TGJ3M_Digital_Imaging_overview_photoshop

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Brief Overview of Photoshop[[image:photoshop_newdocument.jpg width="440" height="271" align="right" caption="New Document"]]
Photoshop is the industry standard for the editing of digital images. While learning how to be a pro at PS can take years, learning the basics is rather fast, and easy.First and foremost, is the opening screen. By default, if you create a new document in Photoshop it will make a document that is the same size as your clipboard area (at right). The first thing you notice is that you can (and should) choose a document name, rather than leave it as untitled-1. Second, in the Preset area, you can take the clipboard-sized picture, or select from various other presets, such as paper-size (legal, letter or tabloid), international paper (A3/A4/A5/A6), photo (2x3/4x6/5x7/8x10), web (640x480, 800x600, 1024x768[standard web sized now] etc..), mobile (240x320 [standard flip-phone], 320x480 [standard smartphone]) and video (which we will discuss in grade 12 comm tech). Next, you'll notice that your width and height are, by default, in pixels (each pixel being an x,y coordinate in the document). You can adjust this via. a dropdown menu to inches, picas (used in typography), points (a subdivision of a pica, also used in typography and printing), or centimeters. The resolution refers to how many x,y points will be represented in the width/height that you have selected. By default this is measured in pixels-per-inch (ppi) but can also be measured in ppcm. 72 ppi is standard resolution for media designed for the web (any more ppi is indistinguishable on a computer screen, thus the file is artificially larger than it needs to be). Between 220ppi and 300ppi is print-quality, but the image size (bottom right of that panel) will jump noticeably as you increase the resolution. Larger file sizes means more horsepower needed for your computer, so design for the form of communications for which you will publish your works. Finally, you'll notice the colour mode. This is either greyscale, black and white, RGB colour, or CYMK. Typically we work in RGB colour (red-green-blue, displayed by monitors) for publishing to web, or CMYK (cyan, magenta, yellow, black) for publishing to print.

Tools:
Let's take a quick look at the tools available to use with Photoshop.

In Photoshop, or any other picture editing program, the toolbar comes grouped to make tools with similar function with each other easily intuitive and accessible. For example, in the pixel selection portion of the toolbar in Gimp and Photoshop, there is a basic square/circular pixel selector. The trick with graphic design programs is knowing what tool is fastest to accomplish each job.

Pixel Selection Tools
There are always a variety of ways in which you can select pixels in any digital image editing program. Photoshop is no different. In pink you'll see the pixel selection tools used in PS. The **marquee tool** (M) is used to quick select pixels in predefined shapes such as a rectangle, oval etc.. The **basic selection tool** (V) is used to select elements from a layer or layers and apply transformations to them (be it scale, position, rotation etc...). The **lasso tool** (L) toggles between a freehand selection of pixels, a polygonal selection (straight lines), and a magnetic selection (which looks for edge contrast). Finally there's the **magic wand/quick selection tool** (W) that will allow for mass selection of pixels of similar colour/contrast and pixels you 'paint over'.

Depending on what you're attempting to select, you will also bounce back and forth between various pixel selection tools and either **add to your selection** (by holding //**shift**// down) or **subtracting from** your selection of pixels (by holding //**alt**// down). You also have the option to '**feather**' each selection (in the bar on the top after you have selected your tool) which adds a border of X pixels to your selection (where X is decided by you on your selection of the tool).

