tailieunhanh - Photoshop 6 for Windows Bible- P24

Photoshop 6 for Windows Bible- P24:If you are reading this foreword, it probably means that you’ve purchased a copy of Adobe Photoshop , and for that I and the rest of the Photoshop team at Adobe thank you. If you own a previous edition of the Photoshop Bible, you probably know what to expect. If not, then get ready for an interesting trip. | Chapter 14 Shapes and Styles 661 8. Draw the shape. If you set the tool to draw a shape layer in Step 3 then Photoshop automatically creates a new layer. As shown in Figure 14-4 the Layers palette shows a colored fill labeled Layer contents in the figure with a clipping path to the right of it masking the fill. If you assigned a layer style a list of one or more effects appears under the layer name. Layer contents Clipping path Shape layer Layer style indicator Layer effects Figure 14-4 A shape layer is actually a clipping path that masks a color or other contents directly inside Photoshop. 9. Switch tools and draw more shapes. Photoshop adds each new shape that you draw to the existing shape layer. This means that they all get filled with the same contents. If you prefer to create a new shape layer with a different fill click the clipping path thumbnail in the Layers palette to turn off the clipping path. Or click the check mark in the Options bar. Either way you ll notice the clipping path turn off when the double outline around the thumbnail is replaced by a single outline. Then draw a new shape. Tip You can dismiss the clipping path from the keyboard by pressing Escape or Enter. To activate the clipping path click its thumbnail or press Enter. That s it. You now have a shape layer that you can use as you please. From this point on it s a matter of editing the shape as explained in the following sections. 662 Part IV Layers Objects and Text Photoshop 6 Combining and editing shapes A few years back there was an image editor called Live Picture. Its creators heralded it as the first image editor to provide infinite incremental undos. In fact the program had a run-of-the-mill single-level Undo Redo command. The infinite incremental undos were actually a result of an object metaphor that pervaded the program. After drawing an element you had the option of changing it. It wasn t an automated undo but rather a manual adjustment. By this twisted marketing logic .