Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
Alright, now that we have got our Preferences out of the way, we are going to take a look now at the new CS3 interface. So what am I going to have you do is go ahead and open up the file, just by doing Ctr+O on the PC, Command+O on the Mac and I am going to have you go into your Project Files folder which should be on your Desktop and go into the Chapter 01 folder and select Welcome.jpg. Once you do that, let's go ahead and click Open and it will automatically jump right into this file right here inside of Photoshop CS3 and this is just to kind of have something on the screen so that you are aware of the Image window itself and how it works and how it is going to operate as you work throughout Photoshop.
So here is this little Welcome image here and over here on the left-hand side, we have the toolbar and the CS3 toolbar is pretty new actually because it's a single-column toolbar as opposed to previous versions of Photoshop where you had the double-column toolbar. Now, for those of you who are used to that two-column toolbar, if you want to get that back, it's a very easy fix. Come up here to the top of this toolbar and just click this little double arrow icon right here and once you do that, you will notice, it automatically switches back into that two-column look that you are familiar with.
Now, the tools themselves have not changed, there is a couple of new additions but they are just merged within different groups here. So there is not actually any new groupings of the tools themselves. You still have your Selection group on top, you have your Painting and Retouching group in the middle. Next, you have your Vector groups running underneath those and then you have your Information or Annotation groups underneath that has your Note tool, your Zoom Tool and so forth and so on.
Now, right underneath those, you have your current Foreground and Background Colors, which is nothing new there and you have little toggle switch that will let you back and forth between those two. Now, the two bottom icons here at the bottom of the toolbar, these are actually different than they used to be inside of Photoshop. Previously Quick Mask Mode was a two-button setup. In this case, it's only one button. So you click once to get in, once to get out. We will explain a little bit more about what Quick Mask Mode is later on in a different chapter and then at the very bottom, you have your Screen Mode and there is nothing really different about these except for the fact that we have a new Screen Mode in Photoshop CS3. One that I recommend that you work in and one that I am actually working in right now is called Maximize Screen Mode.
So let's go ahead and take a look at exactly what Maximize Screen Mode allows you to do here inside of Photoshop CS3. Let me go ahead now and I will switch this back to the single-column toolbar just because I prefer to work with a single-column toolbar but also to show you exactly how Maximize Screen Mode works. You will notice that we have this full screen like setup here and when I move this back here to change this toolbar back to single-column, watch the screen area in between, the panels on the right-hand side and the toolbar here on the left.
When I click this, do you see the image resize itself? That's because when you are in Maximize Screen Mode, it automatically gives you the maximum amount of screen real estate between your toolbar and your panels, see on the right-hand size. So no matter what you have open in between these two areas right here, you will always get the maximum amount of screen real estate possible. That's a great thing about Maximize Screen Mode and another great thing about it is the fact that -- especially when you are on the Macintosh platform, you are now locked into the program. I know a lot of times when I am working on a Macintosh, I will accidentally click outside of the program and it will take me to my Desktop or the Finder or something like that.
Well, with the new Maximize Screen Mode, you cannot click outside of here, this dark gray area. It has you locked into the program so it's much like the Windows interface and the fact that you can't accidentally click outside of your window, yet you still get that nice full screen ability. So that's a great new advantage that they have added here with this nice new Screen Mode called Maximize Screen Mode. We are going to move over here to the right-hand side and take a look at the new panel system and yes, I did say panels, I did not say palettes and that is because Adobe has officially changed the name of this system over here on the right-hand side from palettes to panels.
So for years, we have been calling these things palettes but now we are calling them panels simply because of the fact that now they are all docked together in this big paneling system over here. So what I mean by docked together is that they are all attached and you can resize them dynamically with one another. As you can see here if I want to enlarge the Navigator window, I automatically resize the Layers panel and vice-versa. If I wanted to increase the size of the Layers panel, I would shrink the size of the Navigator window. So all of these things are dynamically sizable together and you still have your ability to drag these out into individual panels by themselves. But it's a whole lot easier just to keep them grouped in their original groupings here so that you have the ability to maximize and minimize their size and to keep them in these nice groupings to where you know exactly where everything is.
Now, another thing you will notice is the fact that there are no more palette wells up here at the top. The palette well was a small little gray icon up here at the top of the Options bar that you had inside of Photoshop CS2 that allows you to store all kinds of different palettes and things into it, things that you didn't want cluttering up your workspace but yet you still found useful and that you thought you needed on your image or whatever it is you might have been working on.
So instead of having that palette well up you are taking out real estate at the top of the Options bar, now they have all of the palettes that you still want to use but don't want cluttering your workspace right here on this left-hand side in these little docked icons. Now, you don't lose any functionality with these. As you can see, they are still fully expandable panels here but you go ahead and click once to expand and click once to contract, but they are still the exact same as they were in any other version of Photoshop. You still have all of the different options that you have in here, so just the History and Actions panels here. Go ahead and contract those back, here is your Tool Presets here and as you can see, you can resize these as big as you want them and that won't affect anything at all.
So go ahead and expand these out to see the full version of the panels and then go ahead and contract them back whenever you are done with them and that way they don't clutter up your workspace but they are still right there in case you need them. So here again, is the Brushes and it's also accompanied by the Clone Source which is a new feature to CS3, something we will cover in the Retouching chapter later on. Also we have the Character and Paragraph Styles right here built into the paneling system which is an amazing thing for me because if you remember correctly in the previous versions of Photoshop, you had the Paragraph and Character button up here in the Options bar and it was always a real pain for me to go up there and have to find that little button to launch those things every time or I would have to go to the Window menu every single time. Well, now they have very wisely docked these into the paneling system so that you have quick and easy access to the Character and Paragraphs panels right here in this little side dock that they have in this program.
Also, at the very bottom is the Layer Comps panel and we are going to be talking more about Layer Comps and how to utilize those later on in another chapter. But this is an amazing little panel that you should use all the time for variations and th