Pixel Manipulation Tools
Seen in purple in the Toolbar picture above - the pixel manipulation tools take the existing pixel(s) at the location desired, then manipulate them in some way/shape/form or simply just adds pixels to a location. The tools included in this area are the **heal brush**/redeye tools (J) - used to blend the existing pixel with information from pixels at another location (or from a preselected colour). The **brush tool** (and pencil tool) (B) adds pixels at the location the cursor is. The colour of these pixels is determined by the foreground and/or background colour (seen at the bottom of the toolbar - black and white are the defaults [Obtained by hitting D. X allows you to quick switch the foreground and background colours]). The **clone stamp** (S) tool makes an exact replica of pixels selected from another area anywhere you 'stroke'. The history and art-history tool won't be addressed in this course. The **eraser** (E) is obvious in its use. Next is the **paint bucket** (or gradient) tool (G). This fills a preselected are with either (paint bucket) a solid colour, or in the case of a gradient, in a progression from colour choice to colour choice. **Smudge/Sharpen/Blur** tools (R) take pixels from around the selection and manipulate them all together for a desired outcome (smudge takes colours and combines them with other colours, sharpen creates contrast and removes, to some degree, the blurring, blur does the opposite of sharpen). Finally, the **dodge/burn** (O) tool takes (dodge) the K values (think of black) and reduces them, while burn increases the K value at the pixel locations selected.

Vector
The vector tools, seen in green on the Toolbar picture above right, all add shapes to the image that can be controlled via anchor points and involve masks. Masks are way in which you protect various areas of the image while manipulating the data in others. All vectors tools are enormously useful in that shapes retain the ability to be precisely manipulated even after you commit to inserting the shape. The tools in the vector area of the PS toolbar are: The **pen tool** (P) - which is used to create scalable shapes, the **text tool** (T) used for text, and the **shapes** tool (U) used for either more elementary, or complex shapes. All tools in this area have the added advantage of being able to be precisely reformed using Bezier handles (anchor points that can be adjusted to give either sharp corners, or arcs).

Layers
Layers are the meat-and-potatoes of what digital imaging editing is all about. The layers panel can be found at the bottom right of the Photoshop screen (seen at right). Think of a layer as a transparency put on top of a physical picture. You can add anything you want to that transparency. Unlike a physical picture however, you can also perform complex mathematics to that transparency and combine it with layers above, or layers below it. The **further to the top of the panel a layer is, the further to the forefront of your screen** the layer is represented. A couple features, at a glance, include the **blend-mode** dropdown menu (seen saying 'Normal' in this picture), which combines the current layer's information and mathematically combines it with layers 'under it'. The **opacity slider**, which determines how much of your current layer will be included in the mix resulting on the screen (100% being completely opaque, 0% being completely transparent). Other features include the **visibility** (the eye) of the layer (when turned off, you can't see the layer), the **locks** (should you want to protect the content of the layer) and the fill - which won't be discussed in this course. At the bottom of the layers panel are various other tools, they include **effects** (such as drop shadows, glows, bevels), **layer masking** (allowing you to manipulate portions of your image while protecting others), **grouping** (making folders to easily identify layers of similar use/content) and the **add** layers (ctrl+shift+N) and **delete** layers icons.

Filterrs
Filters are found at the top in the menu system of the Photoshop screen. While description of each filter is a course unto itself, there are a basic set of filters that are used once you've selected a pixel region. **Blur Filters** are used to, logically, blur an area. Various types of blurring can be used to effect, when you want to soften an area, to create random background noise and to hide imperfections. The **Noise Filters** are also useful in creating randomness, to mimic the chaos of nature. Finally, the **Sharpen Edges** filter is used in creating greater contrast between selections. While this doesn't do justice to any particular filter set, filters are something you can pursue and you'll find great descriptions around the interwebz about them, when to use them, and what kinds of things you can do with them that you might otherwise not think to use.

Layers
Layers allow you to work on one part of an image without affecting the rest of it. While the concept of layers may seem intimidating at first, but they're so powerful you won't believe that you ever used MS Paint! The examples below show how the layers in the Photoshop document to the right stack together.

You can show and hide each layer in an image by clicking on its corresponding eye icon in the Layers palette. Additionally, you can lock layers so that you don't accidentally damage content on that layer by clicking on the lock icon at the top of the layers panel.

