on either end. When you drag a curved segment, you either increase or decrease the curve -- the points do not move.
• Dragging a curve handle. To change the shape of a curved segment, select a point to reveal its curve handles. Drag the handles to reshape the segment.
• Duplicating a path. Hold down the (Option) [Alt] key while dragging a path.

Special Notes

• Hold down the (Command) [Control] key while using any of the path tools to temporarily access the Arrow Tool.
• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.

Add Point Tool

(type "P")

Use this tool to add a new point to a path. It cannot place new points to continue a path, like the Pen Tool -- rather, you click on a path segment to insert a point where none existed before. Long segments have limited flexibility; this allows you to edit the shape of a path more accurately.

Special Notes

• If you add a point to a curved segment, Photoshop automatically extends the curve handles to maintain the segment's shape.
• To access the Add Point Tool while using the Arrow Tool, hold down the (Option-Command) [Alt-Control] key. Click on a segment to add a point.
• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.

Delete Point Tool

(type "P")

Use this tool to delete an existing point. If you delete a point by selecting it with the Arrow Tool and pressing the Delete key, you also remove the two segments on either side. By clicking a point with this tool, you remove it while leaving the segment intact.

Special Notes

• To access the Delete Point Tool while using the Arrow Tool, hold down the (Option-Command) [Alt-Control] key. Click a point to delete it.
• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.

Convert Point Tool

(type "P")

After creating a path, use this tool to convert a point from one type to another.

Common Uses

• Converting a corner point to a smooth point. Drag from a corner point to reveal two locked curve handles.
• Converting a smooth point to corner point. Click on a smooth point to hide the handles.
• Converting a smooth point to double-curve point. Drag one of the curve handles of a smooth point. It moves independently of the other handle.
• Converting a double-curve point to smooth point. Drag one of the curve handles of a double-curve point. The other handle snaps into a symmetrical position.

Special Notes

• To access the Convert Point Tool while using the Arrow Tool, hold down the (Control-Option) [Control] key.
• When you type the letter "P", you only select the currently visible Pen Tool. Toggle through the different Pen Tool options by pressing Shift-P.

Type Tool

(type "T")

Use this tool to add type to an image. Click anywhere in the image with the Type Tool to access the Type Tool Dialog, where you enter, format, and otherwise edit the text.

Photoshop handles type differently than other graphics applications. Page layout and illustration programs have object-oriented type toolsóonce you add text to a document, they allow you to edit at will, similar to a word processing program. When working in Photoshop, on the other hand, type exists in two forms:

• Type Layer. When you initially add type to an image, it appears in a type layer, identified in the Layers Palette by a small letter "t". Here, the information still exists in an editable form. Re-access the Type Tool dialog and edit the contents the type layer by double-clicking the item in the Layers Palette, or by clicking one of the characters on-screen with the Type Tool.

As long as the type exists in this form, you can only apply a few image-editing commands to it. These include color, opacity, blend modes, transformations, and Layer: Effects items, but more pixel-intensive commands such as filters are not available.

• Rendered Layer. To treat type as pixel-based image information, you must render the type layer, or fully convert it to editable pixels. Do this by selecting the type layer in the Layers Palette and choosing Layer: Type: Render Layer. Once type is rendered, you cannot convert back to an editable-text format. Make sure the text is accurate before rendering.

Common Uses

Refer to Appendix A for full descriptions of the following:

• Transforming type
• Creating semi-transparent type
• Creating a character mask
• Creating a type channel
• Transforming selection-based type
• Creating custom path shapes

Common Errors

• Attempting to use the Type Tool without installing Adobe Type Manager. If you are using PostScript Type 1 fonts, this utility uses the output information stored in a font to render its shapes smoothly on-screen. Without it, the characters are jagged and unusable.
• Simulating the type set with a page layout or illustration program. Compared to those programs, Photoshop type has three limitations:
• Fixed resolution. The resolution of object-oriented type is ultimately based on the output device. The resolution of pixel-based type depends on the image. Therefore, low-res files do not print well on high-res output devices.
• Fixed content. Once you have rendered the type layer (which you must do before saving the file in a format recognized by other applications), you cannot edit the content of the text. You can only use standard image-editing tools.
• Limited formatting capabilities. Formatting techniques such as curved baselines and finely-tuned typography are difficult at best in Photoshop. For that reason, many users create type in an outside program like Illustrator or FreeHand before importing it into a Photoshop image. (See File: Opening Vector-based Graphics and File: Export: Paths to Illustrator for more info.)

