CUTTING OUT AN IMAGE WITH THE PEN TOOL

You might already be cutting out images in Photoshop but if you’re not using the pen tool, then you are
probably doing it wrong! “Why?”, you may ask.
1. Accuracy. There is no way you are going to get the same level of control using the lasso tool or other
selection methods. Using the pen tool enables you select partial pixels. This means that the edges of your
selection will always be smooth (no jagged pixel edges). The pen tool literally puts transparency on the bit of
the pixel that exists outside of the selection.
2. Options. By using the pen tool there are numerous post options available. You can save the shape, or maybe
fill or stroke it.
So open your image in Photoshop and using your pen tool trace around the outside. There are two ways to do
this. You could click and drag on each anchor point to get the right curves but I find this process too slow. I
prefer to click around the object (essentially cutting it out with straight lines) and then go back and adjust the
curves/anchor points.
Make sure your pen tool is set to Create Path and that the path option is “add to path area”. See image below.

I’ve chosen a picture of Gary Hoff, doing a standard orangutan impersonation, as the image I want to cut out.
The image below shows the rough work path I lay down first. If the image you are cutting is quite detailed, like
mine, zoom in (Ctrl +) and out (Ctrl – ) as you work.

It is EXTREMELY important to close the work path so that it can be made into a selection. This means that
your last anchor point must meet up to the first anchor point. Once you have made your way around the object
you must click once more on the starting point. When you get to the starting anchor point it will be marked with
a small circle. See image below.
The image below shows a close up of the work path once the curves were created and the anchor points
adjusted.

The trick is to know where to put anchor points, and this is something that comes with a little practice. The pen
tool does become very easy, but initially it will be slow, so try not to get put off.
Now right click on the work path and select Make Selection.
Copy the selection (Ctrl + c) and paste it on to another image (Ctrl + v). I’ve chosen a nice jungle path for Gary.

Due to the partial pixel selection the image blends smoothly on the new background. With only a few more
minor adjustments this will be a nice composite.
CREATING COMPLEX SHAPES
To create a shape within a shape, such as a donut, it is a simple matter of making sure your path is active and
selecting the right option from the top (for a donut it would be “subtract from shape area”). The images below
explain it better than text.
1. Create a circle Shape Layer using your Elipse Tool. See image below…

2. Select “subtract from” on the top options (see 1. below) and notice how the cursor shows a subtract symbol
when you mouse-over the shape (see 2. below).

3. The result is a donut.

4. Use your Path Selection Tool to move the paths and alter the donut shape.
This same technique also works with paths. The important part is to remember that the first path must be active
before you create the second path.
CREATING CUSTOM SHAPES
If we go to Paths Palette you will see our path is still there. Click once on the path layer to reveal our work path
again.

Now with Edit >> Define Custom Shape…

Name your shape and click OK. Select your Custom Shape Tool from the Toolbar.

You will now see your new shape in the Custom Shape picker.

Now check your foreground colour before you make the shape. You can see in the image below my foreground
color is black. The shape you create will be the foreground color.
Until now we have been making WORK PATHS but now we want to make a SHAPE. See image below.

Click and drag on your canvas to create your shape.

Hold down Shft while you drag, to re-create the shape with the same proportions (it won’t distort).
Now if you select Shape Layers and then create the shape you will see it creates a vector shape. Creating vector
shapes is best.
Because the shape is a vector you can scale it up and down and it will never pixelate! (To apply effects to the
layer you will need to rasterize the layer…simply right click on the layer and choose rasterize from the
options).
If you create the shape using Fill Pixel (see image below) you must make sure the anti-alias box is checked.

Feel free to contact me via my contact page if you have any questions.
How To Use The Pen Tool To Make Detailed Selections
Hillary Grigonis, 2 years ago 5 min read 375 Shares

Photoshop’s selection tools make it possible to isolate a single object or remove a photo’s
background — but if you mess up using the lasso tool, the only option is to go back to start outlining
all over again. That’s why, when it comes to making specific, detailed selections, many Photoshop
pros don’t use any of the selection tools at all. Instead they look a few icons further down in the
toolbox — and are rewarded with the pen tool.