Layer Shortcuts and Tasks

 * Rename layers by double-clicking on the layer name.
 * Change the transparency of a layer by changing its opacity with the Opacity slider, or typing a value into the Opacity box (which is visible when you have the Selection, Move, or Crop tools selected).
 * Duplicate a selected layer by pressing Ctrl-J. You can also duplicate a layer by dragging it while pressing the Alt key.
 * Select multiple layers by holding down Ctrl and clicking the layer names. This forms a temporary link between the selected layers that allows you to move them as one unit, delete them all, and so on.
 * You can also link layers together. Select layers by clicking on them while holding down Shift or Ctrl. Once you have selected all the layers you wish to link, click the Link Layers button at the bottom-left of the Layers palette (signified by the chain). Linking layers allows the link relationship to remain even after you select a different layer (unlike the process of simply selecting multiple layers).
 * To unlink all the layers, select one of the linked layers and go to Layer > Unlink Layers. To unlink a single layer, select the layer you wish to remove from the link and click its corresponding link icon; the other layers will stay linked. To temporarily unlink a layer, hold down Shift and click on its link icon (a red “X” will appear over the link icon). Reactivate the link by holding down Shift and clicking the link icon again.
 * Rearrange layers by dragging the layer above or below other layers. Use the “move down” shortcut Ctrl-[ and the "move up" shortcut Ctrl-] to move selected layers up and down. Shift-Ctrl-[ and Shift-Ctrl-] will bring layers to the very top or the very bottom of the stack.
 * Select a layer by using the keyboard shortcuts Alt-[ and Alt-]. These keystrokes let you move up and down through the layers in the Layers palette.
 * Create a new layer by pressing Shift-Ctrl-N . This will bring up the New Layer dialog box. Want to create new layers quickly without having to deal with the dialogue box? Simply press Shift-Ctrl-Alt-N.
 * Merge a layer into the one beneath it by pressing Ctrl-E. If you have selected layers, this shortcut will merge those selected layers together.

Saving As....[[image:Photoshop_SaveAs.png align="right"]]
When saving your file, the default save type is *.psd (photoshop document). If you choose File>Save As you have the option in the drop-down menu you'll see the following options (at right). Depending on what you're using the file for, and what the content of the image is, you can choose any of the following common file formats:
 * psd - Only useful in editing in Photoshop - is not open-able in programs other than Adobe products. It preserves layers and adjustments. It is the default save-type in Photoshop.
 * gif - Was the first web format for images. Useful in that it's highly compressible, but results in terrible pixelation and horrible colour reproduction. Used only where colours are highly limited and photographic realism isn't an issue (e.g. a logo)
 * jpg - Replaced gif as the format for images requiring compression, but still maintaining photographic integrity. Highly compressible.
 * PDF - Used in making documents write-protected, or sending images to print such that nobody can edit the picture. Can embed fonts. Quality ranges from low to high depending on export settings. High quality print settings result in very large filesizes.
 * PNG - Introduced after GIF, it has a wider colour range, supports **transparency**, and is generally more compressible than GIF but not as useful as JPG for photographic reproduction
 * BMP & TIFF - not really used used much since while it's non-lossy, it also results in ENORMOUS file sizes.

One thing you'll notice is that when the next screen comes up, you'll be given various options to save the file under different compressions - with an indication of the final filesize on the popup window. We'll see more of this as we explore Comm Tech in Assignment #1.

Good reference material:
[|Getting Started with Photoshop]



== =Assignment #2: Selection, layers and typefont=

Start with this picture. (right click link and 'Save Link As')

Step 1 - Selection & Fills
First make a selection using the rectangular selection tool (see image at left) and choose an area across the top you're planning on adding the title bar. With that selection made, create a new layer (Ctrl-Shift+N). Call this layer title border. Open the colour picker (get it by clicking on two overlapping colour-squares - black and white by default - at the at bottom of the toolbar). In the hex entry for colour (labelled A below) enter HEX:#4f002f. In your layers panel select your title border layer. This should be empty, but you should see the rectangular marquee (looks like 'marching ants'). You will now fill this selection we made on the image by pressing ALT + Backspace (Photoshop is ALL about the shortcuts) - NOTE: if you like to do it the hard way, from the menu choose Edit>Fill>foreground colour. Alt-Backspace fills any selection with the colour that is the 'foreground' of the colours palette.