Special Notes

• When you type the letter "T", you only select the currently visible Type Tool. Toggle through the different Type Tool options by pressing Shift-T.
• New type always appears in a separate image layer. The Preserve Transparency button is automatically checked, allowing you to edit the content of the characters without compromising the letter shapes. To change the inherent shape of the type with commands like the Blur or Distort filters, you must uncheck this box.
• Many users are used to pressing the Return key to close a dialog and apply the new settings. Here, if the flashing cursor is inserted in the Text Field, pressing Return only adds a new line break. If desired, you can press Enter (on an extended keyboard) to close the dialog. Or, simply click the OK button.
• When a type layer exists in the Layers Palette, you can use it to access two dialogs. Double-click the image thumbnail to access the Layer Options dialog; double-click anywhere else in the palette item to access the Type Tool dialog. (Remember, if the type layer has been rendered, you cannot access the Type Tool dialog.)
• This tool is used to create horizontal type, or text that reads from left to right. Convert horizontal type to vertical type by selecting the type layer in the Layers Palette and choosing Layer: Type: Vertical.

The Type Tool Dialog

1. Font

All fonts currently available to your operating system appear in this pop-up. Unless you're using TrueType fonts, you must use Adobe Type Manager for the best results. Otherwise, your type appears jagged and formless on-screen.

2. Size

Enter the desired size of the type in this field. Choose the desired unit of measurement from the pop-up menu:

Points
The default setting, this option measures type in point sizes, regardless of the image resolution. Values can range from 4 to 1000 points.
Pixels
This option measures type in image pixels. Therefore, the on-screen size of a specific value depends on the image resolution.

The unit of measurement set in the Size pop-up applies to the Leading and Baseline values as well.

3. Leading (0.1-1296)

This value determines the distance between baselines, or the invisible line a row of type sits upon. Entering 0 -- or leaving the field blank -- results in the default setting of 125% of the entered size.

4. Kerning (-1000-1000)

In conventional typesetting, kerning refers to the process of decreasing the space between two characters (sometimes called a kern pair). Here, it involves decreasing or increasing the space.

To manually kern a pair of characters, insert the cursor between them and enter a value in the Kerning field. Negative values decrease the letter spacing; positive values increase it. This value is ignored if the Auto Kern box is checked.

Each kern increment measures one-thousandth of an em-space (1/1000 em). An em-space equals the width of the current typeface's lower-case "m". Basing this value on the dimesnions of the current typeface ensures that kern adjustments retain their proportions when you change the font or size.

If desired, use the following shortcuts to manually kern type:

• Increase in increments of 20. Insert the cursor and press (Option) [Alt]-right arrow.
• Decrease in increments of 20. Insert the cursor and press (Option) [Alt]-left arrow.
• Increase in increments of 100. Insert the cursor and press (Option-Command) [Alt-Control]-right arrow
• Decrease in increments of 100. Insert the cursor and press (Option-Command) [Alt-Control]-left arrow
5. Tracking

Similar to kerning, this value affects overall character and word spacing. The field is only available after selecting multiple characters. You can adjust the tracking of text whether or not the Auto Kern box is checked.

If desired, use the following shortcuts to track type:

• Increase in increments of 20. Select a range of text and press (Option) [Alt]-right arrow.
• Decrease in increments of 20. Select a range of text and press (Option) [Alt]-left arrow.
• Increase in increments of 100. Select a range of text and press (Option-Command) [Alt-Control]-right arrow
• Decrease in increments of 100. Select a range of text and press (Option-Command) [Alt-Control]-left arrow
6. Color

This option determines the color of the type. It defaults to the current foreground color, but by clicking the swatch and accessing the color picker, you can apply an independent color.

Since the color only appears after you close the dialog (it does appear in the preview), you cannot apply more than one color at a time. Additionally, when the type layer is unrendered, you cannot select and re-color individual characters -- any attempt to do so re-colors all the characters in the layer. You must render the type using Layer: Type: Render Layer before you can change the color of individual characters.

