PIXELS, RESOLUTION, DPI, PPI, COLOR MODE & DOCUMENT SIZE

WHAT IS PIXEL?
SHORT TERM FOR THE WORD PICTURE ELEMENT IT IS THE BASIC UNIT OF
PROGRAMMABLE COLOR ON A COMPUTER DISPLAY OR IN A COMPUTER
IMAGE. THE PHYSICAL SIZE DEPENDS ON HOW THE USER SET THE
RESOLUTION. IT IS REPRESENTED BY SERIES OF SQUARES HORIZONTALLY
AND VERTICALLY. A PIXEL WITHIN A PIXEL IS CALLED SUB PIXEL.
RESOLUTION
RESOLUTION REFERS TO THE NUMBER OF PIXELS IN AN IMAGE. SOMETIMES
IT IS DEFINED BY SIZE THAT WILL DEPEND ON WIDTH AND HEIGHT VALUE OF
THE CANVAS (PIXEL DIMENSIONS) AND THE DENSITY OF YOUR PIXELS IN THE
FILE WILL DEPEND ON YOUR PPI SETTING.
COLOR MODE
COMMON OR WELL KNOWN COLOR MODES
1. RGB MODE (MILLIONS OF COLORS)
2. CMYK MODE (FOUR-PRINTED COLORS)
3. INDEX MODE (256 COLORS)
4. GRAYSCALE MODE (256 GRAYS)
5. BITMAP MODE (2 COLORS)
RGB COLOR MODE
PHOTOSHOP RGB COLOR MODE USES THE RGB MODEL, ASSIGNING AN
INTENSITY VALUE TO EACH PIXEL. IN 8-BITS-PER-CHANNEL IMAGES, THE
INTENSITY VALUES RANGE FROM 0 (BLACK) TO 255 (WHITE) FOR EACH OF
THE RGB (RED, GREEN, BLUE) COMPONENTS IN A COLOR IMAGE. FOR
EXAMPLE, A BRIGHT RED COLOR HAS AN R VALUE OF 246, A G VALUE OF 20,
AND A B VALUE OF 50. WHEN THE VALUES OF ALL THREE COMPONENTS ARE
EQUAL, THE RESULT IS A SHADE OF NEUTRAL GRAY. WHEN THE VALUES OF
ALL COMPONENTS ARE 255, THE RESULT IS PURE WHITE; WHEN THE VALUES
ARE 0, PURE BLACK.
RGB IMAGES USE THREE COLORS, OR CHANNELS, TO REPRODUCE COLORS
ON SCREEN. IN 8-BITS-PER-CHANNEL IMAGES, THE THREE CHANNELS

