1 Auto Color

Image > Adjustments > Auto Color or [Ctrl + Shift + B]
For those of us that are professionals in the color-correcting field, this is a great feature to sometimes fix the poor colors a digital camera can capture. This isn’t a perfect fix for all photos all the time, but it can usually get you pointed in the right direction.

2 Auto Levels

Image > Adjustments > Auto Levels or [Ctrl + Shift + L]
This is another quick way to do some minor color-correcting on your images. What this does is correct the black point and white point in your image automatically. It’s looking for the nearest-to-white color and setting that as the white point, then finding the nearest-to-black.

3 Auto Contrast

Image > Adjustments > Auto Contrast or [Ctrl + Alt + Shift + L]
Auto contrast is another quick adjustment for Photoshop to automatically color correct your image. You usually don’t need to use this with Auto Levels, but sometimes it helps for images that look a bit more washed-out than you’d like.

4 Auto-Align Layers

Edit > Auto-Align Layers
This feature is pretty cool as it attempts to align the content on your layers as close as Photoshop can figure out. When you run this command you’ll get a set of options as to how you want Photoshop to try to align. You’ll need to have your layers selected in the Layers palette by Ctrl-clicking or Shift-clicking on the layers. This is pretty much your savior for stitching together panoramas.

5 Auto-Blend Layers

Edit > Auto-blend Layers
Like Auto-Align, this feature is probably most useful in photography situations. When stitching together a panorama, it will attempt to match and blend the color across all of your layers to make sure your stitch looks seamless.

6 Vertical + Horizontal Centering (and other alignment)

Layer > Align > (options)...
This one is great when mocking up a new website design. This will allow you to align things vertically and horizontally to the center, left, right and top. Make sure your text layer is higher in your layers palette than the one you want to align with. Click on both layers by control-clicking or shift-clicking.

6.5 Vertical + Horizontal Centering (to a selection)

Layer > Align to Selection > (options)...
If you don’t have another layer you want to align something to, you can make a section and align your object to the selection. Just make sure the layer you want to align is selected in the Layers palette before going to the Layer menu.

7 Straighten Crooked Photos

Unlike the other actions in this article, this one takes a few more steps. You’ll want to start with the Ruler tool (located under the Eyedropper [I]) and draw a line for your horizontal axis to be straightened. After drawing your line, go to Image > Rotate Canvas > Arbitrary. Photoshop will have automatically entered the the angle in degrees needed to straighten your image, so just click OK. After running this you will have white areas in the corners, so be prepared to crop a bit.

This tutorial is split into two parts to cover both basic concepts and advanced techniques and discussion. In this primer, we will look at the ideas behind creatively reinterpreting the light in an image. We do this to change the focus or dramatic impact of the image, usually because the available lighting wasn’t what we needed, or because our intent for the image might have changed. The techniques can be useful for product photography, portraits, fine art, or whatever strikes our fancy.

Vincent Versace recently published a book called Welcome to Oz: A Cinematic Approach to Digital Photography With Photoshop. In it, he describes much of what goes on here, and since it’s a book, he can go into much greater detail. I am not attempting to summarize Mr. Versace’s work, though there are a lot of similarities. Instead, the techniques presented here are the result of individual experimentation, and a lot of interaction with the members of PhotoshopTechniques.com.

But since this is a tutorial, we should get started!

I presume the reader has an understanding of the following:

• Basic painting skills.
• Layers, including visibility, opacity and blend modes.
• Masks.
• Adjustment layers and curves.
• Black and white conversion.

I have made the source image available here:

However, you can use whatever image you like. Here’s the basic idea of where we are going:

• Start with a good, clean image.
• Duplicate layers as needed to allow for light, dark, and neutral adjustments.
• Push individual layers to extremes using adjustment layers, looking for desirable details.
• Paint on the adjustment layer masks to select only what you want.
• Add finishing touches – tints, borders, etc.

First, we need to choose our candidate image. Anything that has relatively flat lighting will work, but at this stage it helps to have a strong subject which can be isolated from its surroundings. In part 2, we’ll talk about more detailed choices, and how to modify the technique for a broader approach. Right now, just get something similar to the source image we are using here.

Next, let’s set up the Photoshop document. Here is the layer order I will be using:

Color Fill (optional)
Border (optional)
Light Beam
Overlay w/ Gradient
B&W Copy
Black Fill (optional)
Background

1) Image Prep & Clean up

Open your image in Photoshop, and duplicate the Background layer. Call the duplicate ‘B&W Copy’. On the B&W Copy layer, make any adjustments to the core image you like; sharpening, color correction, dust removal, etc. You want to end up with a technically good exposure, but not a final image.

2) Black and White Conversion

After you are done with the B&W Copy cleanup, it’s time to convert to black and white. I used to prefer using the Channel Mixer method, but you can also use the new B&W Filter in Photoshop CS3. However you get there, make sure you leave detail in both the blacks and whites.

3) Duplicate the B&W Layer
Make a new copy of the B&W Copy and call it Overlay w/ Gradient. Add a layer mask.

4) Make an overlay mask

Here’s the first tricky part – creating your overlay mask. In most situations, you can simply add a layer mask to isolate parts of an image. In this case, however, we will be setting the blend mode to Overlay, so anything that is masked won’t be affected. What we need to do is actually blacken parts of the layer that we don’t want highlighted. To do this, we need to use a temporary layer filled with black *underneath* the Overlay w/ Gradient layer.

4a) Create a black fill layer
Just below the Overlay w/ Gradient layer, create a new layer filled with black.

4b) Paint the overlay mask
On the Overlay w/ Gradient layer mask, begin painting with a soft, black brush on low opacity. Slowly take away the parts that will be darkened or hidden layer.

4c) Merge the result
Once you are happy with the mask, select both the Overlay w/ Gradient layer and the black filled layer below it and merge [Layer > Merge Layers or Ctrl/Cmd + E]. This should leave you with a single layer and no mask.

5) Set Overlay Mask to Overlay Mode

That’s pretty straightforward… change the blend mode of Overlay w/ Gradient to well… Overlay. The image should look a little more interesting right now. There should be much more dynamic range, and some nice, deep shadows. In the next step, we’ll create a little more drama with some additional lighting effects.