Unlike the lasso tool, the pen tool pays no attention to the pixels underneath it, giving you full control
over exactly what is selected, from simple geometric shapes to delicate curves. By creating
permanent paths instead of temporary selections, the pen tool makes it possible to go back and edit
the selection, no matter how many steps you’ve taken in between. While the pen tool is often more
time-intensive than other options, when it comes to advanced, accurate selections, the pen is
mightier than the sword — err, selection. Here’s how to master the pen tool inside Photoshop.

Photoshop Pen Tool: The Basics

The pen tool creates paths across the image by connecting multiple points together. While you can
use it to draw shapes, for photographers, the tool is ideal for clipping out objects.

After selecting the pen tool from the side toolbox — the one that looks like the tip of an old fashioned
inkwell pen — a simple click creates the first point. A second click adds another point, connecting the
two with a straight line. Adding points all the way around the object until clicking on that first point
again makes a complete selection.

Tip: Tapping P on the keyboard will also select the pen tool.

While a simple click is great for selecting geometric selections with straight lines, what about objects
following a curve? Instead of clicking for that next point, clicking and dragging the mouse creates a
curved line. Dragging up and down changes the height of the curve, while dragging left to right will
change the intensity of the curve, from straight to a tall curve.

When you click and drag to create a curve, you’ll see handles or a straight line pop up. As you drag
the point, the handles will indicate the direction and intensity of that curve. To create a smooth curve,
leave those handles about 1/3 the length of the distance between the next point — too long, and your
curve will swoop back in the other direction first.
Continue making points around the object, using a new point every time you need to change the
direction, clicking for straight lines or clicking and dragging for curves. Once you’ve gone all the way
around the object, complete the path by clicking on that very first pen point — you’ll see a circle when
you hoover over the first point.

With the path completed, go to the Paths panel (it’s by default a tab with the layers panel) and
rename your path to save it. If you don’t rename the path, it will disappear if you start creating a
second path.

Editing Paths with the Pen Tool

The biggest advantage to using the pen tool is that you can go back and edit the selection point-by-
point — so if you see you missed a little piece, you don’t have to redo the entire selection like you
would with the lasso tool.

To edit a path, make sure the correct path is highlighted in the Paths panel. If you need to move a
point to adjust either a straight line or a curve, use the Direct Selection Tool — it’s the arrow cursor
that’s white, not black. To adjust a straight line, click that point and drag it to the new location; to
adjust a curve, grab one of the handles or straight lines coming off the curve.

If you need to add additional anchor points between existing points, or need to remove points, click
and hold on the pen tool in the toolbar and select the add or delete anchor point tools.

To move the entire path at once, go back to the arrow tool, only this time use the black Path
Selection Tool option. Clicking and dragging on a line will move the entire path.

Creating a Selection from a Path

So far, all you’ve done is create an invisible path inside your photo. Next, you need to convert it into a
selection.

Back inside the Paths window, right click (or option click on a Mac) on the path you made and choose
“Make Selection” from the dropdown options that appear. In the pop-up window, choose the feather
radius, or how soft to make the edge. If you’re cutting out an object that has some edges out-of-
focus, use a higher feather.

Now, your path turns into a dotted line — the object you clipped out is now selected. From here, you
can copy the selection to paste it into another file, or, you can add a mask for tasks such as removing
the background. With the selection still highlighted, click on the layer that contains the object (simply
called Background if you haven’t touched the layers yet), then click on the “Add Mask” icon in the
bottom of the Layers panel, which looks like a rectangle with a dark circle inside. The mask will
automatically be applied with the layer selection, removing the background. From here you can
continue to edit the photo, adding a different background or continuing to refine the edge using layer
mask tools.
If you need to go back and edit the path after you’ve already applied the selection to a layer, you’ll
simply need to make sure that layer is highlighted before going back into the Paths panel and
selecting the path for further fine-tuning.