TRANSLATE TO 24 (8 BITS X 3 CHANNELS) BITS OF COLOR INFORMATION PER

PIXEL. WITH 24-BIT IMAGES, THE THREE CHANNELS CAN REPRODUCE UP TO
16.7 MILLION COLORS PER PIXEL. WITH 48-BIT (16-BITS-PER-CHANNEL) AND
96-BIT (32-BITS-PER-CHANNEL) IMAGES, EVEN MORE COLORS CAN BE
REPRODUCED PER PIXEL. IN ADDITION TO BEING THE DEFAULT MODE FOR
NEW PHOTOSHOP IMAGES, THE RGB MODEL IS USED BY COMPUTER
MONITORS TO DISPLAY COLORS. THIS MEANS THAT WHEN WORKING IN
COLOR MODES OTHER THAN RGB, SUCH AS CMYK, PHOTOSHOP CONVERTS
THE CMYK IMAGE TO RGB FOR DISPLAY ON SCREEN.
ALTHOUGH RGB IS A STANDARD COLOR MODEL, THE EXACT RANGE OF
COLORS REPRESENTED CAN VARY, DEPENDING ON THE APPLICATION OR
DISPLAY DEVICE. THE RGB COLOR MODE IN PHOTOSHOP VARIES ACCORDING
TO THE WORKING SPACE SETTING THAT YOU SPECIFY IN THE COLOR
SETTINGS DIALOG BOX.
CMYK COLOR MODE
IN THE CMYK MODE, EACH PIXEL IS ASSIGNED A PERCENTAGE VALUE FOR
EACH OF THE PROCESS INKS. THE LIGHTEST (HIGHLIGHT) COLORS ARE
ASSIGNED SMALL PERCENTAGES OF PROCESS INK COLORS; THE DARKER
(SHADOW) COLORS HIGHER PERCENTAGES. FOR EXAMPLE, A BRIGHT RED
MIGHT CONTAIN 2% CYAN, 93% MAGENTA, 90% YELLOW, AND 0% BLACK. IN
CMYK IMAGES, PURE WHITE IS GENERATED WHEN ALL FOUR COMPONENTS
HAVE VALUES OF 0%.
USE THE CMYK MODE WHEN PREPARING AN IMAGE TO BE PRINTED USING
PROCESS COLORS. CONVERTING AN RGB IMAGE INTO CMYK CREATES A
COLOR SEPARATION. IF YOU START WITH AN RGB IMAGE, ITS BEST TO EDIT
FIRST IN RGB AND THEN CONVERT TO CMYK AT THE END OF YOUR EDITING
PROCESS. IN RGB MODE, YOU CAN USE THE PROOF SETUP COMMANDS TO
SIMULATE THE EFFECTS OF A CMYK CONVERSION WITHOUT CHANGING THE
ACTUAL IMAGE DATA. YOU CAN ALSO USE CMYK MODE TO WORK DIRECTLY
WITH CMYK IMAGES SCANNED OR IMPORTED FROM HIGH-END SYSTEMS.
ALTHOUGH CMYK IS A STANDARD COLOR MODEL, THE EXACT RANGE OF
COLORS REPRESENTED CAN VARY, DEPENDING ON THE PRESS AND PRINTING
CONDITIONS. THE CMYK COLOR MODE IN PHOTOSHOP VARIES ACCORDING
TO THE WORKING SPACE SETTING THAT YOU SPECIFY IN THE COLOR
SETTINGS DIALOG BOX.
LAB COLOR MODE
THE CIE L*A*B* COLOR MODEL (LAB) IS BASED ON THE HUMAN PERCEPTION
OF COLOR. THE NUMERIC VALUES IN LAB DESCRIBE ALL THE COLORS THAT A
PERSON WITH NORMAL VISION SEES. BECAUSE LAB DESCRIBES HOW A

COLOR LOOKS RATHER THAN HOW MUCH OF A PARTICULAR COLORANT IS

NEEDED FOR A DEVICE (SUCH AS A MONITOR, DESKTOP PRINTER, OR
DIGITAL CAMERA) TO PRODUCE COLORS, LAB IS CONSIDERED TO BE A
DEVICE-INDEPENDENT COLOR MODEL. COLOR MANAGEMENT SYSTEMS USE
LAB AS A COLOR REFERENCE TO PREDICTABLY TRANSFORM A COLOR FROM
ONE COLOR SPACE TO ANOTHER COLOR SPACE.
THE LAB COLOR MODE HAS A LIGHTNESS COMPONENT (L) THAT CAN RANGE
FROM 0 TO 100. IN THE ADOBE COLOR PICKER AND COLOR PANEL, THE A
COMPONENT (GREEN-RED AXIS) AND THE B COMPONENT (BLUE-YELLOW
AXIS) CAN RANGE FROM +127 TO 128.
LAB IMAGES CAN BE SAVED IN PHOTOSHOP, PHOTOSHOP EPS, LARGE
DOCUMENT FORMAT (PSB), PHOTOSHOP PDF, PHOTOSHOP RAW, TIFF,
PHOTOSHOP DCS 1.0, OR PHOTOSHOP DCS 2.0 FORMATS. YOU CAN SAVE
48-BIT (16-BITS-PER-CHANNEL) LAB IMAGES IN PHOTOSHOP, LARGE
DOCUMENT FORMAT (PSB), PHOTOSHOP PDF, PHOTOSHOP RAW, OR TIFF
FORMATS.
NOTE: THE DCS 1.0 AND DCS 2.0 FORMATS CONVERT THE FILE TO CMYK
WHEN OPENED.
GRAYSCALE MODE
GRAYSCALE MODE USES DIFFERENT SHADES OF GRAY IN AN IMAGE. IN 8-BIT
IMAGES, THERE CAN BE UP TO 256 SHADES OF GRAY. EVERY PIXEL OF A
GRAYSCALE IMAGE HAS A BRIGHTNESS VALUE RANGING FROM 0 (BLACK) TO
255 (WHITE). IN 16-AND 32-BIT IMAGES, THE NUMBER OF SHADES IN AN
IMAGE IS MUCH GREATER THAN IN 8-BIT IMAGES.
GRAYSCALE VALUES CAN ALSO BE MEASURED AS PERCENTAGES OF BLACK
INK COVERAGE (0% IS EQUAL TO WHITE, 100% TO BLACK).
GRAYSCALE MODE USES THE RANGE DEFINED BY THE WORKING SPACE
SETTING THAT YOU SPECIFY IN THE COLOR SETTINGS DIALOG BOX.
BITMAP MODE
BITMAP MODE USES ONE OF TWO COLOR VALUES (BLACK OR WHITE) TO
REPRESENT THE PIXELS IN AN IMAGE. IMAGES IN BITMAP MODE ARE CALLED
BITMAPPED 1-BIT IMAGES BECAUSE THEY HAVE A BIT DEPTH OF 1.
NOTE: SOME COLOR MODE SETTINGS ARE NOT SUPPORTED BY SOME TOOLS
AND DO NOT SUPPORT OTHER IMAGE FILE TYPES WHEN SAVING.