6) Create a Light Beam layer

Create a new, blank layer above the Overlay w/ Gradient layer, and call it Light Beam. Using whatever method you like, create some soft, white light beams. For this example image, I used the Polygon Lasso tool with about 20px of feathering to draw a triangle. I then filled with white, and blurred this a couple of times. Next, I rotated the triangle slightly, and then duplicated it to a new layer, which was flipped about the vertical axis. Finally, I merged the two together. However, you may find it much easier to simply paint your light beams, and then use a transform warp. Whatever works for you! Set the Light Beam layer blend mode to Overlay, and lower the opacity to taste. I used 46%.

7) Survey the results!
At this point, it’s important to look at what you have so far. For my example, the top flower is centered and highlighted, with other elements lower down the stem fading to darkness.

Summary
We are now done with the basics of the technique. “But wait,” you say. “Where’s the painting?” Well, remember when we did the masking and the light beams? That’s the very beginning of where you can go. We just created the beams to a general shape, but you could have painted them for specific highlights. In part two, we’ll cover some actual painting on the masks to draw out very specific highlights, flatten the lighting, and completely remake an image just by manipulating the lighting.

For now, it’s important to see the concepts at work. The blend modes are added to push the dynamics, and we added a light layer to focus and enhance the effect even more. With a little playing around, you can develop your own approaches, such as building light layers from other images, or adding filters to get special effects. In this image, I added a 1-pixel border, and an additional color layer at the very top to give an aged feel.

To get a nicely toned monochrome image, simply add a blank layer at the top of everything else, and fill with a color of your choosing. Set the blend mode of that layer to Color, and reduce the opacity or fill to suit your tastes. For my version, I used a kind of light tobacco color, and set the opacity at 50%. Finally, I added an oval vignette layer mask to my B&W Copy layer, just to give it that old portrait feeling (this also requires a black filled layer underneath so the original doesn’t show through).

Keep using this technique, and you’ll find all kinds of variations. Use any combination of the steps you like. Leave some out, duplicate others, and substitute your own. The key is to experiment. In part two, I’ll show you some ways you can quickly try many different things and still keep the process flexible. It’s a good way to look for candidate images that you want to develop further. I’ll also discuss in more detail what to look for, and how to shoot images that lend themselves to this technique.

Happy ‘Shopping!

First, you want to start with your object on it’s own layer. If you need help getting your object on it’s own layer check out this quick tutorial on masking.

Add a background layer by holding [Ctrl] + [Alt] and clicking on the New Layer button at the bottom of the Layers Palette [F7]. Press [D] to select the default colors and press [Ctrl + Backspace] to fill with white.

Double-click on your object’s layer in the area to the right of the name. This will bring up the Layer Style dialog box. Click on [Stroke] at the bottom of the list.

Set the Stroke size to something thick for your object, in this case I’m using 6-pixels. Click on the Color box and change the Stroke Color to white.

Click on the [Outer Glow] Style in the Layer Styles list. Change the Blend Mode to [Normal]. Change the color to black.

Adjust the Size and Spread until you get a nice, soft outline. In this case, I’m using a Size of [9-px] and Spread of [35%].

Move on to the [Drop Shadow] Style in the Layer Styles list. Adjust the Angle to [90°] and increase the Distance slightly [6-px].

Press [Ctrl + T] to bring up your Transform bounding box. Before you do ANYTHING, right-click in the box and choose [Warp].

Now click-and-drag the box from the lower-right corner up slightly.

Press the [Return] (number-pad Enter) to apply the transformation.

Create a New Layer [Ctrl + Shift + N] above your object’s layer. Then press [Ctrl + Alt + G] to create a create a new Clipping Mask.

Set the Layer Mode to [Screen] and the Layer Opacity to around [50%].

Choose the Gradient Tool [G] and click on the Gradient in the Option Bar (up top) to bring up the Gradient Editor. Edit your Gradient to look something like this:

Click-and-drag your Gradient in a very small area where you thing the “bend” of your sticker should be.

It may take a few tries to get it right.

Right-click on the “f” icon in the right-side of your object Layer in the Layers Palette. When the menu appears, choose [Create Layers].

You will now have a bunch of various Layers underneath your object Layer. Find the one labeled “Drop Shadow.”

Press [Ctrl + T] to bring up th Transform Bouncing box again. Right-click and choose [Warp] again.

Click-and-drag the right corner towards the right to bring the shadow “back out.”

Reduce the “Fill” on the “Drop Shadow” layer to make it a little less harsh.

And… that’s it! Feel free to change the stroke and background colors as you wish. Play around with it. Have some fun.

Master Download
You can download my original Master .PSD for this tutorial here.

There’s nothing more damaging to your productivity than having to wrestle with the program you are using to get it to do what you want. Searching for tools or buttons is a task that can easily be bypassed with some quick memorization of shortcuts.

Undo, Multiple Times

[Ctrl + Alt + Z]

Most programs allow you to press [Ctrl + Z] multiple times to perform multiple Undo’s, but Photoshop requires [Alt], otherwise you’ll just keep undoing then re-doing then undoing then re-doing then undoing then re-doing.

Hand/Move Tool

[Spacebar]

Holding the spacebar will turn your cursor into the hand in almost any situation… when using different tools, with dialog boxes open, etc… allowing you to quickly navigate your document no matter what you’re doing.

Switch Document Windows

[Ctrl + Tab]

Your Photoshop workspace can become a mess when working on multiple files, especially when you hate minimizing, like I do, so being able to switch windows quickly is a must.

New Layer

[Ctrl + Shift + N] – with dialog
[Ctrl + Shift + Alt + N] – without dialog

Layers are the greatest thing(s) ever invented in any (design) program and being able to manage your layers properly is important. I’m Errorphobic, which makes me a layer junky, which also makes this a favorite shortcut of mine.

Duplicate Layer

[Ctrl + J] – without dialog
[Ctrl + Alt + J] – with dialog

You can duplicate an entire layer, or, if you have a selection, the selection will be duplicated to it’s own layer. This is great when trying different techniques or effects without having to worry about errors (Errorphobic, remember?).

Zoom In/ Zoom Out / Fit to Window

[Ctrl + =] – zoom in
[Ctrl + -] – zoom out
[Ctrl + 0] – fit to window

When you’re slightly obsessive and need to get that 1-perfect pixel zooming in and out quickly is a necessity to achieving that perfection.