Step 2 - Layers panel, blend modes and opacity
We want to see through this solid colour so there are a variety of ways we can go about doing this. We can either choose to select the blend-mode (which applies mathematical relationships between the layer chosen, and all layers underneath it) or change the opacity - which simply allows a % of the current layer to be seen. We're going to do both. We'll choose Overlay as a blend-mode and change the opacity to 80%. For detailed descriptions of the blend-modes [|check out Adobe's official page.] The most commonly used blend modes are darken, multiply, screen, overlay and colour (in my experience), but all have a role depending on what you're trying to do.

We're now going to make 2 more rectangular selections on layers called highlight box 1 and highlight box 2 and repeat the above fill steps except we'll drop the opacity to 40% in each case (still keeping the blend-mode to Overlay).

Notice where the 2 layers overlap the colour appears darker. This is expected as each layer with a non-normal blend-mode has it's calculations based on all layers underneath in terms of the final reproduction of what is seen. Clear as mud? Simply put, each blended layer considers all information 'below it' (e.g towards the bottom of the layers panel) in it's final output.

Step 3 - Text and alignment
Next we're going to add text to highlight box #1 (the top left one). To do so we simply click on the 'T' icon on the toolbar. This will allow us a variety of options. We'll only make sure that we choose Arial font at 40 font size. Choose white as a colour (in the toolbar at the top once you're in text-mode).

Photoshop is not a great program if you are interested in putting text in a graphic project. Text edges are muddled and there isn't a lot of choice in how we want to manipulate text itself. Adobe Illustrator reproduces text in [|VECTOR as opposed to RASTER]which means ultimately our text is crisp and is scalable to any size without losing fidelity. In fact there's an old (for you) expression that is: "Those who design use Illustrator, for those that can't, there's Photoshop". Nonetheless, we're going to use Photoshop because frankly, Illustrator is expensive and hard to learn and all we have is PS. *smileyface*.

We're going to put each text line separately, as opposed to one large text-box because that gives us greater maneuverability in placement of each line of text. So, we'll include the following as 3 separate layers of text

The sacred lamp of day Now dipt in western clouds his parting day

Click on the select tool (V). With all 3 layers selected (ctrl-click the layers) go to the top of the screen and select the icon indicated. This is a transform adjustment that allows us to, in this case, 'Align Right Edge' of each line of text. Additionally, we'll choose 'Distribute Vertical Centers' to ensure they're spaced evenly vertically.

Step 4 - Layer select and modifying selections
Our next step is to adjust the border of our original title border. To do so we'll hover our mouse over the thumbnail (the small picture of the layer in the layers panel). By pressing and holding CTRL you notice that the icon changes slightly to look like this in the sunglasses examples below. When you **ctrl-click the thumbnail** you make a selection based on the content of the layer you're currently on. We are going to do this on our Title Border layer. This will re-select the title border and allow us to make an adjustment based on it.

After CTRL-clicking our Title Border thumbnail, notice how crisp the edge of the box is (image below far left). We are going to 'feather' the edge. This means that we will allow our fill colour to bleed out to nothing over a range of pixels that we define. To do this we need to click on the rectangular marquee tool again. At the top, where all refinements for photoshop tools appear, we will click on ' Refine Edge ' (image below center). What will happen is that a dialogue box will appear. We want a 5 pixel Radius and 15px feather distance. This will allow us to fill our colour out over a distance of 15 pixels. We are going to Alt-Backspace again, and re-fill our new selection. This will result in a 'bleed' at the edges of our original box that will be aesthetically pleasing (image below right)