WHAT IS PPI (PIXELS PER INCH)?

IT IS A MEASUREMENT OF THE PIXEL DENSITY (RESOLUTION) OF AN
ELECTRONIC IMAGE DEVICE, SUCH AS A COMPUTER MONITOR OR
TELEVISION DISPLAY, OR IMAGE DIGITIZING DEVICE SUCH AS A CAMERA OR
IMAGE SCANNER.
DIFFERENCE BETWEEN THE TERM DPI AND PPI IS THAT PPI IS ON SOFTWARE
OR THE APPROPRIATE TERM WOULD BE DIGITAL WHILE DPI WOULD BE IN
THE PRINTING PROCESS ON WHICH THE FINAL SIZE OF THE IMAGE IS
PRINTED OR PRINTED ON. EX. CLIENT A WANTS A PICTURE OF HIS/HER IN
300DPI SO YOUR SETTING IN PPI SHOULD BE IN 300PPI ALSO (PPI / DPI = 1)
EQUATION.

RESOLUTION SETTING + DOCUMENT SIZE + RESOLUTION(PPI)

SETTING

COMPARISON WITH 72PPI AND HIGHER PPI SETTING

*SAMPLE OF A 300PPI SETTING ON A 1280X720 PIXELS DIMENSIONS

*SAMPLE OF A 72PPI SETTING ON A 1280X720 PIXELS DIMENSIONS

DOCUMENT SIZE FORMULA :

WIDTH/PIXELS PER INCH (PPI) = SIZE (INCHES IN WIDTH)
HEIGHT/PIXELS PER INCHES(PPI) = SIZE (INCHES IN HEIGHT)

NOTE: WHEN USING A 72PPI SETTING EVEN THOUGH HIGH SIZE FOR THE
WHOLE RESOLUTION IT GIVES YOU A LOSS QUALITY OF PRINT IN PROCESS
THE BETTER SETTING SHOULD BE 150 AND ABOVE.

ADVANTAGE AND DISADVANTAGE OF PPI TO DPI

ADVANTAGES OF HIGHER PPI SETTING IN PHOTOSHOP SETTING
*GIVES YOU CHANCE TO SEE IMAGE ZOOMED NOT BEING PIXILATED MUCH IF
YOUR CANVAS OR RESOLUTION IS LESS THAN 5 INCHES.
*THE HIGHER THE SETTINGS THE HIGHER THE QUALITY OF THE IMAGE
CONVERTED TO PRINT (FINE PRINT) BUT STILL IT DEPENDS ON THE ACTUAL
RESOLUTION OF THE IMAGE DRAGGED/IMPORTED IN LAYER.
DISADVANTAGES
*THE HIGHER THE SIZE OF PPI SETTING THE FILE SIZE OF THE .PSD FILE IS
DOUBLED OR EVEN MORE.
*THE SLOWER THE RENDER WHEN SAVING .PSD FILE TO AN IMAGE FILE TYPE
EXTENSIONS. ALSO RENDERING TIME IS AFFECTED IF A COMPUTER UNIT OR
LAPTOP DOESN'T MEET THE OPTIMAL SPECS.
*HIGHER THE PPI SETTINGS THE PRINTING PROCESS TAKES TIME TO FINISH.
NOTE : YOU CAN NEVER SEE THE DIFFERENCE OF EACH CANVAS WITH
DIFFERENT DPI SETTINGS WITHOUT ZOOMING DETAILS BUT IF THE IMAGE IS
ALREADY COMPRESSED DUE TO DEFAULT IMAGE RESOLUTION AND IMAGE
FILE TYPE. REMEMBER IF THE CANVAS IS LARGER THAN THE RESOLUTION OF
THE IMAGE IF YOU DO IMAGE RESIZING THE POSSIBILITY LOSS OF IMAGE
QUALITY CAN FACE PIXILATION OR TOO MUCH PIXILATION CAN OCCUR OR
SHARPNESS OF THE IMAGE REDUCED.

