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Commercial Photoshop retouching : in the studio /
For both Mac and Windows PC users, Photoshop CS2 is the market leader and industry standard for commercial bitmap image manipulation. Also known as the "digital dark room," Photoshop is the unparalleled tool of choice among graphics professionals and hobby photographers alike. Written by 2...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Sebastopol, Calif. :
O'Reilly,
2005.
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| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 100 | 1 | |a Honiball, Glenn. | |
| 245 | 1 | 0 | |a Commercial Photoshop retouching : |b in the studio / |c Glenn Honiball. |
| 260 | |a Sebastopol, Calif. : |b O'Reilly, |c 2005. | ||
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| 520 | |a For both Mac and Windows PC users, Photoshop CS2 is the market leader and industry standard for commercial bitmap image manipulation. Also known as the "digital dark room," Photoshop is the unparalleled tool of choice among graphics professionals and hobby photographers alike. Written by 20-year photo retouching veteran Glenn Honiball, Commercial Photoshop Retouching: In the Studio is the only book to deliver advice for the photographer and artist working with Photoshop CS 2 in a real world commercial environment. Honiball offers incomparable technical and artistic guidance for professionals, g. | ||
| 505 | 0 | |a Commercial Photoshop Retouching: In the Studio; Preface; Contents of This Book; Conventions Used in This Book; Comments and Questions; Acknowledgments; 1. The Professional Retoucher&s Studio; 1.1.2. A Brief History of Retouching Technology; 1.1.2.2. Dawn comes in with the arrival of Photoshop and the mouse; 1.1.3. Hardware and Software Choices; 1.1.4. Output Choices: Monitors and Printers; 1.1.5. Other Necessary Equipment; 1.2. The Workflow of a Typical Retouching Job; 1.2.2. Make Sure You Understand Your Instructions; 1.2.3. Don&t Be Afraid to Offer Suggestions | |
| 505 | 8 | |a 1.2.4. Review the Initial Proof1.2.5. Create New Proofs for Each Set of Corrections; 1.2.6. Know the Deadlines; 1.2.7. Present the Final Image to the Client; 1.3. Becoming a Professional Retoucher; 1.3.2. What Kind of Background Do You Need?; 1.3.3. Gaining Experience and Building a Portfolio; 2. Shadows and Light; 2.1.2. Merging Multiple Light Sources; 2.2. Creating a Simple Shadow; 2.2.2. Add the Isolated Image to a New Layer; 2.2.3. Deciding on Brush Settings; 2.2.4. Creating the Simple Black Shadow; 2.2.5. Creating a Four-Color Shadow; 2.3. Creating Shadows for Complex Objects | |
| 505 | 8 | |a 2.4. Retaining an Existing Shadow in a New Background2.5. Grounding Objects with Shadows; 2.6. Common Shadow Mistakes; 2.6.2. Not Putting the Shadow on a Multiplied Layer; 2.6.3. Incorrect Shadow Shapes; 2.7. Keeping a Shadow Library; 3. Corrections: Improvements on Reality; 3.1.2. Correction Changes; 3.1.3. Making Corrections with the History Brush; 3.2. Adding Texture to an Image; 3.2.2. Using the Channel Mixer Tool to Create Shape; 3.2.3. Using a Grayscale Image to Create Shape; 3.2.4. Using Plug-in Filters; 3.3. Using the Clone Tool; 3.3.2. Cloning Cloth or Similar Textures | |
| 505 | 8 | |a 3.4. Neutralizing Images3.4.2. Neutralizing CMYK Images; 3.5. Brightening Images; 3.6. Changing Image Colors; 3.6.2. Changing a black object to white; 3.6.3. Changing a white object to black; 4. Something from Nothing; 4.1.2. Directional Steam; 4.2. Creating a Smile; 4.3. Creating Motion from Stillness; 4.3.2. Off to the Horizon with Radial and Zoom Blur; 4.3.3. Swinging a Hammer; 4.4. Extending Backgrounds; 4.4.2. Slightly More Complicated: Extending a Row of Bricks; 4.4.3. Using Vanishing Point to Extend Background; 4.5. Shining Things Up; 4.5.2. Creating a Very Shiny Finish | |
| 505 | 8 | |a 4.5.3. Reducing Windshield Shine4.5.4. Learning a 3D; 5. Special Color Requests; 5.2. Merging Spot Colors into CMYK; 5.3. Converting CMYK to Special Colors; 5.4. Changing a Four-Color Image to Three Colors; 5.5. Adding Trap; 5.6. Changing the Overall Color; 5.6.2. Creating Fake Duotones; 6. Merging Images; 6.1.2. Using the Lasso Tool; 6.1.3. Using the Mask Mode to Isolate an Image; 6.1.4. Selecting with the Magic Wand; 6.1.5. Bring Out the Whole Toolbox: Isolating Hair; 6.1.5.2. Use Quick Mask mode and a curves adjustment to maximize selection by color | |
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| 776 | 0 | 8 | |i Print version: |a Honiball, Glenn. |t Commercial Photoshop retouching. |d Sebastopol, CA : O'Reilly, ©2005 |z 059600849X |w (OCoLC)61395409 |
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