Re-run Filter/ Fade Filter

[Ctrl + F] – run filter again
[Ctrl + Alt + F] – run filter again, with dialog
[Ctrl + Shift + F] – fade filter

Even though Photoshop provides preview windows in the dialog box for most filters, there’s still no true way of telling whether you’ve achieved your desired effect until you see the full image. If something goes wrong, you can quickly undo, then go back to your filter and try again without having to go through the hassle of moving your cursor. Or, if your filter effect is too intense, you can quickly fade it down without having to re-adjust the filter settings.

Making Your Own Shortcuts

These shortcuts may not be on the top of everybody’s list, but that all depends on your project and workflow. Luckily, Photoshop allows you to custom tailor your own Keyboard shortcuts to suit your needs. Just press [Ctrl + Alt + Shift + K] or go to [Edit > Keyboard Shortcuts].

Transparent PNG’s themselves are great, it’s their lack of support from the most used web browser in the world that makes them flawed. Thanks Microsoft! Until the new version is widely adopted, which I predict should be a few years little longer than most developers would like, we can resort to using a nice Javascript to cure our transparent-PNG-in-Internet-Explorer woes.

Another hassle, recently brought to my attention, is the gamma correction that some browsers like to apply to PNG images. Here are two very useful links on how to correct the gamma correction problem that plagues less “modern” web browsers.

The Script

Download the PNG examples, including the Javascript here

The PNG repair script for IE works by taking an image and replacing it with a span tag. It then takes the image source and sets it as the source for the AlphaImageLoader filter used by IE.

PNG Framing

The pngFrame function works by finding images with a class name “frame” and setting the background of the image the same as the source. It then sets the original image source as the PNG frame image. Let’s see it in action:

» Example 1
» Example 2
» Example 3

Pretty cool, huh? Let’s get Photoshop-ing…

Photoshop

The one downside to this whole thing is that it lacks some flexibility. Depending on the design, you might have to match the background color of the page that the images are on in the “frame”. This might become a hassle on patterned backgrounds. But, on the upside, it has a lot of great uses… only as extensible as your creativity.

Let’s first see how I made the Example 1 image.

Added a Solid Color Fill Layer [Layer > New Fill Layer > Solid Color]

Masked out the rounded corners.

Duplicated the layer with [Ctrl + J], then moved it slightly left and up.

Lowered the duplicated layer’s Opacity to 75%.

To create the PNG “frame”, I hid the Background layer by clicking on the Eye-icon in the Layers palette [F7]. Then I saved it for web as a PNG-24 with transparency [Ctrl + Alt + Shift + S].

How to Use

1) Download the png.js file (and supporting examples) here (.zip 49kb)

2) Upload to your web server and integrate into your website.

Put this code in your <head> tag, making sure the paths are correct:

• <head>
• <script type="text/javascript">
•  var png_overlay = ‘ripped_frame.png’;
•  var suffix = ‘_over’;
• </script>
• <script type="text/javascript" src="png.js"></script>
• </head>

Then add the “frame” class to ANY image you want to transform:

• <img src="images/my_image.jpg" alt="my image" class="frame" />

Rolling Over

Another cool feature of this script is the ability to easily add rollovers to your “frames”. All you have to do is give your image the additional class name of “rollover”:

• <img src="images/s60r01.jpg" alt="S60R framed" class="frame rollover" />

Then just create an image for your rollover state with the suffix you set in the Javascript (above). EG. normal = “roll.png”, rollover = “roll_over.png”.

Check it out in action in Example 3.

There are a ton of uses I can imagine for this, patterned overlays, dynamic cropping, watermarking, etc… Hopefully you can find a couple good uses for it yourself!

I first noticed this effect with the (animated) launch of the new Iconfactory website. I was later browsing through my normal list of bookmarked sites and noticed that SimpleBits has been doing the same thing for a while now. It’s a pretty neat effect that can be recreated with a few filters and adjustment layers.

Create a new document, whatever size you want, by pressing [Ctrl + N].

Select the Square Marquee tool [M] and draw your square through half of the document.

Press [D] to set your default colors, and then press [Alt + Backspace] to fill with black. Deselect with [Ctrl + D].

Next, run the Wave Filter by going [Filter > Distort > Wave]. Play around with the settings, but you’ll probably want something a little less extreme. I used the following settings:

- Generators : 2
- Wavelength: 10,48
- Amplitude: 5,6
- Sine

Back to the Filter menu, run the Ocean Ripple filter [Filter > Distort > Ocean Ripple]. This distortion will give you an idea of how far your pixel edges will go.

- Size: 5
- Magnitude: 12

Next step is to pixelate our image. Run [Filter > Pixelate > Mosaic]. Choose a [Cell Size] around 5-6 pixels.

Create a new Curves Adjustment layer by going [Layer > New Adjustment Layer > Curves...] or by using the button at the bottom of the Layers palette.

Adjust your curves to something crazy… like a rollercoaster. You’ll start to see the edges separate a little bit. Just play around with them and watch your image until you see something that might work for you. You can always adjust it again later, thanks to the magic of Adjustment layers.

Create a new Levels Adjustment layer by going [Layer >New Adjustment Layer > Levels...] or, again, by using the shortcut button on the Layers palette. Play with the sliders, moving them closer together until you get the effect you want. This is a personal preference, so do what you think looks good.

Here’s mine:

We’re going to use this as our mask so we can apply some colors.

Go to [Select > Color Range] and click on the black side. Set the Fuzziness to 200.

With your selection, create a new Solid Color Fill layer by going [Layer > New Fill Layer > Solid Color...]. Choose any color you like.

Create another Solid Color Fill layer and drag it below the Color layer you just made in the Layers Palette [F7]. Fill it with any color you like. I chose something a little complementary.

Keeping with the Iconfactory fashion, I’ll create a new Solid Color Fill layer and fill it with white.

Then add a little shadow by going [Layer > Layer Style > Outer Glow] and adjusting the color to black and the Mode to Normal.

And here’s my finished product:

This effect has a lot of variables so it will almost never come out the same. Play around with it and have fun!

EDIT: Doh! I forgot the Master File Download
Download the Pixelated Mosaic Edges Master PSD (10kb zip). Enjoy!