OPACITY, FILL AND BLENDING MODE

OPACITY & FILL CONTROLS THE SOLIDITY/VISIBILITY TO TRANSPARENCY OF
A COLOR OR AN IMAGE IN A LAYER THAT RANGES FROM 0-100%. EVERY
IMAGE DRAGGED OR IMPORTED TO PHOTOSHOP HAS A DEFAULT SETTING OF
OPACITY TO 100% AND BLEND MODE : NORMAL.
BLEND MODES IN DIGITAL IMAGE EDITING ARE USED TO DETERMINE HOW
TWO OR MORE LAYERS ARE BLENDED INTO EACH OTHER. THE DEFAULT
BLEND MODE IN MOST APPLICATIONS IS SIMPLY TO HIDE THE LOWER LAYER
WITH WHATEVER IS PRESENT IN THE TOP LAYER. HOWEVER, AS EACH PIXEL
HAS A NUMERICAL REPRESENTATION, A LARGE NUMBER OF WAYS TO BLEND
TWO LAYERS IS POSSIBLE. NOTE THAT THE TOP LAYER IS NOT NECESSARILY
CALLED A "LAYER" IN THE APPLICATION. IT MAY BE APPLIED WITH A PAINTING
OR EDITING TOOL.
MOST GRAPHICS EDITING PROGRAMS, LIKE ADOBE PHOTOSHOP AND GIMP,
ALLOW THE USER TO MODIFY THE BASIC BLEND MODES - FOR EXAMPLE BY
APPLYING DIFFERENT LEVELS OF OPACITY TO THE TOP PICTURE.

NOTE: FILL AND OPACITY BOTH CONTROLS THE TRANSPARENCY OF A LAYER

BUT BOTH HAD DIFFERENT PURPOSE/EFFECT IF LAYERS HAD BLENDING
OPTION STYLE ACTIVE.

TYPES & GROUPS OF BLEND MODES

NORMAL:
*NORMAL (SHIFT+ALT+N)
*DISSOLVE (SHIFT+ALT+I)
*BEHIND (SHIFT+ALT+Q)
*CLEAR (SHIFT+ALT+R)
DARKENING:
*DARKEN (SHIFT+ALT+K)
*MULTIPLY (SHIFT+ALT+M)
*COLOR BURN (SHIFT+ALT+B)
*LINEAR BURN (SHIFT+ALT+R)
*DARKER COLOR
LIGHTENING:
*LIGHTEN (SHIFT+ALT+G)
*SCREEN (SHIFT+ALT+S)

*COLOR DODGE (SHIFT+ALT+D)

*LINEAR DODGE (ADD) (SHIFT+ALT+W)
*LIGHTER COLOR
CONTRAST:
*OVERLAY (SHIFT+ALT+O)
*SOFT LIGHT (SHIFT+ALT+F)
*HARD LIGHT (SHIFT+ALT+H)
*VIVID LIGHT (SHIFT+ALT+V)
*LINEAR LIGHT (SHIFT+ALT+J)
*PIN LIGHT (SHIFT+ALT+Z)
*HARD MIX (SHIFT+ALT+L)
INVERSION:
*DIFFERENCE (SHIFT+ALT+E)
*EXCLUSION (SHIFT+ALT+X)
CANCELATION:
*SUBTRACT
*DIVIDE
COMPONENT:
*HUE (SHIFT+ALT+U)
*COLOR (SHIFT+ALT+T)
*SATURATION (SHIFT+ALT+C)
*LUMINOSITY (SHIFT+ALT+Y)
BLENDING MODE OTHER SHORTCUT KEYS
(SHIFT++) EXPLORE BLEND MODES IN ASCENDING MODE.
(SHIFT+-) EXPLORE BLEND MODES IN DESCENDING MODE.

REMEMBER: SOME BLEND MODE OPTIONS MIGHT NOT BE AVAILABLE FOR

SOME TOOLS AND LAYERS (IN LAYERS IT DOESN'T HAVE CLEAR AND BEHIND
MODE AND SOME TOOLS HAVE UNIQUE BLEND MODES).

INTRODUCTION TO LAYER PANEL

*LAYER PANEL LOCATION.