With the pen tool, you have complete, editable control over any selection inside Photoshop. And
while it may not be the fastest selection tool in the Photoshop toolbox, when it comes to accuracy, the
pen tool upstages the rest.

Path segments, components, and points

A path consists of one or more straight or curved segments. Anchor points mark the end points of the path
segments. On curved segments, each selected anchor point displays one or two direction lines, ending
in direction points. The positions of direction lines and points determine the size and shape of a curved
segment. Moving these elements reshapes the curves in a path.

A path
A. Curved line segment B. Direction point C. Direction line D. Selected anchor point E. Unselected anchor
point
A path can be closed, with no beginning or end (for example, a circle), or open, with distinct end points (for
example, a wavy line).
Smooth curves are connected by anchor points called smooth points. Sharply curved paths are connected
by corner points.
Smooth point and corner point

When you move a direction line on a smooth point, the curved segments on both sides of the point are adjusted
simultaneously. By comparison, when you move a direction line on a corner point, only the curve on the same
side of the point as the direction line is adjusted.

Adjusting a smooth point and a corner point

A path does not have to be one connected series of segments. It can contain more than one distinct and
separate path component. Each shape in a shape layer is a path component, as described by the layer’s clipping
path.

Separate path components selected

Select a path
Selecting a path component or path segment displays all of the anchor points on the selected portion, including
any direction lines and direction points if the selected segment is curved. Direction handles appear as filled
circles, selected anchor points as filled squares, and unselected anchor points as hollow squares.
1. Do one of the following:
 To select a path component (including a shape in a shape layer), select the Path Selection tool , and click
anywhere inside the path component. If a path consists of several path components, only the path component
under the pointer is selected.
 To select a path segment, select the Direct Selection tool , and click one of the segment’s anchor points, or
drag a marquee over part of the segment.

Drag a marquee to select segments.

2. To select additional path components or segments, select the Path Selection tool or the Direct Selection tool,
and then hold down Shift while selecting additional paths or segments.
Note:
When the Direct Selection tool is selected, you can select the entire path or path component by Alt-clicking (Windows) or
Option-clicking (Mac OS) inside the path. To activate the Direct Selection tool when most other tools are selected, position the
pointer over an anchor point, and press Ctrl (Windows) or Command (Mac OS).

Select multiple paths | Photoshop

You can select multiple paths on the same layer or across different layers.
1. In the Paths panel, do any of the following to make the paths visible:
 Shift-click to select contiguous paths.
 Ctrl-click (Windows) or Command-click (Mac OS) to select non-contiguous paths.
2. Select the Path Selection tool or the Direct Selection tool and do any of the following:
 Drag over the segments.
 Shift-click the paths.
3. To select additional path components or segments, select the Path Selection tool or the Direct
Selection tool, and then hold down the Shift key while selecting additional paths or segments.
Note:
You can choose to work with paths in the isolation mode. To isolate only the layer containing a path, with the path active,
double-click using a selection tool. You can also isolate single or multiple layers by using the Select/Isolate Layers menu item
or by setting Layer Filtering to Selected.
You can exit the isolation mode in several ways, such as:
 Turning off Layer Filtering
 Switching Layer Filtering to something other than Selected
 Double-clicking away from a path using the path selection tools

Reorder paths
You can reorder saved paths that are not Shape, Type, or Vector Mask paths in the Paths panel.
1. In the Paths panel, drag the path to the position you want. In Photoshop, you can select and drag more than
one path simultaneously.
 Duplicate paths
1. In the Paths panel, select the path you want to duplicate. In Photoshop, you can select more than one path.
2. Do any of the following:
 Alt-drag (Windows) or Option-drag the paths.
 Choose Duplicate Path from the panel menu.

Specify path options

You can define the color and thickness of path lines to suit your taste and for easier visibility.While creating a
path—using the Pen tool, for example—click the gear icon ( ) in the Options bar. Now specify the color and
thickness of path lines. Also, specify whether you want to preview path segments as you move the pointer
between clicks (Rubber Band effect).