Step 5 - Size adjusting using the select tool & adding layer styles
Next we're going to add a final layer of text to our project. We will create a new type layer with Lift Tours using the default text settings we had last time (white colour, arial font, bold-italic, 40 point). It's really really small for this image. So, we'll resize it. Rather than change the type size, we're going to select the right layer in the layers panel. Then we're going to hit 'V' (or click on the Move Tool on the toolbar - the one at the top that looks like a black arrow - seen at left). We will then either press Ctrl-T or go to the top area for Photoshop where the tool options are, and click on 'Show Transform Tools'. Regardless of how we get it, we will now see a transform box around our text. Should we want to stretch it horizontally, or vertically, or scale size, or rotate the selection, we can do this by hovering our cursor around the edges of the selected region - in this case the text. We will go to the top and under W: we will enter 800%. Notice how the text stretches badly. We will now click on the link icon so that the vertical (H) aspect will also stretch. We could also achieve this by clicking on a corner and pulling the text to rescale (note: press shift while doing so to 'constrain proportions'). Entering values in the tool options area is a more exact way of doing things, but sometimes if you want to adjust something by feel, dragging it is a good option. You can also use your arrow keys to nudge your content for fine adjustments of positioning.

The overall result is a bit flat however. Let's spice it up with a layer style. To get layer styles simply double-click in the area to the right of any layer text identification. For example, we're going to pull Lift Tours out of the page a bit by adding a layer style called a drop-shadow. So, double click on the Lift Tours layer just to the right of its name. A menu will pop up and make sure you change the following settings. Of special note, make sure that you change the blend mode to Vivid Light. Click on the black colour. We want to make it the same default hex code we've used all along. Change the opacity to 64% and the angle to 130 degrees. Play with the distance, spread and size settings to see how your overall drop shadow is affected.

Layer styles are part of the bread and butter of design work. Play around with other options like shadows, glows, strokes and bevels to see how you can make the Lift Tours pop out at the viewer. In the end, I threw on a bit of bevel as well using the following settings:

Step 6 - Vectors and paths
There's still something missing from our project. To adhere to the principals of good design ([|our C.R.A.P. rules from grade 10] a MUST-read for you) - Also here:http://tgj2o-commtech.wikispaces.com/Design

In the end, we want some repetition of our theme of travel. To do so I'm going to include a plane shape vector. I could draw it by hand, but Photoshop has default paths that we can include in our project. To do so we'll create a new layer at the top (ctrl-shift-N) called plane. We'll now add a custom shape. Click on 1) the shape button that looks like a rectangle on the toolbar. 2) custom shape tool.

We'll choose the Symbols thumbnail (1). Our airplane shape isn't there by default so we have to add it. To do so we click on the little gear icon (2). Now we want to add it to our symbols thumbnails so we click on ALL (3) then APPEND. This will give us the default shapes AND our newly added symbols. Choose the airplane shape. **Holding down shift (to constrain the proportions)** go ahead and draw the shape of the plane into our project.

We will next **fill our shape** by alt-backspace. Once filled I'm going to flip the object by using our move tool (V) and grabbing a corner. In the top you can choose to have the Width (W) be -100% which effectively just flips the plane horizontally. We're going to now drag this layer so it's **behind everything else** except the background.

Once there, I'm going to adjust the **blend mode of the plane layer to Colour** the **fill of the layer to 24%** and add in a layer style (by clicking on the FX button at the bottom of the layers panel) and choosing **Inner Glow** with the following settings seen in the picture at left. **Multiply as a blend mode inside Inner Glow. Decrease opacity of the Inner Glow to 75%. Choose a green colour as the glow.** This will allow us to see the image outline, but very little of the fill. We're done! This can now be used to slice up and create a web-page for Lift Tours.

We're finally ready to set this up as a web-page. **You don't have to do this last step**, I'm just doing it to show proof-of-concept. I'm adding a rounded text-box as well as some Lorem Ipsum (placeholder text) that could be real content for Lift Tours. Look below for the final result.



You will be evaluated as follows:

//You are to turn in the PSD of your work as well as a 150KB large JPG for evaluation. Call them sunset.psd and sunset.jpg please.// each class period (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well during most class periods (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well (as shown by observation by teacher and documentation of progress in journal), but required reminders on one or more occasions to do so. || Used time poorly (as shown by observation by teacher and/or documentation of progress in journal) in spite of several reminders to do so. ||
 * **CATEGORY** || **4** || **3** || **2** || **1** ||
 * **Content** || All steps are followed and the end product is exemplary. || Generally all steps are followed, there are small errors in layers. || Generally the product is as it should be, though there are enough errors in replication that final product is awkward. || Large errors in replication of the product. ||
 * **Use of Time** || Used time well during

