Optimization is the process of adjusting the display quality and file size images for use on the Web or other online media. Adobe Photoshop and Adobe ImageReady gives you control the effective range for compressing the image file size while optimizing the quality of online viewing.

There are two methods to optimize the image:
* For basic optimization, Photoshop Save As command lets you save images as GIF, JPEG, PNG, or WBMP file. Depending on the file format, you can specify the image quality, background transparency or matting, color display, and the download method. However, all features of the Web - such as slices, links, animations, and rollovers - that you have added to the file is not preserved.

For more information about using the Save As command to save images as GIF, JPEG, or PNG, see figure Savings.
* For proper optimization, you can use the optimization features in Photoshop or ImageReady optimized to view the image in different file formats and with different file attributes. You can see multiple versions of an image simultaneously and modify optimization settings as you see the pictures to select the best combination of settings for your needs. You can also specify the transparency and matting, select options to control dithering, and resize the image to specific pixel dimensions or a certain percentage of its original size.

When you save the optimized file using the Save for Web (Photoshop) or Save Optimized (ImageReady) command, you can choose to generate an HTML file for the image. This file contains all the information required to display your images in your web browser.

Save for Web (Photoshop) or Save Optimized (ImageReady) command that is specifically designed to provide a set of more powerful and intuitive than the option to save the image file for use on the Web. This includes a fine sensitivity and image file sizes of color palettes that are not available from the Save As command. When creating graphics for Web use, Save for Web / Save Optimized command is recommended.

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Viewing topics, Adobe provides complete documentation in the help system accessible to HTML-based. Help system includes information on all application tools, commands, and features for Windows and Mac OS systems.

Using windows help

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To display the help topic within the framework of topics, click on the link in the Navigation frame. For example, click the link in the table of contents to display the appropriate topic.

To resize the frame, drag the vertical border between them.

Navigating in the help topic

Click the following link which is underlined in order to browse Help Topics:
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How to Use Content
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Using Sitemaps, Site Map contains links to all topics in the Help and all entries in the Index.

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All you need is:
* 2 source images,
* a few layers,
* 1 Clone Tool,
* 1 Brush,
* 1 Layer Blending Mode
* and optionally 1 Layer Mask.
Please forgive my poor English, I hope that descriptions will be understandable.
OK. Open your sources in PS. I used an already retouched photo of the face and a slightly different source for the tongue. I hope you don’t mind :)

Cut out the frog and drag it into the opened window with the face layer.
Rotate and resize the frog.

Add a layer mask to the frog layer and mask the unneeded parts. When you are happy with the result click Menu/Layer/Remove Layer Mask/Apply.
You can just use the Eraser Tool, but masking gives more control of the process.

Here’s a nice tutorial on Layer Masks

Select the tongue from face layer, copy it on the new layer and put it between the face and frog.
Lower the opacity of the [i]frog[/i] layer to about 40%, just to keep it visible, and then transform the tongue layer to fit the frog.

When you hide the frog layer it should look like this:

Now Ctrl+click on the frog layer to make selection and with clone tool fill the selected areas on tongue layer.

Then hit Ctrl+Shift+I (Select Inverse) and Delete. Deselect (Ctrl+D).
You can delete the frog layer too if you want, you won’t need it anymore.
Resize and rotate the tongue if necessary (I had to make it slightly bigger) and blend the lower edge with face layer using layer mask, eraser or clone tool.

Now the shadows. Create a new layer below the tongue (you can name it shadow 1) and paint the black shadow around the tongue with a small brush.
Apply a Gaussian Blur filter (with a rdius of about 2px) and set the layer blending mode to Soft Light.

Make new layer above the tongue layer (name it shadow 2), Ctrl+click on the tongue layer and paint shadows inside the selection (just the edges).
Deselect, apply Gaussian Blur, set blending mode to Soft Light.

Almost done. Now make a new layer above all your layers and call it light. Grab the Clone Tool (just be sure to check the Use All Layers option) and clone some reflections. You can paint them if you want, but cloning is easier.

That's all! The result should look something like this:

Drawing Hair in Photoshop
In this tutorial, we will give this basic human form:

a full head of hair like this:

Using the brush, dodge, burn and smudge tools. This technique works best on mostly straight or slightly wavy hair.


Laying out the basic color
In this example, we are creating medium-brown hair, so draw in the basic shape of the hair with a hard edged brush with medium brown. Follow the contours of the head and shoulders, making the hair flip at the ends as desired. Don't worry about being perfect, but make sure that the head itself is covered fully with no gaps.