Path options: Thickness and Color

Adjust path segments

You can edit a path segment at any time, but editing existing segments is slightly different from drawing them.
Keep the following tips in mind when editing segments:
 If an anchor point connects two segments, moving that anchor point always changes both segments.
 When drawing with the Pen tool, you can temporarily activate the Direct Selection tool so that you can adjust
segments you’ve already drawn; press Ctrl (Windows) or Command (Mac OS) while drawing.
 When you initially draw a smooth point with the Pen tool, dragging the direction point changes the length of the
direction line on both sides of the point. However, when you edit an existing smooth point with the Direct
Selection tool, you change the length of the direction line only on the side you’re dragging.

Move straight segments

1. With the Direct Selection tool , select the segment you want to adjust.
2. Drag the segment to its new position.

Adjust the length or angle of straight segments

1. With the Direct Selection tool select an anchor point on the segment you want to adjust.
2. Drag the anchor point to the desired position. Shift-drag to constrain the adjustment to multiples of 45°.
 Adjust the position or shape of curved segments

1. With the Direct Selection tool ,, select a curved segment, or an anchor point on either end of the curved
segment. Direction lines appear, if any are present. (Some curved segments use just one direction line.)
2. Do any of the following:
 To adjust the position of the segment, drag the segment. Shift-drag to constrain the adjustment to multiples
of 45°.

Click to select the curve segment. Then drag to adjust.

 To adjust the shape of the segment on either side of a selected anchor point, drag the anchor point or the
direction point. Shift-drag to constrain movement to multiples of 45°.

Drag the anchor point, or drag the direction point.

Note:
Adjusting a path segment also adjusts the related segments, letting you intuitively transform path shapes. To only edit segments
between the selected anchor points, similar to earlier Photoshop versions, select Constrain Path Dragging in the options bar.
Note:
You can also apply a transformation, such as scaling or rotating, to a segment or anchor point.

Delete a segment

1. (Optional) If you’re creating an opening in a closed path, select the Add Anchor Point tool , and add two
points where you want the cut to occur.
2. Select the Direct Selection tool , and select the segment you want to delete.
3. Press Backspace (Windows) or Delete (Mac OS) to delete the selected segment. Pressing Backspace or
Delete again erases the rest of the path.

Delete the direction line of an anchor point

 Using the Convert Anchor Point tool, click the anchor point of the direction line.
The smooth point becomes a corner point. For more information, see Convert between smooth points and
corner points.
Extend an open path

1. Using the Pen tool, position the pointer over the endpoint of the open path you want to extend. The pointer
changes when it’s precisely positioned over the endpoint.
2. Click the endpoint.
3. Do one of the following:
 To create a corner point, position the Pen tool where you want to end the new segment, and click. If you are
extending a path that ends at a smooth point, the new segment will be curved by the existing direction line.
 To create a smooth point, position the Pen tool where you want to end the new curved segment, and drag.

Connect two open paths

1. Using the Pen tool, position the pointer over the endpoint of the open path that you want to connect to
another path. The pointer changes when it’s precisely positioned over the endpoint.
2. Click the endpoint.
3. Do one of the following:
 To connect the path to another open path, click an endpoint on the other path. When you precisely position
the Pen tool over the other path’s endpoint, a small merge symbol appears next to the pointer.
 To connect a new path to an existing path, draw the new path near the existing path, and then move the Pen
tool to the existing path’s (unselected) endpoint. Click that endpoint when you see the small merge symbol
that appears next to the pointer.

Move or nudge anchor points or segments using the keyboard

1. Select the anchor point or path segment.

2. Click or hold down any of the arrow keys on the keyboard to move 1 pixel at a time in the direction of the
arrow.
Hold down the Shift key in addition to the arrow key to move 10 pixels at a time.