Quick Guide

• Lightbox Web Photo Gallery original tutorial
• Lightbox 2.0 Web Photo Gallery example
• Photoshop Lightbox 2.0 Web Photo Gallery Preset
• Lightbox 2.0 Javascript website

Start by duplicating the “Simple” preset folder (or the “Lightbox” folder if you created one already) in your [Presets > Web Photo Gallery] folder. Rename the duplicated folder to “Lightbox 2.0″ and create a folder within that called “images”. Visit the Lightbox JS v2.0 website and download the necessary files. Drag the supporting Lightbox 2.0 images, stylesheets and javascript files (from your download) into the “images” folder.

Open the [Thumbnail.htm] file, located in the “Lightbox 2.0″ folder, in your favorite HTML or text editor. Set the anchor tag to:

• <a href="%IMAGEPAGE%" title="%CAPTIONTITLE%" rel="lightbox[gallery]">

Open the [lightbox.js] file, now located in the “images” folder. Find line (approximately) 331 where it says

• imageArray.push(new Array(imageLink.getAttribute(‘href’), imageLink.getAttribute(‘title’)));

And add/change that line to:

• imageLink.href = imageLink.getAttribute(‘href’);
• imageLink.href = imageLink.href.replace("/pages/","/images/");
• imageLink.href = imageLink.href.replace(".html",".jpg");
• imageLink.href = imageLink.href.replace(".htm",".jpg");
• imageArray.push(new Array(imageLink.href, imageLink.getAttribute(‘title’)));

Then find line (approximately) 343 where it says:

• if (anchor.getAttribute(‘href’) && (anchor.getAttribute(‘rel’) == imageLink.getAttribute(‘rel’))){
•  imageArray.push(new Array(anchor.getAttribute(‘href’), anchor.getAttribute(‘title’)));
• }

And add/change to:

• if (anchor.getAttribute(‘href’) && (anchor.getAttribute(‘rel’) == imageLink.getAttribute(‘rel’))){
•  anchor.href = anchor.getAttribute(‘href’);
•  anchor.href = anchor.href.replace("/pages/","/images/");
•   anchor.href = anchor.href.replace(".html",".jpg");
•  anchor.href = anchor.href.replace(".htm",".jpg");
•  imageArray.push(new Array(anchor.href, anchor.getAttribute(‘title’)));
• }

A little below that, you’ll want to find:

• while(imageArray[imageNum][0] != imageLink.getAttribute(‘href’)) { imageNum++;}

And change it to:

• while(imageArray[imageNum][0] != imageLink.href) { imageNum++;}

Save your edited [javascript.js] file. Run your new Web Photo Gallery through Photoshop.

Borders and Underlines

It’s incredibly easy to create dotted (and dashed) underlines and borders with some simple HTML and CSS. Let’s start with a dotted underline.

Dotted (and Dashed) Underlines
Create a new document 2-pixel wide by 1-pixel height. Make sure the background is set to [Transparent].

Zoom in as close as possible (1600%) by pressing [Ctrl + Alt + =]. Draw a 1-pixel dot, using whichever method you prefer.

Press [Ctrl + A] to select all and go to [Edit > Define Pattern] and give your new pattern a name.

Back to your website mockup, create a new Pattern Fill Layer [Layer > New Fill Layer > Pattern...] or use the icon at the bottom of the Layers palette [F7]. Choose your newly created 1-pixel pattern.

Press [D] to reset your colors and press [Ctrl + Backspace] to fill your new pattern layer mask with black.

Choose the Line Tool and in the Options Bar select the [Fill pixels] button.

Set your foreground color to white and draw a line wherever you want a dotted underline to appear.

NOTE: Our favorite web-browser Internet Explorer doesn’t do dotted underlines, they do dashed. To do a dashed underline, use the same technique but make a 6-pixel wide document with a 3-pixel wide line.

Dotted Borders
Create a new document 2-pixels by 2-pixels. Zoom in as close as possible and draw two dots on opposing corners.

Select all with [Ctrl + A] then go to [Edit > Define Pattern...] naming your pattern something you can remember.

Create a new [Pattern Fill Layer] and fill the layer mask with black.

Now you can draw your square-selection wherever you would like your border.

Go to [Edit > Stroke] and set the Width to [1px]. Press OK and you now have your dotted border.

Text and Fonts

Accurately simulating font behavior can be a tricky task. Differences are dependant on the user’s machine, browser and settings. One of the hardest feats is determining when a browser is going to apply anti-aliasing to a font on a website.

Luckily for you, I went ahead and created a quick page showing some of the more common fonts in various sizes, so you can see at what size they anti-alias.

Font Size Quick Guide .

My suggestion would be to view this page on a few different machines and browsers so you can accurately determine what settings you need in your mockup.

I like the way the 11pt Verdana looks, so that’s what I’ll use in my mockup. Create a text block by clicking-and-dragging the Text tool [T].

Open the Character Palette by going [Window > Character]. Here’s where all of the font settings are. I’ll plug-in my settings, making sure that the Anti-aliasing is set to [None].

Then I can paste in my text and get a fairly accurate representation of how it will look in living HTML.

Using my handy guide, I’ll go ahead and create some header text.

Managing Colors

Fill Layers and Clipping Masks are huge time-savers and some of my favorite features in Photoshop. Let’s put these features to use to manage the colors on our mockup.

Start by creating a Solid Color Fill Layer by going [Layer > New Fill Layer > Solid Color...] or using the button at the bottom of the Layers palette. Choose whatever color you want.

The trick to using Clipping Masks is that the color layer has to be above the layer you want to mask it to in the Layers palette. Like this:

With your color layer selected in the Layers palette press [Ctrl + Alt + G] or go [Layer > Create Clipping Mask]. Your color layer will now be shifted to the right with a tiny down arrow.

Now your color layer is only shown where the layer it is clipped to has content. Like so (the dotted lines in the nav):

The best part about this technique is how easily you can change the color of an element, just by double-clicking on your Color Fill layer and changing the color.

Image Masking

Another great thing about Clipping Masks is that you can use them for more than just text layers, you can use them on any layer really.

I’m going to add an image into that dotted square, but at this moment, I’m not exactly sure what image. So, I’ll create another Solid Color Fill layer and name it something like “Image Placeholder”.