7. Baseline (-1296-1296)

This value raises or lowers text from the baseline, or the default "imaginary" line text sits upon. Applying a baseline shift is similar to applying the Superscript or Subscript type styles in other programs, but with an important difference: those effects can only be set to one offset value, whereas this command can set multiple characters to different offset values.

This value is measures in terms of points or pixels, depending on the current setting in the Size pop-up.

This value is often applied when creating fractions. To insert a special slash character used for fractions, press (Option-Shift) [Alt-Shift]-1. Adjust the baselines of the numerator and denominator as desired, kerning the characters if necessary.

Use the following commands to manually adjust the baseline of a selected character:

• Increase baseline in increments of 2. Press (Option-Shift) [Alt-Shift]-up arrow.
• Decrease baseline in increments of 2. Press (Option-Shift) [Alt-Shift]-down arrow.
• Increase baseline in increments of 10. Press (Option-Shift) [Alt-Shift]-up arrow.
• Decrease baseline in increments of 10. Press (Option-Command-Shift) [Alt-Control-Shift]-down arrow.
8. Auto Kern

When this box is checked, Photoshop uses the kern pair values built into each typeface by its designer. Not all possible pairs are included (there are over 65,000 possible pairs in the average typeface), but most fonts include preset values for the most common pairs, such as "sh", "th", and "at". As long as this option is turned on, you cannot access the Kerning field to manually adjust the spacing between letters.

When unchecked, Photoshop applies no initial kerning. However, you can manually kern by inserting the cursor between the desired letters and entering a value in the Kerning field.

9. Anti-Aliased

When this box is checked, Photoshop applies a one-pixel color transition between the type edges and the underlying information. When unchecked, the resulting type will have jagged edges -- the visibility of which will depend on the resolution of the image.

10. Rotate

This option is only available when one of the Vertical Type Tools is used. (See Vertical Type Tool or Vertical Outline Type Tool for more info.)

11. Alignment

These options determine the horizontal alignment of the type, using the spot you initially click as the alignment point.

12. Text Box

In this field, enter the text you wish to convert into pixel-based type. As you type, the text will not automatically bump down to the next line at any given point -- you receive no indication (beyond the preview) that the text will extend beyond the image boundaries. To prevent this, you must manually add line breaks, either by pressing Return in the appropriate place while typing, or by going back, inserting the cursor, and then pressing Return.

You can also select and further edit text in this area. Possible changes include applying multiple typefaces and different sizes, and adjusting the tracking, kerning, and baseline. However, the Leading value applies to all text in the field, as does the current color.

If desired, use the following commands when manually selecting type in the text box:

• Highlight a single character to the right. Press Shift-right arrow.
• Highlight a single character to the left. Press Shift-left arrow.
• Jump cursor right one word. Press (Command) [Control]-right arrow.
• Jump cursor left one word. Press (Command) [Control]-left arrow.
• Select a single word. Double-click the word.
• Select a specific range of characters. Insert cursor at start of desired range; Shift-click and end of range.
• Highlight the word to the right. Press (Command-Shift) [Control-Shift]-right arrow.
• Highlight the word to the left. Press (Command-Shift) [Control-Shift]-left arrow.
• Select line above. Press Shift-up arrow.
• Select line below. Press Shift-down arrow.
• Select entire contents of field. Press (Command) [Control]-A.
13. Zoom Controls

These controls allow you to shrink or enlarge the text preview inside the dialog. Only the view is affected -- the point- or pixel-size of the type does not change.

Click the "+" to zoom in, increasing the view percentage up to 800%. Click the "-" to zoom out, decreasing the percentage. Click the Fit in Window option to fit the entire contents of the field in the window.

If desired, use the following shortcuts to zoom in and out:

• Zoom in (dialog). Press (Command) [Control]-+
• Zoom out (dialog). Press (Command) [Control]- -
• Zoom in (image, while dialog is open). Hold down (Command) [Control]-spacebar and click on image.
• Zoom out (image, while dialog is open). Hold down (Option-Command) [Alt-Control]-spacebar and click on image.
14. Preview

When this box is checked, a preview of the new type appears on the image, beneath the dialog. As you make changes in the dialog, they are automatically reflected in the preview.