Add or delete anchor points

Adding anchor points can give you more control over a path or it can extend an open path. However try not to
add more points than necessary. A path with fewer points is easier to edit, display, and print. You can reduce
the complexity of a path by deleting unnecessary points.
The toolbox contains three tools for adding or deleting points: the Pen tool , the Add Anchor Point tool ,
and the Delete Anchor Point tool .
By default, the Pen tool changes to the Add Anchor Point tool as you position it over a selected path, or to the
Delete Anchor Point tool as you position it over an anchor point. You must select Auto Add/Delete in the
options bar to enable the Pen tool to automatically change to the Add Anchor Point or Delete Anchor Point tool.
You can select and edit multiple paths simultaneously. You can also reshape a path while adding anchor points
by clicking and dragging as you add.
Note:
Don’t use the Delete or Backspace keys or the Edit > Cut or Edit > Clear commands to delete anchor points. These keys and
commands delete the point and line segments that connect to that point.

Add or delete anchor points

 1. Select the path you want to modify.
2. Select the Pen tool, the Add Anchor Point tool, or the Delete Anchor Point tool.
3. To add an anchor point, position the pointer over a path segment and click. To delete an anchor point,
position the pointer over an anchor point and click.

Disable or temporarily override automatic Pen tool switching

You can override automatic switching of the Pen tool to the Add Anchor Point tool or the Delete Anchor Point
tool. This is useful when you want to start a new path on top of an existing path.
 In Photoshop, deselect Auto Add/Delete in the options bar.

Convert between smooth points and corner points

1. Select the path you want to modify.
2. Select the Convert Point tool, or use the Pen tool and hold down Alt (Windows) or Option (Mac OS).
Note:
To activate the Convert Point tool while the Direct Selection tool is selected, position the pointer over an anchor point, and
press Ctrl+Alt (Windows) or Command+Option (Mac OS).

3. Position the Convert Point tool over the anchor point you want to convert, and do one of the following:
 To convert a corner point to a smooth point, drag away from the corner point to make direction lines appear.

Dragging a direction point out of a corner point to create a smooth point

 To convert a smooth point to a corner point without direction lines, click the smooth point.

Clicking a smooth point to create a corner point

 To convert a corner point without direction lines to a corner point with independent direction lines, first drag
a direction point out of a corner point (making it a smooth point with direction lines). Release the mouse
button only (don’t release any keys you may have pressed to activate the Convert Anchor Point tool), and
then drag either direction point.
  To convert a smooth point to a corner point with independent direction lines, drag either direction point.

Converting a smooth point to a corner point

Adjust path components

You can reposition a path component (including a shape in a shape layer) anywhere within an image. You can
copy components within an image or between two Photoshop images. Using the Path Selection tool, you can
merge overlapping components into a single component. All vector objects, whether they are described by a
saved path, work path, or vector mask, can be moved, reshaped, copied, or deleted.
You can also use the Copy and Paste commands to duplicate vector objects between a Photoshop image and an
image in another application, such as Adobe Illustrator.

Change the overlap mode for the selected path component

1. Using the Path Selection tool , drag a marquee to select existing path areas.
2. Choose a shape area option from the Path Operations drop-down menu in the options bar:
Combine Shapes
Adds the path area to overlapping path areas.
Subtract From Shape Area
Removes the path area from overlapping path areas.
Intersect Shape Areas
Restricts the area to the intersection of the selected path area and overlapping path areas.
Exclude Overlapping Shape Areas
Excludes the overlap area.

Show or hide the selected path component

Do one of the following:

 Choose View > Show > Target Path.
 Choose View > Extras. This command also shows or hides a grid, guides, selection edges, annotations, and
slices.

Move a path or path component

1. Select the path name in the Paths panel, and use the Path Selection tool to select the path in the image. To
select multiple path components, Shift-click each additional path component to add it to the selection.
 2. Drag the path to its new location. If you move any part of a path beyond the canvas boundaries, the hidden
part of the path is still available.

Dragging a path to a new location

Note:
If you drag a path so that the move pointer is over another open image, the path is copied to that image.