Smudging the edges Part One
Using a small-ish brush with a soft edge (approximately 10-20 px) at about 85 to 95% strength, smudge the edges of the hair to flow and fall naturally against the face, shoulders, neck and back.
Here are the directions I smudged:

to form this:

Dodge & Burn Part One - Individual Strands
This part is the most tedious, but it actually does go by rather quickly and painlessly.
Select the dodge tool set to midtones, around 15 to 20% strength and a 2 to 4 pixel brush. Start drawing in highlights in the direction that the hair naturally grows. You may want to look at a source image for this. Switch the setting to highlights and repeat. This varies the colors and luminosity of the hilites, making the hair appear more natural.

Now hold down the alt button and the dodge tool becomes the burn tool. Repeat as above, switching between highlights and midtones to vary the color and luminosity of the lowlites.

If it's not looking the way you want it to, vary something: increase/decrease brush size, switch brush shape, increase/decrease strength, switch modes (shadows/midtones/highlights).
Here's what I had after about 5 minutes of work:

Dodge & Burn Part Two - Lighting Source
Now that we have the individual strands drawn in, it looks flat. To put the head of hair in a realistic environment, consider the source of light. Here, it is coming from the front/left, so we want to highlight the front and darken the back. We also want to highlight natural contours of the head and thin-ness of the ends of the hair.

Here are the areas I've highlighted and darkened with a large (approx. 50 to 100 px) soft edge brush with dodge and burn.

Try different dodge/burn modes to match your lighting source:
- Dodge Midtones gives less saturated, whiter highlights
- Dodge Highlights gives more saturated yellower hilights - Burn Midtones gives more saturated shadows in keeping with the base color
- Burn Highlights gives less saturated, gray/black shadows

Use all in combination to achieve a more natural look:

Smudging the edges Part Two
The final step is to smudge out any harsh edges, mostly at the tips of the hair where it meets the face and shoulders.

I like to use a large spatter brush for this, set to about 60% strength, for a wispy look.
The final image after smudging:
This example took me about 8 minutes to produce, but you can always spend more time tweaking strands and highlights. If you're working on a larger image, it will take longer.

Further ways to tweak the hair:

- duplicate the hair layer and adjust the hue/saturation, then vary the opacity or blending mode of the adujsted layer. (I usually like to use overlay or one of the light modes.)
- duplicate the hair layer and vary the contrast using curves or levels, then vary the opacity or blending mode of the adjusted layer as above.
- use the sharpen and blur brushes to vary the focus of highlighted or shaded areas of the hair.

How to turn Tom Cruise into an alien
These are the steps I used in creating my image, "Face-off" for Alien Nation 3
First things first

A lot of people have asked how I do a lot of my characterizations and weird aliens, so I thought I’d finally sit down and write a tutorial.
I thought a fun image to focus on would be my “Face Off” image for the “Alien Nation 3” contest.
So here goes!
First off I thought I’d explain a little about my methodology. Basically I do a whole lot of adjustment layers, cloning, and healing brush coupled with a bit of liquify. My basic theory with humanoid characters is that I try to leave as many of the original pixels intact as possible.. What I try to do is make them a different color. I hardly ever resort to doing any destructive paint strokes.

First things first, I didn’t have the entire concept in mind when I started this image, or even what the alien was going to look like. In fact I didn’t even plan for it to be Tom Cruise for any reason other than I like the intense look on his face and it was a high enough resolution file to manipulate without having to work around too many jpeg artifacts.
That being said it evolved into a silly goof on Mr. Cruise that ended up getting a good reaction from the voters so, go figure!
Let’s begin.



Step 1
Mr. Cruise has entirely too much hair to make a convincing alien so let’s remove it!
Start out by cloning from the center of the forehead out creating a “virtual bald-cap.”
Keep in mind that it does not necessarily matter all that much how clean your cloning is. Just ball-park it in we’ll fix it in a minute.

(tip) I occasionally uncheck the “aligned” button at the top when I find a nice area of forehead that seams to work as a generic skin texture.

After roughing in a new head shape from the forehead out, I then clone in the grey background from the outside, in creating a new edge for the shape of the head.


Step 2
After Tom’s new forehead is shiny and bald it may still look a bit like a rough patchwork of skin-tones and texture. Not to worry, here’s where the magic of the healing brush comes in!