Now I can drag any image onto a layer above my “Image Placeholder” layer and apply a clipping mask. You can even stack the “clipped” layers.

Hopefully these quick and easy techniques will assist you the next time you’re mocking up that next $200-million dollar, Google-buyout website. Of course, I’d appreciate any tiny percentage of that buyout if it happens

And once again…
MASTER FILE DOWNLOAD
I’ve decided to make my master .PSD file for these tutorials available for download.
Download the Website Design Mockup Tips Master PSD file (403kb ZIP).

* Images courtesy of stock.xchng

Target Image:

Original Image:

1. MoonGlow

1.1. Open the image in Twisting Pixels
1.2. Find your menu select [Filter] find [Pixel Creation] and then add your [Moon Glow].

1.3. Adjust your MoonGlow settings by using the sliders; move your MoonGlow by dragging it.
- Use tab labeled [Halo and Eclipse] to adjust your moon’s halo and glow.

2. Moon Ring

2.1. Find your menu select [Filter] find [Pixel Creation] and then add [MoonRing]
2.2. Make sure your MoonRing is behind your MoonGlow by dragging your MoonRing layer below your MoonGlow layer in your layer menu.

2.3. Get rid of your ring, but not the glow.
-Move the [Ring Softness], [Ring Width], and [Ring Opacity] sliders to zero to make your ring disappear.
2.4. Size the glow to fit precisely behind your MoonGlow, making the glow small.

3. Altocumulus

3.1. Altocumulus gives a foggier look. Go to your menu find [Filter] find [PixelCreation] then add [Altocumulus].

-Place as many layers of Altocumulus clouds around your moon as desired.

3.2. To keep your layers organized but your Altocumulus clouds in a group folder.

-At the bottom right hang corner click on the group folder icon to put your Altocumulus clouds in the same group.

-You can label your folder by clicking on [Group].

4. CumulusNimbus

4.1. I threw in a CumulusNimbus cloud to add a little more variation. You can do this by going to your menu find [Filter] find [PixelCreation] and adding [CumulusNimbus]
-add as many as desired
-If you want your CumulusNimbus clouds in a group folder just follow directions in 3.2.

5. Darkening your image

5.1. Your image should resemble this before making darker.

5.2. Use Monotone to darken your image. Go to your menu find [Filter] find
[PixelSampler] and add [Monotone].
5.3. Change your Monotone color by clicking on the black box next to your color slider. That should bring up your color selection.

-Choose any color, I choose a dark blue to go with this image.

5.4. Change the darkness of the picture by adjusting the [Color] slider.
5.5. To make the picture more clear adjust the [Softness] and [Softness Blend] to little or none.

6. Intensify your moon

6.1. On your menu find [Filter] find [PixelCreation] and add [Tonal Intensity].
6.2. Use the Ellipse tool located at the top left corner to have Tonal Intensity on and around the moon.

-Adjust the ellipse on and around the moon for an intense glow.

6.3. Your end product should resemble this:

Tutorial written and sponsored by Twisting Pixels

Target Image:

Original Image:

-Load image into Twisting Pixels from Photoshop.
-Go to your menu find [Filter] find [Twisting Pixels] click on [Twisting Pixels]. If you are not running this under Photoshop then launch the Twisting Pixels application and choose “Open” under the file menu.

1. Folding your image

1.1. On your menu find [Filter] find [PixelPaper] and add [Fold].

1.2. Change [Fold Amount] for a more dramatic crease.
1.3. Change horizontal and vertical folds to 2 folds each, with the sliders.

1.4. Shrink image slightly with the [Shrink Image] slider. This gives the folds room for the shadows and the perspective.
1.5. Make the shadow darker. Find the tab labeled [Lights] select [Shadow Color] and adjust slider to fit your preference. Higher settings give darker shadow colors

2. Adding texture

2.1. Find the tab labeled [Surface]
- Hit the button labeled [Bumpmap...]
- This should bring up a standard open dialog where you can load different textures..
2.2. To view these textures change the images from [List] to [Thumbnails]. If you are on Mac OSX then when you click on each JPG file you can see a preview in the right column.

-Choose a desirable texture. I chose Asphalt_3. Asphalt_3.
-Adjust your surface by changing the bumpmap strength and scale.

2.3. Your end product should resemble this:

This tutorial written and sponsored by Twisting Pixels.

Here’s an example of a Photoshop Lightbox Web Photo Gallery.^*

Photoshop’s Web Photo Gallery automation is located under [File > Automate > Web Photo Gallery...]. It’s been available since version 5.5 (I think). This tutorial doesn’t cover the basics of using the Web Photo Gallery, but Adobe offers one in their Resource Center. So, if you’ve never used it, check that out first.

Since this isn’t JUST a Photoshop tutorial I’m expecting a few different levels of readers:

Non-Programmers
For those of you that don’t want to do any programming you can download the Lightbox Web Photo Gallery preset and install it into your [Photoshop CS2/Presets/Web Photo Gallery] folder. There’s a text file called “Color Settings.txt” in the “images” folder of the download containing the matching color setting values I used in my example.

Mild-Programmers
Those you of you that can handle some basic HTML and aren’t afraid of a little javascript, read on, this tutorial is mostly for you.

L33T Programmers
You can probably just skip to the Lightbox JS Editing instructions and figure things out yourself. I’m just hoping this sparks your creativity and you create some awesome galleries then post them in the comments.

Getting Started

Start by navigating to your “Presets” folder in your Photoshop CS2 install directory.
Windows: [Program Files/Adobe/Photoshop CS2/Presets/Web Photo Gallery].
Mac OS: [Adobe Photoshop CS2/Presets/Web Photo Gallery].

Find the folder labeled “Simple” and duplicate it. Rename your duplicate folder to “Lightbox” (or whatever you want to call it). Within your new folder create another new folder and call it “images”.

Visit the Lightbox JS website or even the newer Lightbox JS v2.0 website and download the necessary Lightbox files to the “images” folder you created earlier. For this example, I will be using the original Lightbox v1.0 files because it’s an easier setup and install. Although, I must admit, the 2.0 version is very slick.

*UPDATE*
Due to popular demand, I’ve added instructions to using the Lightbox 2.0 javascript with Web Photo Gallery in this mini-tutorial.