Further introductory help can be found at:

[] []



Assignment #3: Layers, masking and blending - Creation of an on-line advert.
Start with these 2 images (**click on the image and download it to get the full-sized picture from google drive**, then save THAT file to your work folder):

Step 1 - Setup
Once you've saved the gear and the handshake jpg's to your folder on the computer, open them both up in Photoshop. Create a blank new document 8"x10" at 72ppi. In Photoshop, go do the windows>arrange>tile horizontally menu and then click on the picture of the gear. You can hold shift down and then drag the gear picture over to your blank document. Do the same thing with the handshake picture. You'll notice that in the new document those pictures are GI-NORMOUS! We can close the gear and handshake jpg's and maximize our work PSD document now. Let's get into the habit of good PS etiquette, which is the name our layers. To do so, simply double-click on top of the words layer2 in the layers panel, and rename that to handshake. Do the same for the gear layer. We now need to resize those pictures so they fit onto our work stage. To do so, zoom WAAAAYYYYY out ('z' chooses the zoom tool, then you'll notice the magnifying glass has a '+' in it, hold down alt and it turns into a '-', click a few times to zoom out). Now, to resize that sucker, we need to go back to our select tool (v) and eitherhit CTRL+ t, or click on the checkbox in the top menu that says 'show transform controls' (in my opinion remembering the ctrl-t way is easier in the long run). You should see a bounding box around your handshake picture now. We could hold shift down (which forces the proportions to stay the same) and resize the picture. Roughly center our hand. Do the same thing with the gear, make it roughly the same size as the hand. Problem is - we can't really see the gear since it is behind our hand at the moment. To work on the gear layer we We want to hide the handshake layer (click on the eyeball next to handshake to hide it from view). Now click on the layer mask icon down at the bottom of the layers panel). You should wind up with something that looks like the picture at right.

Step 2 - Layer mask
Select the mask on your handshake layer (there should be a highlighted box around the 'white mask' thumbnail in your layers panel - see the picture at left).

The way that masks work is that anything 'selected with black' will blocked out from the selected layer (think of it as being cut out w/ scissors). In the picture at right you can see roughly how a layer mask works. On a layer mask, whatever is ainted black is made invisible. Whatever is white is visible. In our case, what we are going to do is to choose the default colours of black for a foreground colour and white as a background colour. This is done by either clicking on the tiny black/white box next to the foreground/background colour chooser at the bottom of the tools panel, or by hitting 'D' (for default). You can now either go and paint over the areas in the handshake layer that we don't want (everything but the arms and the hands). The other quick way of doing this is to use combinations of quick select, lasso & magic wand (using the selection add/subtract methods discussed in class) to pick everything but the hands/arms then fill them with a solid black colour using the paint bucket (which is the equivalent of painting over them with black).

Step 3 - Refining masks
Now - if you did a quick and dirty job you'll find that the edge isn't great and you've likely gotten rid of their poor skin. Press the "X" Key to switch the foreground and background colors. With white as the foreground, choose a smaller brush and zoom WAY in and paint back the areas you want to keep on the mask layer. Notice as you paint with white, the image comes back. Don't you love layer masks! We're now going to duplicate the gear layer by selecting the layer and layer>duplicate or by simply dragging the layer name to the new layers icon.

Drag the new layer to the top of the layers palette.Keeping the top layer selected, Ctrl+click on the handshake layermask thumbnail (the tiny black and white outline of the hands in the layers palette next to the colour thumbnail).

Next we're going to create a layermask for the new gear layer. We will then select the layermask icon (as we did in step 2) and paint over the handshake area in black (you can do a quick job of it, because the pixel area has been selected (you can see the little 'ants marching' - dotted lines around the outside) we can ONLY paint within the boundary of the selection. What

[[image:fingers_gear.jpg align="left"]]
we're doing is painting over the gear and making it disappear everywhere on the inside, so the handshake can be seen. We will leave the outside of the gear as a 'frame' for the hands shaking. We want to have the fingers out over the edge though, to give the illusion of 3 dimensionality to the piece so zoom in and take care to ensure that anywhere the fingers overlap the edge of the gears, they're masked so they're visible (see the picture at left).