Set the size of the healing brush to something medium like 20 pixels or so and start targeting the most obvious of your bad clone marks. Clone again from the center of the forehead. (preferably from the untouched portions) Magically upon letting up from each brush stroke it will lay down the texture you’ve just placed there, and then auto color correct it in to match the surrounding pixels! (gotta love that healing brush!)



Step 3 and 4
Time to get rid of some of those pesky facial features...
First off let’s continue with the rubber stamp tool and rough in the removals of both Tom’s eyebrows as well as his nose. Once those are gone, I also want to remove the bit of stubble and texture on his chin to get an overall smoother face.
Step 4: Just like step 2 we’re going to go back over these areas with the healing brush and get a nice blend of skin-tone and texture.

(for those of you wondering why this is a 2 step process between the rubber stamp and the healing brush, the answer is quite simple. I have gotten a much better result by pre-treating areas of the face with a color closest to my end result color. That way when the healing brush does it’s magic color correction to the surrounding pixels you do not get any contaminating color from the original pixels occupying that area.)



Step 5
Time to start making his face a bit more alien...
I decided I wanted to bisect his face with a slit that travels the length of his face as well as modify the functionality of his mouth.
To do this I created a new adjustment layer setting it to “levels”.
In the levels dialog box i pulled in the lower right white triangle towards the center of the histogram. This made the highlights of the image darken down.

Now when a levels adjustment layer is added to an image it creates a new blank white layer mask. Target this mask in the layers dialog box and invert it changing it to solid black. (Command/or Control “i”)

Now your image should look as before you added the levels adjustment layer. Target your brush tool and set it’s size to 8 pixels, and then select the color white in your color picker. now you are ready to start painting with color. I start of with drawing a line down the center of the face separating it into two halves. Then I put two small vertical lines, one on each side of the top lip of the mouth.
(this is what the layer mask looks like when you've finished painting.)

Now I want to give these lines a bit of depth so I’m going to add a layer style to the adjustment layer.
Either double-click in a negative area of the layer in the layers pallet or right click on the layer and select “Blending options” from the contextual menu that pops up to invoke a layer style.
In this instance I’m going to add a Bevel and Emboss. Here are the settings I chose.
Depth 61%, Direction Up, Size 13px, Soften 3.
Basically I just noodled around until the lighting matched and it gave the illusion of depth into the lines of the face.



Step 6
Coloring the lines. I want to give the lines some reddish modeling to indicate that there are blood vessels at the edges of the lines. So we’re going to add another adjustment layer with levels just like before. Now my general rule of thumb in order not to destroy the light values of the pixels in the image but rather change their color to my desired shade. The way to do this is to take away the opposite of the color I am trying to add. In this case I want a reddish color so I will take away green and blue.

In the RGB slider I take out highlights using the bottom white arrow pulled in towards the center. And I take out mid-tones by sliding the grey arrow to the right. Next I target the green histogram and take green out of the highlights, (bottom white arrow, move to the left.) I then do the same with the blue. Although I take out more blue to push the color to more of an orange- red as opposed to a purpley red. Hit ok in the dialog box and then target the mask of the adjustment layer and invert it.
Now, we’re ready to paint with the red color correction. Use a soft edge brush 20-30 pixels in size and lightly color in around all of the lines of the face. I’m also using this color correction to start some of the bone work around the eyes using it to create some shadow areas.

This is a step that is going to be repeated OVER and OVER! I tend to have dozens of adjustment layers each doing a minor color correction that ads or takes away from the layer before it. So if things get a bit redundant.....Sorry!


Step 7
Some shading and discoloring of the face.
I was originally thinking I might want this alien to be more aquatic in nature so I started down the path of iridescent coloring to make him more fish like. (obviously at some point later I decided to change directions a bit.)

We’re going to do some shading with a turquoise green color. You know the drill, set up your levels, invert the mask and then start painting. Here’s my layer mask.


Step 8
Modeling of the face.
I want this alien to have a wrinkled texture to his face, rather than paste in a texture I’m going to use my same technique as with the previous adjustment layers and really go to town with my wacom tablet and follow the contours of his face and start to introduce some interesting shapes and lines that will start to shape the character.
For this adjustment layer I’m color correcting to a rusty orange color. Invert the mask and start painting.

Oh by the way, if you haven’t saved lately, you might wanna do that now.
Continuing the modeling of the face next I create a dark green color correction and start painting squiggles all over the face. You’d be surprised how effective this is when layered on in the right amounts. I’ve also heard this technique called figure-eights by a make up artist friend of mine. (They do this sort of thing to get skin blotchiness for actual special effects make-ups, so I figured why not try it for virtual make-ups, huh?)