The Photoshop Web Photo Gallery uses custom tags to generate the content for the pages in the Web Photo Gallery. The tags are defined with surrounding “%” signs, which Adobe calls “tokens”. For a list of all available tokens, you can search in your Photoshop Help documents by pressing [F1], or you can download the list of available Web Photo Gallery Tokens here. This is a good guide for all of the token functions available.

These next few images will illustrate the options in the Web Photo Gallery and (some of) their corresponding tokens.

General Options

1. Email address: %EMAIL%
2. Character set: %CHARSET%
3. Image width / Image height: %image_width% / %image_height%

Banner Options

4. Site Name: %BANNER%, %TITLE%
5. Photographer: %PHOTOGRAPHER%
6. Contact Info: %CONTACTINFO%
7. Date: %DATE%
8. Font: %BANNERFONT%
9. Font Size: %BANNERFONTSIZE%

Large Image Options

10. Add Numeric Links: %ANCHOR%, %NUMERICLINKS%
11. Border Size: %IMAGEBORDER%
12. Titles: %FILENAME%, %FILEINFO%, %CREDITS%, %CAPTIONTITLE%, %COPYRIGHT%
13. Font: %CAPTIONFONT%
14. Font Size: %CAPTIONFONTSIZE%

Thumbnail Options

15. Size: %THUMBNAIL_WIDTH%, %THUMBNAIL_HEIGHT%
16. Columns and Rows: %THUMBNAILSROWS%
17. Border Size: %THUMBBORDER%
18. Titles: %ALT%,%FILENAME%, %FILEINFO%, %CREDITS%, %CAPTIONTITLE%, %COPYRIGHT%
19. Font: %CAPTIONFONT%
20. Font Size: %CAPTIONFONTSIZE%

Custom Color Options

21. Background: %BGCOLOR%
22. Text: %TEXT%
23. Link: %LINK%
24. Banner: %BANNERCOLOR%
25. Active Link: %ALINK%
26. Visited Link: %VLINK%

The Coding

With all of the tokens and their corresponding settings known you can start programming the Web Gallery files. I like to start with my own fresh HTML document. Adobe doesn’t pay much attention to web standards.

Then enter the Web Photo Gallery tokens you want use, some custom styles and link any supporting files in the [<head>] content. I’m using an external stylesheet, but any Photoshop tags you want to use in CSS have to be placed inline, as you can see.

Then enter the body tags and tokens and save the file as [IndexPage.htm] in the “Lightbox” folder, overwriting the original file.

Locate the file [Thumbnail.htm] in the “Lightbox” folder and open it in an HTML editor.

The [Thumbnail.htm] file should have the following code in the [anchor <a>] tag to work with Lightbox JS:

• <a href="%IMAGEPAGE%" title="%CAPTIONTITLE%" rel="lightbox">

So that it should look something similar to this:

Next, open the [Caption.htm] and [SubPage.htm] files and delete ALL of their contents. Both files should be blank.

Modifying the Lightbox JS File

The next step is to open up the [lightbox.js] file that you downloaded to your “images” folder.

Navigate to around lines 37-38 of the file and change the [loadingImage] and [closeButton] variables to include [images/].

• var loadingImage = ‘images/loading.gif’;
• var closeButton = ‘images/close.gif’;

Navigate to around line number 240 and add the following:

• objLink.href = objLink.href.replace("/pages/","/images/");
• objLink.href = objLink.href.replace(".html",".jpg");
• objLink.href = objLink.href.replace(".htm",".jpg");

Above the line:

• imgPreload.src = objLink.href;

It should look similar to this:

Save your updated [lightbox.js] file.

This code is replacing the links to the .html subpages that Photoshop automatically creates with links to the full-size images. I wish there were a cleaner way to do it, but the Web Photo Gallery has a limited set of functions and options.

Creating the Gallery

Go to [File > Automate > Web Gallery] and under Styles choose [Lightbox].

Choose your settings and options as usual and let Photoshop create your new Lightbox-ready Web Photo Gallery!

Don’t forget to check out the Lightbox 2.0 Web Photo Gallery tutorial.

* Photos from stock.xchng, design and colors from/inspired by Lightbox JS 2.0 website.

Diagonal Line Patterns

There are a lot of websites out there that use some sort of variation of a diagonal pattern. One of them being this website (look up) and a few other sites. The hardest part of this is creating the actual pattern.

The first thing you’ll want to do is create a new document by going to [File > New] or pressing [Ctrl + N]. When the New Document dialog opens, set the Background Contents to [Transparent]. The dimensions settings will depend on the size of the line you want to create and the amount of space between the lines. For this first example I’ll just be using 1-pixel wide lines spaced 1-pixel apart, so my dimensions will only have to be 3px x 3px.

Since my document is so tiny I’m going to zoom in as close as possible, 1600%, by pressing [Ctrl + =]. Using the Pencil Tool with a Brush Size of 1, I’ll draw three dots in a diagonal.

Select All by pressing [Ctrl + A] and go to [Edit > Define Pattern...]. You can then name your pattern in the Pattern Name dialog box.

Your new pattern is now ready to use. Create a new Pattern Fill Layer by going [Layer > New Fill Layer > Pattern] or by using the button on the bottom of the Layers palette.

You can click on the down arrow next to the current pattern, if your new one isn’t selected, to find your pattern. Click on the small right-facing arrow and choose “Small List” to see the names of your patterns.

Press OK to finish the new Pattern Fill layer. You’ll now have your diagonal pattern.

It’s pretty ugly right now, so I’m going to drop the Opacity of the new layer to around [15%].

To create a thicker line pattern we’ll have to determine our size and spacing then create a new layer. I’m going for 4-pixels wide spaced 4-pixels apart, so I’ll create a new document [Ctrl + N] 12px x 12px. Select the Line Tool and set the options in the Options bar to [Fill pixels], Weight [4px], and [Anti-alias] unchecked.

Draw your line diagonally holding the [Shift] key to make sure it’s completely diagonal. Then zoom in really close again.

Select the Square Marquee tool [M] and draw a 7px x 7px square and drag the corner to the line like shown:

Press [Ctrl + J] to duplicate the selection onto its own new layer. Drag that new layer to the corner. Then make another square selection starting in the corner like shown:

That selection is going to be the new pattern, so, go to [Edit > Define Pattern] and follow the steps from before.