1.0 PARTS OF LAYER PANEL

SEARCH
SERVES AS A TOOL FINDER FOR LOOKING INTO LAYERS PRESENT IN THE
PHOTOSHOP FILE THIS HELPS A LOT ESPECIALLY IF YOU HAVE MORE THAN 20
LAYERS INSIDE. THIS MAKES YOU FIND LAYERS AND FILTERS SEARCHED
RECORDS ACCORDING TO KIND, NAME, EFFECT, MODE, ATTRIBUTE, COLOR.
THIS ALSO CONTAINS FILTER ACCORDING TO PIXEL LAYERS, ADJUSTMENT
LAYERS, TYPE, SHAPE AND SMART OBJECT.
1.1 LAYER PANEL SHORTCUT KEYS
-(F7) HIDES/SHOWS THE LAYER PANEL.
-(CTRL+SHIFT+N) MAKE NEW LAYER WITH OPTION.
-(CTRL+SHIFT+ALT+N) MAKE NEW LAYER WITHOUT OPTION.

WHEN A LAYER IS HIGHLIGHTED OR ACTIVE.

(DELETE) DELETES THE ACTIVE/HIGHLIGHTED LAYER

-(CTRL+]) POSITIONS THE CURRENT LAYER (ACTIVE) ON TOP OF THE NONACTIVE/HIGHLTED LAYER.
-(CTRL + ]) POSITIONS THE CURRENT LAYER (ACTIVE) ON THE
BOTTOM OF THE NON-ACTIVE/HIGHLTED LAYER.
(SHIFT + PLUS(+)) CYCLE THE BLEND MODE OF A LAYER FROM
UPWARD.
(SHIFT + MINUS(-)) KEY CYCLE THE BLEND MODE OF A LAYER FROM
DOWNWARD.
(SHIFT + ALT + N) KEYS FOR LAYER BLEND MODE IN NORMAL.
(SHIFT + ALT + I) KEYS FOR LAYER BLEND MODE IN DISSOLVE.

SMART OBJECTS & LAYER RASTERIZATION & RASTERIZED LAYER

SMART OBJECTS ARE LAYERS THAT CONTAIN IMAGE DATA FROM RASTER OR
VECTOR IMAGES, SUCH AS PHOTOSHOP OR ILLUSTRATOR FILES. SMART
OBJECTS PRESERVE AN IMAGE'S SOURCE CONTENT WITH ALL ITS ORIGINAL
CHARACTERISTICS
NOTE: IN SOME PHOTOSHOP APPLICATIONS IT IS AT DEFAULT THAT A
DRAGGED/IMPORTED IMAGE IS SET TO A SMART OBJECT.
TO CONVERT SMART OBJECTS INTO AN EDITABLE LAYER (CONVERSION TO
IMAGE PIXEL) EITHER CHOOSE ONE OF EDITING TOOLS AND A PROMPT
WINDOW WILL APPEAR AND SELECT(CLICK) YES. THE SIMPLIEST AND EASY
ONE TO CONVERT SMART OBJECT IS BY RASTERIZING THE LAYER. SMART
OBJECTS RETAINS THE QUALITY & EFFECT(BLEND MODES & STYLES) OF
SHAPE, OBJECT OR IMAGE PRESENT.

RASTERIZE LAYER
CONVERTS SMART OBJECT LAYER TO IMAGE PIXEL AND A EDITABLE LAYER. IT
IS DIFFERENT FROM RASTERIZE LAYER STYLE BECAUSE IT ONLY CONVERTS
THE ACTIVE LAYER STYLE INTO A IMAGE PIXEL LOSING THE STYLES TO BE
MODIFIED AND MAKING IT PERMANENT PART OF THE IMAGE RASTERIZED.

REMEMBER: WHEN YOU ARE TRYING TO CONVERT OR RASTERIZED A LAYER

STYLE OF AN ACTIVE LAYER THE BEST OPTION IS TO CONVERT IT FIRST INTO
A SMART OBJECT TO RETAIN THE LAYER STYLE AS IT IS BECAUSE IN MOST
CASES IN SOME UNIT OF LAPTOP OR PC WHEN YOU RATESRIZED A LAYER
STYLE SOME STYLE OPTION CHANGED EITHER ON BLENDING MODE OR THE
EFFECT.
INTRODUCTION TO TOOLBAR / TOOLBAR PANEL

MOVE TOOL [SHORTCUT KEY (V)]

THIS ENABLES THE USER TO DRAG THE OBJECT OR THE ACTIVE LAYER,
WHILE USING THIS TOOL PRESS AND HOLD THE SHIFT KEY TO LIMIT THE
DRAGGING MOVEMENT IT MEANS IF YOU DO THIS AND DRAG HORIZONTALLY
THE VERTICAL POSITIONING IS DISABLED OR NOT ACTIVE AND VISE VERSA.
HOLDING ALT TAB AND DRAG THE LAYER CAN CAUSE DUPLICATION OR
CAUSES TO CREATE A NEW LAYER WITH THE SAME CONTENT.