Reshape a path component

1. Select the path name in the Paths panel, and use the Direct Selection tool to select an anchor point in the
path.
2. Drag the point or its handles to a new location.

Merge overlapping path components

1. Select the path name in the Paths panel, and select the Path Selection tool .
2. To create a single component from all overlapping components, choose Merge Shape Components from the
Path Operations drop-down menu in the options bar.

Copy a path component or path

Do any of the following:

 To copy a path component as you move it, select the path name in the Paths panel, and click a path component
with the Path Selection tool . Then Alt-drag (Windows) or Option-drag (Mac OS) the selected path.
 To copy a path without renaming it, drag the path name in the Paths panel to the New Path button at the
bottom of the panel.
 To copy and rename a path, Alt-drag (Windows) or Option-drag (Mac OS) the path in the Paths panel to the
New Path button at the bottom of the panel. Or select the path to copy, and choose Duplicate Path from the
Paths panel menu. Enter a new name for the path in the Duplicate Path dialog box, and click OK.
 To copy a path or path component into another path, select the path or path component you want to copy, and
choose Edit > Copy. Then select the destination path, and choose Edit > Paste.

Copy path components between two Photoshop files

1. Open both images.

2. In the source image, use the Path Selection tool to select the entire path or the path components that you
want to copy.
3. To copy the path component, do any of the following:
 Drag the path component from the source image to the destination image. The path component is copied to
the active path in the Paths panel.
 In the source image, select the path name in the Paths panel and choose Edit > Copy to copy the path. In the
destination image, choose Edit > Paste. You can also use this method to combine paths in the same image.
  To paste the path component into the destination image, select the path component in the source image, and
choose Edit > Copy. In the destination image, choose Edit > Paste.

Delete a path component

1. Select the path name in the Paths panel, and click a path component with the Path Selection tool .
2. Press Backspace (Windows) or Delete (Mac OS) to delete the selected path component.

Align and distribute path components

You can align and distribute path components that are described in a single path. For example, you can align
the left edges of several shapes contained in a single layer or distribute several components in a work path
along their horizontal centers.
Note:
To align shapes that are on separate layers, use the Move tool.

 To align components, use the Path Selection tool to select the components you want to align. Then choose an
option from the Path Alignment drop-down menu in the options bar.

Alignment options

 To distribute components, select at least three components you want to distribute. Then choose an option from
the Path Arrangement drop-down menu in the options bar.

An Italian researcher named Silvano Vinceti sparked a new controversy over the world's
most famous painting when he claimed that tiny letters were painted into the eyes of the
Mona Lisa, which could finally help reveal the true identity of the model.
In a Guardian interview with Vinceti, the chairman of the Italian national committee for
cultural heritage, Vinceti said that "LV" (Leonardo's initials) is painted in black on top of
green-brown of her right pupil. More importantly, the letter "B" or "S," maybe even the
initials "CE," were found in the left pupil, which is a possible clue to who the model was.

Other clues to identifying the woman in the portrait include the numbers "149," with a fourth
number erased, on the back of the painting, which could be a year, as well as "72" or "L2"
being seen in the right-hand arch of the bridge in the background. To find out more of what
this means, see the full interview.
In light of all this, I figured a Mona Lisa tutorial was in order—one involving her eyes. A how-
to on hiding text inside the eyes would be appropriate, but that's easy enough to do, so in
this Adobe Photoshop tutorial, you'll see how to make the Mona Lisa blink her eyes!

Step 1Find a Mona Lisa

Do a Google Image Search for a picture of the Mona Lisa painting by Leonardo Da Vinci.

Step 2Open in Photoshop

Open up your image of Mona Lisa in Photoshop.

Step 3Duplicate the Background Layer

Simply drag the Background layer to the Duplicate the Background icon. Alternately, you
can right-click the Background layer and select Duplicate Layer and press OK.
Liquidify the Background Copy
Select the Background Copy layer, the select Filter < Liquidify. Alternately, you can use
the shortcut (Shift + Ctrl + X).