Rounded Corners

Rounded corners are nothing new in web design. It became trendy then died down a little bit, I think, because it’s hard to program for (I’m a web developer), but with some new solutions popping up, they’re becoming easier to deal with.

This method will show you how to create smooth rounded corners that can be fine-tuned. A little more flexible and technical than just going [Select > Modify > Smooth] or using the Rounded Rectangle Shape tool.

Starting with a square or rectangle selection, create a new Solid Color (or Gradient) Fill Layer, making sure your selection is smaller than your canvas.

Now we’ll add a small Gaussian Blur by going [Filter > Blur > Gaussian Blur]. Setting the blur higher will make a more rounded corner; lower setting for a smaller corner. A good average is usually [3.0 pixels].

Now we can use two methods to finish our corners, Curves or Levels, so I’ll show you both. Personally, I like using Curves, so I’ll show you that method first.

Bring up the Curves dialog box by pressing [Ctrl + M].

Click on the Curves line to create an adjustment point. Add a point to the upper end of the line and drag it towards the middle. Do the same with the lower end of the line. Adjust the points until you see your blur start to sharpen and your rounded corners appear. Use the image below for reference.

You now have rounded corners.

To use the Levels method, bring up the Levels dialog box by pressing [Ctrl + L].

Drag the two side sliders towards the middle and you’ll see the blur disappearing and the rounded corners starting to show.

With a little experimenting and a combination of these techniques, you can make your website design a little more modern and (maybe) a little more trendy.

Note: If you want to make an angry “Web 2.0″-related comment, please read this first.

Thanks and enjoy!

MASTER FILE DOWNLOAD
I’ve decided to make my master .PSD file for these tutorials available for download.
Download the Web 2.0 Design Kit Master PSD file (82.5kb ZIP).

Gradients

The reflective or glass effect was first popularized by Apple. There have been many tutorials about creating Apple’s “Aqua Buttons” and this is a similar effect.

After making your selection, create a new Gradient Fill Layer [Layer > New Fill Layer > Gradient...] or use the Fill Layer button at the bottom of your Layers palette.

Click on the Gradient to bring up the Gradient Editor. Select the “Foreground to Background” preset from the list of presets. Click on the first Stop on the left and set the Location to 50%. Then set the color to something a little darker than your base color. I’m going to use greys because it leaves me some flexibility for changing the color later.

Create another Stop to the left of the gradient and set the Location to 49%. Set the color to something slighter darker than the 50% Stop. Create another Stop at Location 0% and make it slightly darker than the Stop at 49%.

Press OK and you now have your gradient.

To add some color, create a new Solid Color Fill Layer [Layer > New Fill Layer > Solid Color...] or, again, use the button at the bottom of the Layers palette and select a color for the gradient. Press [Ctrl + Alt + G] or [Layer > Create Clipping Mask] to create a clipping mask of your new layer. Scroll through the Layer Modes [Shift + -] until you find one that you like.

Reflections

Reflections have become a huge trend for website design lately. We’ll first start by selectin the Type Tool [T] and entering the type we want to reflect.

Duplicate that text layer by pressing [Ctrl + J]. Drag the duplicated layer below your original in the Layers Palette. Right click on the duplicate layer in the palette and choose [Rasterize Type].

With the duplicate layer chosen in the Layers Palette, press [Ctrl + T] to bring up the Free Transform. Right click in the transform binding box and choose [Flip Vertical]. Drag your flipped layer so that the bottoms match.

Add a Layer Mask by click on the button at the bottom of the Layers Palette or by going [Layer > Layer Mask > Reveal All].

Press [D] to reset your colors and then press [G] to select the Gradient Tool. With the layer mask selected in the Layers Palette, which it should be already, drag from top-to-bottom with the Gradient Tool until you get the fade you desire.

You now have your type reflection. You can use the same method for any object also.

Soft Shadows

Another popular effect is the soft shadow. It’s actually more of a glow than a shadow, so we will approach creating the effect this way.

Select the layer of the object you want to add the shadow to, in my case it’s the gradient layer I created before, and click on the Add New Layer Style button (at the bottom of the Layers Palette) and choose [Outer Glow].

Set the Blend Mode to [Normal];
Color to [Black] or [000000];
Size to something like [8], and
Opacity to [35-40%].

You will now have a soft shadow that should look similar to this:

Star Shapes (Violators)

Another trend popping up is the star shapes or violator (thanks comment-er) for getting attention.

Click and hold on the Shape Tool until the sub-menu opens and choose the Polygon Tool.

Create a new Solid Color Fill Layer and choose whatever color you want your shape to be. Press [D] then [Ctrl + Backspace] to fill the layer mask with black.

Up in the Options Bar, click on the down-facing arrow to bring up your Shape Options. For my shape I checked the [Star] checkbox on and set the Indent Sides By to [20%]. In the Options Bar I checked [Anti-alias] on and set the Sides to [20].

Now I’m ready to draw out my star:

To style it a little more, I used a Gradient Fill Layer instead of a solid color and I added a tight Drop Shadow Layer Style, settings: Opacity [60%], Distance [1px] and Size [2px].

In the next installment of this 2-part series, I will show you how to create diagonal line patterns, rounded corners and some other Web 2.0 effects.

You can now read Web 2.0 Design Kit Part 2.

MASTER FILE DOWNLOAD
I’ve decided to make my master .PSD file for these tutorials available for download.
Download the Web 2.0 Design Kit Master PSD file (82.5kb ZIP).

I’ll show you the image I’m going to use, courtesy of PhotoSpin.com.

Creating Rain Drops
The first step is going to be creating the rain drops. Open a new image [Ctrl + Shift + N] and set it to the dimensions you want your biggest droplet to be. Mine is about 250-pixels, so I created a 250-pixel square.

Create a new Layer [Ctrl + Alt + Shift + N] and fill it with black. Press [D] for default colors, then [Ctrl + Backspace] to fill.

Choose a small brush and draw a single dot towards the left of the image.

Go to [Filter > Stylize > Wind]. Set the Method: Wind and Direction: From the Left.

Press [Ctrl + F] to run the filter again. You may want to run it one more time, for a total of 3.

Next, go to [Filter > Blur > Motion Blur]. Set the Angle: 0 and Distance: 25 or so pixels.