Initially, the position of the type is based on the original point you clicked with the Type Tool to access the dialog. However, you can move the cursor over to the image and drag it to reposition, while the dialog is still open.

See Also

Appendix A (Special Tools: Type Tool)

Type Outline Tool

Vertical Type Tool

File: Opening Vector-based Graphics

File: Export: Paths to Illustrator

Edit: Stroke

Layer: Effects

Layer: Type: Render Layer

Layer: Type: Vertical

The Layers Palette

Type Outline Tool

(type "T")

This tool does not result in pixel-based type. It accesses the same dialog as the standard Type Tool, but it does not result in pixel-based information. Instead, it places an active selection in the precise shape of the defined type. This selection behaves as if it was drawn manually; no new layers are created. (See the "Selection Tools Overview" for more information) Most often, this tool is used to create the basis for a layer mask.

Special Notes

When you type the letter "T", you only select the currently visible Type Tool. Toggle through the different Type Tool options by pressing Shift-T.

Vertical Type Tool

(type "T")

This tool is virtually identical to the standard Type Tool. It accesses the same dialog, the results appear in an editable type layer, and it must ultimately be rendered to pixel-based information. The only difference is that the type appears vertically, instead of horizontally.

Special Notes

• When you type the letter "T", you only select the currently visible Type Tool. Toggle through the different Type Tool options by pressing Shift-T.
• When you access the Type Tool dialog with this tool, the Rotate option is available. When this box is unchecked, the resulting type is stacked, or the letters face normally. When checked, the letters are rotated 90 degrees clockwise. Type can appear at both orientations in the same text field: you can check or uncheck the box before entering more characters, or you can highlight characters and click the box accordingly.
• Convert vertical type to horizontal type by selecting the type layer in the Layers Palette and choosing Layer: Type: Horizontal. All converted type reads from left to right, regardless of whether its orientation was affected with the Rotate option.

See Also

The Type Tool

Layer: Type: Horizontal

Vertical Outline Type Tool

(type "T")

Like the standard Type Outline Tool, this tool does not result in pixel-based type. It accesses the same dialog as the standard Vertical Type Tool, but it does not result in pixel-based information. Instead, it places an active selection in the precise shape of the defined type. This selection behaves as if it was drawn manually; no new layers are created. (See the "Selection Tools Overview" for more information.) Most often, this tool is used to create the basis for a layer mask.

Special Notes

When you type the letter "T", you only select the currently visible Type Tool. Toggle through the different Type Tool options by pressing Shift-T.

Measure Tool

(type "U")

Use this tool to measure distance and angle values in an image. Add a measurement line by click-dragging with the tool. The angle and length of the line appear in the second panel of the Info Palette (if the palette is hidden, it automatically appears as soon as you click-drag): A lists the angle, and D lists the length, based on the current Rulers setting in the File: Preferences: Units & Rulers dialog.

Reposition the line by click-dragging a segment. Re-orient a segment by click-dragging an endpoint. Hide the current measurement line by selecting another tool. Whenever you select the tool again, the most recent line appears. Create a new line by clicking away from the current line and dragging.

Special Notes

• You can only draw one line at a time. However, you can split a single line into two segments by using the protractor feature. After drawing a single line, (Option) [Alt]-drag from either end. The line divides into two segments, and the Info Palette changes to accommodate the new values: D1 lists the length of the first segment, D2 lists the length of the second, and A lists the angle that exists between the two.
• This tool is often used to calculate the difference in angles between two image layers. If you choose Edit: Transform: Numeric immediately after drawing a measurement

Linear Gradient Tool

(type "G")

Use this tool to create a gradient, or a progression of colors that blend gradually from one to the next.

To create a linear gradient, drag a line with the Gradient Tool. The start of the line represents the first color of the gradient; the end represents the last color. If a gradient consists of more than two colors, the remaining values are evenly spaced between ends of the line. Photoshop automatically inserts a series of tones between each defined color to create smooth transitions.