MARQUEE TOOL [SHORTCUT KEY (M)]

RECTANGULAR - SHAPES SPECIFY FOUR CORNERS OF THE SELECTED AREA
OR SHAPE AS WHAT ITS NAME INDICATED BUT TO MAKE SURE YOU HAD A
PERFECT SHAPE OF SQUARE HOLD THE SHIFT KEY.
ELLIPTICAL - GIVES A ROUND RANGE SHAPE OF SELECTION.
SINGLE ROW OR SINGLE COLUMN MARQUEE - DEFINES THE BORDER AS
A 1-PIXEL-WIDE ROW OR COLUMN.

REMEMBER: INSIDE THE SELECTED AREA WHEN THIS TOOL IS USED SERVES
AS YOUR ACTIVE WORK SPACE OR CANVAS, YOU CAN DO WHATEVER YOU
WANT TO DO IN IT.

LASSO TOOL [SHORTCUT KEY (L)]

LASSO - GIVES A USER A FREE FORM TO DRAW SELECTION BUT MUST MEET
WITH END POINT EITHER BY RELEASING THE MOUSE BUTTON OR BY SIMPLY
CONNECTING THE STARTING POINT TO END POINT.
POLYGONAL - THIS ONLY DRAWS SELECTION IN A STRAIGHT,
PERPENDICULAR, SLANTED LINE FORM MANNER. TO FINALIZED AND MAKE A
SELECTION EITHER BY CONNECTING THE STARTING POINT WITH END POINT
OR PRESSING THE CONTROL (CTRL) BUTTON.
MAGNETIC - THIS AUTOMATICALLY GENERATES ACTIVE POINTS THAT
CONTINUES AS YOU DRAG THE MOUSE POINTER EACH POINT GENERATED
CAN DETECT CERTAIN EDGES. TO FINALIZED AND MAKE A SELECTION
EITHER BY CONNECTING THE STARTING POINT WITH END POINT OR
PRESSING THE CONTROL (CTRL) BUTTON.

QUICK SELECTION TOOL [SHORTCUT KEY (W)]

QUICK SELECTION - MANUALLY SELECT AND DRAW A SELECTION WITH
SAME COLOR OR COLOR RANGE OR TRANSPARENCY.
MAGIC WAND - INSTANTLY SELECT AND DRAW A SELECTION WITH THE
SAME COLOR OR COLOR RANGE OR TRANSPARENCY.

CROP TOOL [SHORTCUT KEY (C)]

CROP TOOL - THIS TOOL CROPS THE OBJECTS OR IMAGE(S) INSIDE THE
ACTIVE LAYER DEFINE BY SQUARE OR FOR.
SLICE TOOL - THIS TOOL CREATES SLICES, SLICES IN WHICH THE IMAGE IS
NOT TOTALLY SLICED IN THE PHOTOSHOP UNLESS THE USER USED THE SAVE
FOR WEB FILE MENU OPTION.
SLICE SELECT TOOL - THE PURPOSE OF THIS TOOL IS TO SELECT AND
DRAG THE SLICES.

EYEDROPPER TOOL [SHORTCUT KEY (I)]

EYEDROPPER - SELECTS AND GRABS THE PIXELS COLOR AND SET IT AS
YOUR FOREGROUND COLOR.
COLOR SAMPLER - SETS A LEGEND OF A SELECTED PIXEL & ITS COLOR AND
DISPLAYS AN INFORMATION.
RULER - MEASURES DISTANCE BETWEEN STARTING POINT TO END POINT
AND ACT AS ANOTHER RULER IT HAS FEATURE WHEN STRAIGHTEN IS CLICK
CHANGES THE POSITION OF ACTIVE LAYER ACCORDING TO THIS TOOLS
POSITION.
NOTE - ADD NOTES IN THE ACTIVE LAYER WHEN LEFT MOUSE BUTTON IS
CLICKED.
COUNT - ADDS SERIES OF NUMBERING THAT ACTS AS A LEGEND IN THE
ACTIVE LAYER WHEN LEFT MOUSE BUTTON IS CLICKED.

SPOT HEALING BRUSH TOOL [SHORTCUT KEY (J)]

SPOT HEALING BRUSH TOOL - REMOVES BLEMISHES AND OBJECTS.