Basically what I do is work in tight nit patches with varying degrees of pressure on my tablet. I draw overlapping 8’s over and over again. (Sort of like a spiral-graph back in the day.)


Step 9
Remove a few other pesky human body parts.
At this stage I started getting a decent Idea of how I wanted the finished piece to look and I decided those ears have got to go! So I painted them out with the rubber stamp and the healing brush just like the virtual bald-cap.

Step 10
A whole lot more color!
I added more red to the slits of the face to make them stand out more.
A bit of vascular work. I added some dark brown veins.

Step 11
Bone restructuring through shading.
Create a bright whitish yellow adjustment layer and then invert the mask to paint with a very large feathered brush. Accentuate the bridge area of the nose, the cheek bones and the muzzle of the mouth creating the raised areas of the bone structure.

Now do the shadow areas with a dark brown color correction paying attention to the light and shadow areas of the face being careful not to put shadows where they don’t belong.

Another highlight color correction this time painted with a 10 pixel brush to really create textured lines around the bottom of the eyes and at the edges of the lips.

Another dark color correction to create some dark wrinkles and textures for the forehead and eyes, creating recessed lines into the face.
Another highlight color correction to put kick specular hi-lights on the newly created wrinkles.

tep 12
Overall color to a pale green. I decided at this point I was not going to keep him human flesh-tones so I created a muted green color and did a blotchy layer mask to brush it in.
I followed this up with a dark green color to create some dark shaded areas of the face and add contrast to the bone restructuring.

Spots! His face looked too perfect at this point and I’m a sucker for old Star-Trek type aliens, so I thought I’d go with a nice spotted Trill-like pattern. (if you never watched STNG or DS9 the reference is mute.)

Now I wanted to have spots that were trimmed with a darker color and have a lighter color in the center. So I Command/Control clicked on the layer mask for the spots color correction loading it’s layer mask as a selection. I then targeted: Select/Modify/Contract and set the contract to 3 pixels.

I then created a new adjustment layer that brightened the previous one making a muted light green interior color and a darker green exterior stroke for my spots.



Step 13
Eyes. My original idea once I started steering this alien towards a more reptilian type of species, was that I was going to replace Tom’s eyes with alligator eyes. It looked interesting but it immediately rendered him entirely unrecognizable. And I preferred the intense look in his eyes that steered me towards the image as the source in the first place. So I just changed to color of his eyes to red.

At this point I was happy with the alien face and I decided to move on and make a scene out of it.
So I saved my multi-layered color correction alien and then grouped all my layers together and merged them so that I could work a bit faster. (Things get a bit slow with that many layers!)
After merging the layers I saved it as a new version and moved on to the next few details.

Step 14
I found this absolutely perfect image of Tom Cruise in another google search where he had this bizarre squinty look on his face and had his mouth open. With very little modification I saw this as a perfect discarded rubber mask to lay on the table in front of the newly “unmasked” alien.
I masked out all of the “holes” of the mask, the mouth, the eyes and the nostrils. I then Selected the layer mask and right clicked on it to “Apply” the layer mask.
Then I went in to Liquefy.
I bent and warped the face to squish it and make it look like bunched up rubber laying on a table.

Then, and I know at this point this might shock you..... I added an adjustment layer!
I started out with a dark brown color and lightly brushed in some big wrinkles to indicate the folds of the mask. http://www.worth1000.com/hosted/tutorials/60216_copy_111200742339PM_Tom_mask_02.jpg
Then I highlighted those lines with another adjustment layer.

Then I went back over the new folds with a large brushed dark color correction to smooth things out a bit.

Yet another bright color correction to make things look shiny.

A super bright color correction for specular highlights.

And finally a super dark color correction for the shadow.

Building the scene
I then laid the mask on it’s side and made a dark grey solid to represent a table top for it to sit on.

I packaged all of this up into a group, duplicated it and then merged the duplicate group.
Then after a few more google searches for some Sclerall contact lenses, some spirit gum adhesive, and some sponges for application of the adhesive, I put everything together with some directional blurring for the flopped “reflections” on the table. I then threw in a couple of drop shadows as well, (using adjustment layers...go figure) and Whalla. Done!

Hopefully this explains all my strange ideas on how to make an alien in Photoshop! Drop me an e-mail if you have trouble following my bizarre logic!

And happy Chopping!

John.