Step 4 - Colour Adjusts using Layer Fill/Saturation
Next we're going to desaturate the picture with a hue/saturation adjustment to the layers. To do this we'll click ont he little black/white icon at the bottom of the layers panel which will bring up a menu where we'll want to select a hue/saturation layer. We'll take the hue and saturation both down to 0. Now let's click on the colorize button on that menu and choose a value of hue of 200 and a value of saturation of 25 (keeping lightness at 0). You'll notice a nice blueish hue to your work.

Step 5 - Hue/Saturation adjust
Because what we will be working on will be another type of steps entirely we will create 2 groups using the create group button at the bottom of the layers panel next to the new layer icon. In the first layer we will drag all of our layers we've worked on so far. You can see that as you add them they all indent slightly in the panel, this lets us know they're part of the group1 (which we'll rename to background). We'll rename group 2 to border.

We will choose another hue/saturation adjustment layer from the bottom. Choose the layer mask icon in this hue/saturation layer and we will now draw a rectangular marquee in that mask. With 'alt' held down, drag the marquee from the center of the screen outwards. By holding the alt down as we make our marquee, you'll notice that you create a symmetrical marquee from a central point. If it's slightly off, simply let go of the mouse and use your arrow keys to 'nudge' the selection up/down left/right. Keeping the rectangular marquee on the screen, let's change it's brightness by double clicking the hue/saturation layer's adjustment thumbnail on the left and adjusting brightness to 50. It looks awful doesn't it? Because what we're doing is making the frame around the outside of the center of the image, we want to paint the entire rectangle in the middle black so that it is 'cut out' of this whiter mask. Choose the black paint bucket tool and fill the central rectangle in the layer mask area.



Because that leaves the edge very harsh, let's soften it by going to the bottom of the layers panel and choosing the button that says Fx. From that we want to **choose the Inner Glow**. You should choose the settings seen at left (the blue is a colour of your choice). Before we leave the effects, let's ALSO include a Bevel and Emboss and choose the settings from the picture below left.

Step 6 - Text addition
This leaves only a few last things to do. We're advertising the OCDSB in this case, so let's go ahead and consider what we want to say in our statement. Likely something about technology, and the OCDSB, so let's choose a script-type font (I chose Mistral, but you choose whatever script fonts are available to you on your computers. Next I chose the colour as white, and the font-size as 90 point. You'll wind up creating 4 separate font layers each under the 'border group' and the layer adjust that's there. In one you'll type' Ottawa-Carleton', in another 'District', then 'School', then 'Board'. Arrange them generally how I have them. Notice how when they're outside the mask area, they are greatly reduced in transparency? Additionally, at the top right of the layers panel, I chose to make the opacity of each of those 4 text layers 60% (that means only 60% of the information will be 'pushed through' to be used in the layer.

Finally I made one last text layer, saying 'Technology' and kept the opacity of that layer at 100%. To this layer I went to the effect panel and added a slight drop-shadow. You should wind up with something that looks like this when you're done.

While you've been saving it as a psd along the way, I now want you to export it as a jpg with a (close as you can get to) 150KB filesize and submit it into your folder in the handin folder with the name Assignment#3_advert.jpg.

You will be evaluated as follows:


 * **CATEGORY** || **4** || **3** || **2** || **1** ||
 * **Content** || All steps are followed and the end product is exemplary. || Generally all steps are followed, there are small errors in layers. || Generally the product is as it should be, though there are enough errors in replication that final product is awkward. || Large errors in replication of the product. ||
 * **Use of Time** || Used time well during each class period (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well during most class periods (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well (as shown by observation by teacher and documentation of progress in journal), but required reminders on one or more occasions to do so. || Used time poorly (as shown by observation by teacher and/or documentation of progress in journal) in spite of several reminders to do so. ||

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