HEALING BRUSH TOOL -PAINTS WITH A SAMPLE OR PATTERN TO REPAIR

IMPERFECTIONS IN A IMAGE.
PATCH TOOL - REPAIRS IMPERFECTIONS IN A SELECTED AREA OF AN IMAGE
USING A SAMPLE OR PATTERN.
CONTENT-AWARE MOVE TOOL - USED TO MOVE SELECTED
OBJECT/SUBJECT IN AN IMAGE AND AUTOMATICALLY GENERATES/EDIT &
BLENDS THE SUBJECT WITHIN THE IMAGE BACKGROUND.
RED EYE TOOL - REMOVES THE RED REFLECTION CAUSED BY A FLASH.

PAINT BRUSH TOOL [SHORTCUT KEY (B)]

PAINT BRUSH - PAINTS WITH USE OF BROKE STROKES.
PENCIL - PAINTS HARD-EDGED STROKES.
COLOR REPLACEMENT - REPLACES A SELECTED COLOR WITH A NEW
COLOR.
MIXER BRUSH - SIMULATES REALISTIC PAINTING TECHNIQUES SUCH AS
BLENDING CANVAS COLORS AND VARYING PAINT WETNESS.
HISTORY BRUSH TOOL - PAINTS A COPY OF THE SELECTED STATE OR
SNAPSHOT INTO THE CURRENT IMAGE WINDOW.
THE ART HISTORY BRUSH TOOL - PAINTS WITH STYLIZED STROKES THAT
SIMULATE THE LOOK OF DIFFERENT PAINT STYLES, USING A SELECTED STATE
OR SNAPSHOT.

PAINT BRUSH TOOL [SHORTCUT KEY (E)]

ERASER - CLEARLY ERASE THE SELECTED AREA OR PORTION OF AN IMAGE.

BACKGROUND ERASER - ERASES CERTAIN AREAS TO TRANSPARENCY BY

DRAGGING. BY CLICKING ALT YOU DO THE OPPOSITE RESTORING THE
ORIGINAL STATE OF THE ERASED PART.
MAGIC ERASER - ERASE BACKGROUND IN INSTANT BY COLOR OR COLOR
RANGE.

PAINT BUCKET TOOL [SHORTCUT KEY (G)]

GRADIENT - CREATE STRAIGHT-LINE, RADIAL, ANGLE, REFLECTED, AND
DIAMOND BLENDS BETWEEN COLORS CAN ALSO BE CUSTOMIZED TO COLOR
TO TRANSPARENCY.
PAINT BUCKET - FILLS AREAS WITH SOLID FOREGROUND COLOR.

PAINT BUCKET TOOL []

BLUR - BLURS THE HARD EDGES OR THE WHOLE OF IMAGE/SUBJECT/OBJECT.
SHARPEN - IS THE OPPOSITE OF BLUR WHICH ENHANCES THE
SUBJECT/OBJECT/IMAGE DETAILS(DEFINITION) MAKING IT A LITTLE CRISPIER.
BUT TOO MUCH USE OF THIS TOOL CAN CAUSE IMAGE DISSOLVE
COLORATION LIKE DETAILS.
SMUDGE - GIVES A SORT OF BLUR AT THE SAME TIME A DISTORTION EFFECT
TO THE IMAGE.

DOGETOOL [SHORTCUT KEY (O)]

DODGE - LIGHTENS AREAS IN AN IMAGE.

BURN - DARKENS THE AREAS IN AN IMAGE
SPONGE - CHANGES SATURATION OF AN IMAGE.

PEN TOOL [SHORTCUT KEY (P)]

PEN - CREATES SERIES OF ANCHOR TO CREATE PATHS.
FREE FORM PEN - HAS SIMILARITIES TO LASSO TOOL THE Starting point
must end with an end but the difference is in lasso tool if you release holding
the mouse button it automatically generates the selection but in Free Form it
Won't The End Points must connect in order to have a path.
ADD ANCHOR POINT - ADDS AN ANCHOR POINT TO AN EXISTING PEN TOOL
PATH.
DELETE ANCHOR POINT - DELETES AN ANCHOR POINT TO AN EXISTING
PEN TOOL PATH.
CONVERT POINT - CONVERTS THE PEN TOOL POINTS THAT HAD BEEN
CHANGED/MODIFIED INTO ITS ORIGINAL STATE.

TEXT TOOL [SHORTCUT KEY (T)]

HORIZONTAL TYPE - CREATES A TEXT INPUT IN A STANDARD FORMAT
FORM OF TYPING.
VERTICAL TYPE - CREATE A TEXT INPUT IN A VERTICAL FORM FORMAT.
HORIZONTAL TYPE MASK - CREATES A MASK TAKING THE FORM OF TEXT
HORIZONTALLY, THE MASK DEPENDS OF THE FONT TYPE AND SIZE.