Step 5Select the Freeze Mask Tool

The Liquidify window should fill up your entire screen. Find the Freeze Mask Tool (F) and
select it.
Step 6Freeze Mask Tool Around the Eyes
Carefully use the Freeze Mask Tool to go around the eyes. Try and leave a very small gap
in-between the eyebrows and eyes (for the Warp Tool later).
If you mess up, use the Thaw Mask Tool (D) to correct your mistakes.

Step 7Forward Warp the Eyelids

Now select the Forward Warp Tool (W).
Gently push down the eyes as shown.

You can also do one eye only for a winking effect. Otherwise, this article covers blinking of
both eyes.

When finished, select OK to save and exit the Liquidify filter.

Step 8Finishing Touches with Dodge Tool
Select the Dodge Tool (O) for any finishing touches you may need.
Step 9Replicate the Rough Paint
To make it more realistic, use the Clone Stamp Tool (S).
Select an appropriate area of the painting by holding the Option key, then click on your
desired spot that you want to clone, more likely the cheeks or forehead. Then go at it.

Step 10Work on the Bags

Now those bags under the eyes need to be adjusted. Select Filter < Liquidify again. Use
the Forward Warp Tool (W) to raise the bags up.
Step 11Match the Paint
Use the Clone Stamp Tool (S) again to match the rough paint effect under the eyes.

Step 12Finished... Kind Of

Here are the two versions of your Mona Lisa. Left is the original, right is the closed eyes
version. (Yours will probably look better... I rushed.)
Step 13Animate Her
Select Window < Animation to start making the GIF of the Mona Lisa blinking.

Step 14Start Your First Image

Make sure the Visibility for the Background Copy is deselected. You want the animation
to start with her eyes open, as usual.
Step 15Adjust Frame Time
Click on the little black upside-down triangle to set the Delay Time. Set it to 0.5 seconds.

Step 16Duplicate the First Frame

Click on the Duplicates Selected Frames icon in the bottom Animation (Frames) window.
A duplicate frame (Frame 2) should appear next to the first one in the sequence.
Blink the Second Frame
Make sure the second frame you just created is selected. Then, reselect the Visibility of
the Background Copy layer. Next, duplicate that frame and make sure the Visibility for
the Background Copy layer is deselected (again) in the third and final frame. You should
now have three frames total.

Step 18Save as a GIF

Now, go to File < Save for Web & Devices...
Step 19Select GIF
Make sure that GIF is selected as your image output.

Step 20Save Your GIF Animation of the Mona Lisa

Now all that's left is Saving. Press Save and name your file and select your folder to save it
in.
Step 21DONE!
That's it. You're done. If you want to view your GIF animation, just drag the file into your
open web browser to see it in action!

If you want, try adding some hidden text inside the eyes, for hidden messages that you can
send to your friends! Just like Leonardo da Vinci did!

Monday, June 25, 2012

let's do it
First things first : we aren't straight up x-raying an actual picture here. We're messing with the image using various
filters/contrasts/other options utilizing image changing effects with Photoshop.

This effect won't always work. You can't really see through clothing unless there's something there to work with. ie. tight
fitted clothes, you get the gist.

1.) Open your image.

2.) Go to the Layers palette and duplicate the image. (Right click Layer -> Duplicate Layer)

3.) At the top menu or toolbar, click Image -> Adjustments -> Invert. Note : you can also do this by pressing CTRL +
I.

4.) Mask your layer : at the same toolbar, click Layer -> Layer Mask -> Reveal All.
5.) Adjust the hue/saturation by once again clicking Layer -> New Adjustment Layer -> Hue/Saturation. Adjust
saturation to -100%.

6.) Select the original image layer in the Layers palette, and change the blending mode to Hard Light.

7.) Increase the effect by duplicating the same layer in the Layers palette. (Right click Layer -> Duplicate Layer)

That should do it!! Keep in mind that this really only works with images that give you
something to work wi