Common Uses

• Filling a selection. When a selection is active, only its contents are filled. If more than one area is selected, they are affected by the same progression.
• Filling an entire layer. When no selections are present, the entire active layer is filled, replacing any existing information.
• Filling the contents of a layer. By choosing a layer and checking the Preserve Transparency box, the gradient is only applied to the non-transparent pixels. This allows you to add a custom fill to information such as type.
• Filling a mask channel. Apply a gradient to a mask channel or an image in Quick Mask mode to create a diminishing selection. (See "The Channels Palette" and "Quick Mask Tools" for more information.)

Common Errors

Creating a gradient that is too long, resulting in shade-stepping. Any blend between two colors has a limited number of possible tones. For example, if you create a blend between black and white, up to 254 shades of gray can be generated between them. As you lengthen the gradient, you widen the individual tones. When a gradient extends too far, the tones become visible. The exact point at which banding occurs depends on two things:

• The tonal difference between two colors. For example, a black-to-white gradient can extend to approximately eight inches before banding occurs. A blend between two medium grays contains fewer tones, and can only extend a fraction of the distance.
• The linescreen value of a printed image. As you increase the linescreen of a printed image, you reduce the number of tones an output device can reproduce. If the linescreen exceeds a printer's recommended limit, banding will occur -- and gradients are the first elements visibly affected.

Special Notes

• You can use the color values of a gradient to remap the colors of an entire image. After defining a gradient in the Gradient Editor, hold down the (Command) [Control] key and click Save. Instead of saving the information in a Gradient file, you save the info in a map file. It cannot be reloaded as a gradientóhowever, you can open the Image: Adjust: Curves dialog, click Load, and import the map file. The curves are adjusted to match the colors of the original gradient. The results of this technique vary drastically, depending on the values of the gradient as well as the color mode of the current image.
• When you type the letter "G", you only select the currently visible Gradient Tool. Toggle through the different Gradient Tool options by pressing Shift-G.
• As an extra safeguard against banding, many users apply a low Filter: Add Noise value to long gradients, in addition to checking the Dither box. By entering a value of up to 10, you randomize the tones of the gradient without creating a visible noise texture.
• A gradient can contain up to 32 separate colors, plus transparent pixels.
• To restore the list of default gradients, you must choose Reset Tool from the Gradient Tool Options palette submenu.

The Linear Gradient Tool Options Palette

1. Brush Modes

When adding a gradient to an existing layer, these settings determine how its colors combine with the underlying pixels. (See Brush Modes in "The Paint Tools" for more information.)

2. Opacity

When applying the Gradient Tool to an existing layer, this slider allows you to create a semi-transparent gradient.

3. Gradient

This pop-up contains a list of all pre-defined gradients. The factory-installed settings appear first; any custom settings appear at the end.

4. Transparency

When you apply a gradient containing transparent or semi-opaque pixels, check this box to maintain those values. Otherwise, the gradient appears as 100% opaque.

5. Dither

Check this box to slightly randomize the distribution of colored pixels. This helps to prevent banding, or the visible shadestepping that occurs when too few tones are extended over too great a distance. Unless you have a specific reason to turn it off, leave this box checked for the best results.

6. Reverse

When this option is checked, the gradient starts with the color at the left of the Gradient Preview. When checked, the gradient starts with the color at the right of the preview.

7. Edit

Click this button to access the Gradient Editor dialog, which allows you define custom gradients.

8. Gradient Preview

This bar previews the effect of the currently selected gradient.

The Gradient Editor

1. Adjust

These buttons allow you to individually edit the two fundamental components of a gradient:

Color
Here, you edit the gradient's color content.
Transparency
Here, you edit the gradient's transparency and opacity levels.

Both options use the same tools to generate their effects.

2. Gradient Toolbar

This bar represents the line dragged with the Gradient Tool. It displays the current settings of your custom gradient, and acts as a guide as you edit the color and transparency values.

3. Color Stops

These triangular markers are used to define the values and location of a gradientís key colors.

Photoshop defaults to two color stops: one each at the beginning and end of the gradient. To add a new stop, click below the Gradient Toolbar. To remove a stop, drag it away from the Toolbar.

Add a color to a gradient by changing the value represented by a color stop. After clicking once on the stop to select it, click the color swatch at the bottom of the dialog. The color picker appears, allowing you to define a new value.

4. Midpoints

One diamond-shaped marker appears between every two color stops. These represent the color midpoint, or the point in the gradient where both colors are equally blended. Extend the impact of one color stop by moving the midpoint marker closer to the other.