VERTICAL TYPE MASK - CREATES A MASK TAKING THE FORM OF TEXT

VERTICALLY, THE MASK DEPENDS OF THE FONT TYPE AND SIZE.

PATH SELECTION TOOL [SHORTCUT KEY (A)]

PATH SELECTION & DIRECT SELECTION
- THESE TOOLS SHOW THE PATH, LINE, ANCHOR POINTS , DIRECTION LINES
AND POINTS EITHER OF A SHAPE OR CUSTOMIZED SHAPE EVEN PATH FROM
PEN TOOL.

SHAPE TOOL [SHORTCUT KEY (U)]

CREATES A NEW LAYER OF SHAPE EACH SHAPE FEATURES DIFFERENT
OPTIONS RECTANGLE & SQUARES TO POLYGONAL SIDED, ELLIPSE OR
ROUND AND MIXTURE ROUNDED RECTANGLES, LINE AND A CUSTOMIZED
SHAPE.

HAND TOOL [SHORTCUT KEY (H)]

MOVES THE CANVAS ACCORDING TO DIRECTION WHEN HOLDING THE LEFT
MOUSE BUTTON. THE CANVAS MUST BE ZOOMED FIRST OR ELSE THE MOVE
TOOL WON'T EVEN WORK. THE MOVE TOOL ONLY MOVES THE CANVAS POINT

OF VIEW SO THE LAYERS, IMAGES, OBJECTS AND SHAPES POSTION ARE NOT
AFFECTED AT ALL.
ROTATE VIEW TOOL [SHORTCUT KEY (R)]
THIS TOOL ROTATES THE CANVAS CLOCKWISE AND VISE VERSA THIS
DOESN'T AFFECT OBJECTS AND LAYERS POSITIONING JUST LIKE THE HAND
TOOL.
NOTE: HAND TOOL & ROTATE ARE JUST VIEWING TOOLS SO THE WHOLE
PROJECT'S LAYERS AND OTHER OBJECTS DOESN'T CHANGED AT ALL IN
POSITIONING AND LAYOUT.

HAND TOOL [SHORTCUT KEY (H)]

USED TO ZOOM CANVAS AND HAS TO OPTIONS ZOOM IN (+) & ZOOM OUT
(-).
PRESS AND HOLD ALT BUTTON TO TRIGGER ZOOM OUT WHILE USING ZOOM
TOOL.
IMAGE FILE TYPES
COMMONLY USED AND KNOWN
.JPG/JPEG
JPEG (JOINT PHOTOGRAPHIC EXPERTS GROUP) IS A LOSSY COMPRESSION
METHOD; IS THE MOST USED IMAGE FILE FORMAT. DIGITAL CAMERAS AND
WEB PAGES NORMALLY USE JPG FILES - BECAUSE JPG HEROICALLY
COMPRESSES THE DATA TO BE VERY MUCH SMALLER IN THE FILE. HOWEVER
JPG USES LOSSY COMPRESSION TO ACCOMPLISH THIS FEAT, WHICH IS A
STRONG DOWNSIDE. A SMALLER FILE, YES, THERE IS NOTHING LIKE JPG FOR
SMALL, BUT THIS IS AT THE COST OF IMAGE QUALITY. THIS DEGREE IS
SELECTABLE (WITH AN OPTION SETTING NAMED JPG QUALITY), TO BE LOWER
QUALITY SMALLER FILES, OR TO BE HIGHER QUALITY LARGER FILES. IN
GENERAL TODAY, JPG IS RATHER UNIQUE IN THIS REGARD, USING LOSSY
COMPRESSION ALLOWING VERY SMALL FILES OF LOWER QUALITY, WHEREAS
ALMOST ANY OTHER FILE TYPE USES LOSSLESS COMPRESSION (AND IS
LARGER).

.PNG
PNG (PORTABLE NETWORK GRAPHICS) IS A LOSSLESS COMPRESSION IN
WHICH TRANSPARENT OR TRANSPARENCY SETTINGS IN A SAVE IMAGE FILE IS
RETAINED COMMONLY CONSUMES FILE SIZE BIGGER DEPENDING ON COLOR
BIT MODE AND RESOLUTION (PPI).
.BMP
THE BMP FILE FORMAT (WINDOWS BITMAP) HANDLES GRAPHIC FILES
WITHIN THE MICROSOFT WINDOWS OS. TYPICALLY, BMP FILES ARE
UNCOMPRESSED, AND THEREFORE LARGE AND LOSSLESS; THEIR
ADVANTAGE IS THEIR SIMPLE STRUCTURE AND WIDE ACCEPTANCE IN
WINDOWS PROGRAMS.