5. Stop Types

These icons represent the three types of color stop. Regardless of the type of color stop you add, you can select it and change its color value.

Flexible Color
Add one of these to insert the color value currently visible in the color swatch.
Foreground Color
Add one of these to insert the current foreground color.
Background Color
Add one of these to insert the current background color.
6. Location

This field displays the current position of a selected marker. When you reposition a color stop, the percentages represent positions across the Toolbar. When you move a midpoint marker, the percentages represent positions between two color stops.

7. Gradient Preview

This bar previews the effect of the currently defined gradient.

8. New

This button creates the basis for a new gradient. After naming the new item, it defaults to a two-color gradient, based on the current foreground and background color.

9. Rename

This button allows you to apply a new name to an existing gradient.

10. Remove

This button the selected gradient from the list.

11. Duplicate

This button makes a copy of the selected gradient. This is useful when you want to change the color content of an existing gradient without replacing the original.

12. Save and Load

If you frequently define a large number of gradients, you can save the entire list into a separate, organized files. Click the Load button to access a saved list.

See Also

The Paint Tools ( Brush Modes)

Quick Mask Tools

Filter: Noise: Add Noise

The Channels Palette

Radial Gradient Tool

(type "G")

Use this tool to create a concentric gradient, starting at the click-point and extending to the point where you release the mouse button. The final color of the gradient is applied beyond the release-point.

Special Notes

• When you type the letter "G", you only select the currently visible Gradient Tool. Toggle through the different Gradient Tool options by pressing Shift-G.
• The Options Palette, issues, and Gradient Editor for this tool are the same as those described under the Linear Gradient Tool, earlier in this chapter.

Angle Gradient Tool

(type "G")

Use this tool to create a circular gradient that rotates around the initial click-point.

Special Notes

• When you type the letter "G", you only select the currently visible Gradient Tool. Toggle through the different Gradient Tool options by pressing Shift-G.
• The Options Palette, issues, and Gradient Editor for this tool are the same as those described under the Linear Gradient Tool, earlier in this chapter.
• To eliminate the harsh transition between colors, define a gradient that starts and ends on the same color.

Reflected Gradient Tool

(type "G")

Use this tool to create a linear gradient that mirrors itself on either side of the click-point.

Special Notes

• When you type the letter "G", you only select the currently visible Gradient Tool. Toggle through the different Gradient Tool options by pressing Shift-G.
• The Options Palette, issues, and Gradient Editor for this tool are the same as those described under the Linear Gradient Tool, earlier in this chapter.

Diamond Gradient Tool

(type "G")

This tool is similar to the Radial Gradient Tool, except the overall effect is diamond-shaped.

Special Notes

• When you type the letter "G", you only select the currently visible Gradient Tool. Toggle through the different Gradient Tool options by pressing Shift-G.
• The Options Palette, issues, and Gradient Editor for this tool are the same as those described under the Linear Gradient Tool, earlier in this chapter.

Paint Bucket Tool

(type "K")

Although its title suggests otherwise, the Paint Bucket Tool is not a Paint Tool -- it's a modified Fill command. This tool allows you to apply color by clicking on an image. A specific range of pixels are affected, controlled by the Tolerance setting in the Paint Bucket Tool Options Palette.

Starting from where you click, the Paint Bucket Tool affects only adjacent pixels that fall within the established Tolerance. For this reason, this tool has limited uses. If you're editing an image containing strongly defined solid colors, this tool works fairly well. Because of the method it uses to recognize pixels, however, it's a poor choice for coloring continuous tone images.

Special Notes

Using the Paint Bucket Tool, it's almost impossible to get accurate results on anti-aliased shapes -- the edge colors are difficult to include in the Tolerance range without affecting additional pixels. Typically, in the time it would take to pinpoint the exact range, you could create a selection outline and use Edit: Fill, a far more capable command.

Paint Bucket Options Palette

Make any changes to this palette before applying the Paint Bucket Tool. The following options have no effect on an existing fill area:

1. Brush Modes

When filling an existing layer, these settings determine how its colors combine with the underlying pixels. (See Brush Modes in "The Paint Tools" for more information.)

2. Opacity

When filling an existing layer, this slider allows you to create a semi-transparent gradient.

3. Anti-aliased

Check this box to add a soft, anti-aliased edge to your fill color. If you are filling solid-colored areas that do not already have anti-aliased edges, turn this option off.

4. Tolerance

This value determines the range of pixels affected by the fill. Choose a number between 0 and 255. A value of 0 changes only the exact color of the targeted pixel in the selection. Higher numbers gradually increase the range.

Contrary to popular belief, the Paint Bucket Tool does not base a selection on color values. It measures the brightness values of the targeted pixel. The value you enter in the Tolerance field actually corresponds to the 256 possible tones in an 8-bit color channel. If the image is in RGB, CMYK, or Lab Color mode, it reads the values of each color channel.

Photoshop defines the fill range by adding and subtracting the Tolerance from the brightness value of the targeted pixel. Assuming the Tolerance is set to its default of 32, clicking a pixel with a brightness value of 100 expands the range to paint all adjacent pixels between 68 and 132. If you select an RGB pixel with values of 160 red, 50 green, and 35 blue, the range includes all adjacent pixels with values between 128 and 192 red, 18 and 82 green, and 3 and 67 blue.

This process makes the effect of this tool difficult to predict.

5. Contents

You can apply two types of fill:

Foreground
This option uses the current foreground color.
Pattern
This option uses the currently defined pattern. (See Edit: Pattern for more information.)
6. Use All Layers

This option allows the Paint Bucket Tool to recognize colors outside the currently active layer. When you click to add color, the Tolerance value considers all visible colors, regardless of their layer. The actual fill, however, is applied only to the current layer.

See Also

The Paint Tools ( Brush Modes)

Edit: Pattern

Eyedropper Tool

(type "I")

This tool provides a simple method of defining new color values. Although many different dialogs contain eyedropper tools -- Image: Adjust: Curves and Select: Color Range are good examples -- they do not redefine the foreground or background colors. Rather, their use is restricted to the purpose of the specific dialog.

Common Uses

• Defining a new foreground color. Select the Eyedropper Tool and click on any color in an open image. If you hold down the mouse button, you can see the different colors cycling through the foreground color swatch.
• Defining a new background color. Hold down the (Option) [Alt] key and click on any color in an open image.
• Paint Tool shortcut. While using any Paint Tool, set a new foreground color by holding down the (Option) [Alt] key and clicking the desired color.

Special Notes

• When you type the letter "I", you only select the currently visible Eyedropper Tool. Toggle between this and the Color Sampler Tool by pressing Shift-I.
• At times, the Eyedropper Tool may appear to be working backwards. If the background color swatch is selected in the Color Palette, this tool defines the background color, and you must (Option) [Alt] click to define a new foreground color.
• The Sample Size settings influences the eyedroppers used by all dialogs. For the most accurate results -- especially when sampling in color-specific dialogs -- choose 3 by 3 Average.

Eyedropper Tool Options Palette

1. Sample Size

This option determines how the Eyedropper Tool reads the values of a sampled color:

Point Sample
Here, the tool reads the value of the single targeted pixel.
3 by 3 Average
Here, the tool reads the average color value of a nine-pixel square surrounding the targeted pixel.
5 by 5 Average
Here, the tool reads the average color value of a nine-pixel square surrounding the targeted pixel.

Color Sampler Tool

(type "I")

Use this tool to add up to four color samplers, or evaluation targets to an image. When a sampler is added, the Info Palette expands to display the color values of the pixels located directly beneath it. This makes it possible to continually monitor the effects of your color adjustments on critical or sensitive portions of the image. Unlike the standard Eyedropper Tool, it does not change the current foreground or background color.

Add samplers by choosing this tool and clicking the image. (Option) [Alt]-click a sampler to delete it. Reposition a sampler by dragging it with this tool, or by Shift-dragging with the Eyedropper Tool.

Special Notes

• When you type the letter "I", you only select the currently visible Eyedropper Tool. Toggle between this and the standard Eyedropper Tool by pressing Shift-I.
• When you have placed all four color samplers, the first panel in the Info Palette still displays the color values beneath the cursor, allowing you to read additional information.
• The Options Palette for this tool is the same as for the Eyedropper Tool, described earlier in this chapter.