Press [Ctrl + T] to bring up the Free Transform. Right-click in the bounding box and choose “Rotate 90° CCW.” Then press the number pad Enter key to set it.

Press [Ctrl + I] to inverse the image. Then, press [Ctrl + A] to select the entire image.

Go to [Edit > Define Brush Preset...] and name the brush something you will remember.

You now have a rain drop brush.

Rainy Reflections
We’re going to forget about the brush for a little to create the rainy scene.

Go back to the image you want to edit. Create a new Hue/Saturation Adjustment Layer, [Layer > New Adjustment Layer > Hue/Saturation] or select it from the button at the bottom of the Layers palette, and change the settings to:

Saturation: +15
Lightness: -30

With the Hue/Saturation Layer selected, fill the Layer Mask with black (press [D] then [Ctrl + Backspace]).

Select a normal, soft-edged, round brush and set your Foreground Color to white. Start painting the street to darken it, giving the effect that it’s wet. This is also where the reflection will be.

Now, duplicate the entire image by selecting the Background Layer in the layers palette and pressing [Ctrl + J]. Set the Layer Opacity to something around 60-70%.

Flip the layer vertically by going to [Edit > Transform > Flip Vertical].

Now, hold [Ctrl] and click on the Layer Mask, black and white area, of the Hue/Saturation Adjustment Layer you created earlier. This will load that layer mask as a selection on your new, flipped layer.

Click on the Add Layer Mask icon at the bottom of the Layers Palette, or go [Layer > Layer Mask > Reveal Selection]. You should now have a duplicate Layer Mask. Click on the Link icon in between the Layer preview and Layer Mask preview to unlink them.

With the Layer preview selected in the Layers Palette, not the Layer Mask, drag the layer down until the reflection looks good.

Create a whole new layer [Ctrl + Alt + Shift + N]. With this new layer selected in the Layers palette, press [Ctrl + Alt + Shift + E] to merge all the visible layers onto that layer.

Now go to [Filter > Distort > Ocean Ripple]. Play with the Ripple Size and Ripple Magnitude until you get something you like. Mine were pretty small:

Add a small Gaussian Blur [Filter > Blur Gaussian Blur] of around .8-1.5 pixels.

Load the Layer Mask of one of your other layers by holding [Ctrl] and clicking on it, like we did before, and add a new Layer Mask to your rippled image. Then hide or delete your other 2 layers.

You should now have your reflected surface.

Making It Rain
Select the Brush Tool [B] and choose your new brush from the Brush Palette.

Go to the Brush Options Palette [F5] and select Shape Dynamics. Change the settings to:

Size Jitter: 100%
Angle Jitter: 1%

Select Scattering Next. Change the settings to:

Scatter: 1000%
Both Axes: Yes
Count: 1 (or 2 if you want heavier rain)

Next, choose Other Dynamics and change the settings to:

Opacity Jitter: 100%

Now, save this brush as something similar to your first. Go to the Brushes Palette and choose New Brush Preset from the little-arrow menu (technical, I know).

Set your foreground color to white (press [D] then press [X]).

Create a new layer [Ctrl + Alt + Shift + N] and start painting with your new brush.

Set the Layer Mode to Soft Light.

Create a new Layer below the layer you just painted.

Decrease your brush size slightly by pressing the left bracket key [{].

Paint your new Layer and change the Layer Mode to Soft Light.

Create another new Layer below that layer.

Bring up your Brush Options again [F5] and click on Brush Tip Shape.

Change the Angle: -25°. Decrease your brush size a little more again [{] and start painting.

This will create the angled rain.

Add a slight Gaussian Blur [Filter > Blur > Gaussain Blur] of about 1.5 pixels. Reduce the Layer Opacity to around 65%.

I want to add a bit more rain, so I’m going to paint again on the same layer, then press [Ctrl + F] to run the Gaussian Blur again.

If you think the rain drops look too harsh, play with the Opacity of the layers and add a little more Gaussian Blur.

Also, you should have an idea of how to add more or less rain. Play around with it until you get something you like. None of these settings are exact.

Tiny Splashes
Go to your Brushes palette and choose the “Star 42″ brush.

NOTE: If you can’t find the brush, click on the small arrow to bring up the Palette options and choose “Small List.”

Bring up the Brush Options palette [F5] and choose Brush Tip Shape. Change the settings:

Spacing: 30% or so

Next, choose Shape Dynamics. Change the settings:

Size Jitter: 100%

Choose Scattering and change the settings:

Scattering: 1000%

Create a new layer and change the Layer Opacity to around 50-60%.

With your new brush, start painting the areas on the street. This will create a slight splash effect for the rain.

You can, again, add a slight Gaussian Blur to make it look a little softer.

It will probably overlap some areas where there shouldn’t be a splash. Just use the Eraser Tool to erase the rogue drops.

Finishing Touches
Since I have some people outside in the rain, I’m going to make them look a little wet.

Create a new Hue/Saturation Adjustment Layer [Layer > New Adjustment Layer > Hue/Saturation]. Change the settings:

Saturation: +15
Lightness: -25

Fill the adjustment layer with black. Choose a normal, soft, round brush and set the foreground to white. Paint the people’s clothes so that they appear darker… wetter.

Create a new layer [Ctrl + Alt + Shift + N]. With your foreground color still white, and your soft edged brush, just highlight the areas where rain would be bouncing off of things. People’s heads, cars, lamp posts, etc… This adds that “hazy” effect.

Now, just add another Hue/Saturation adjustment layer, at the top level of your Layers Palette, and adjust the settings:

And that’s about it. The final image:

Compared to the original:

Now, I do have to confess… that when I first went through the trial and error of this, my original image looked better than the tutorial image. But that just shows how the extra tweaking to your preference makes a difference.

So, play around with it. Have fun.

Start by going to [Edit > Menus] or [Ctrl + Alt + Shift + M]. You should see a large dialog box similar to this:

You can see that Adobe already has a few presets programmed in, with the normal features to save, load and delete presets. The preset files are stored in your Photoshop CS2 > Presets > Menu Customization folder on your hard drive.

You’ll also see that you can alter your Palette menus along with the Application menus. Your Palette menus are the fly-out menus you see when you click on the little arrow on the right in your Palette. And the Application menus are along the top of, well, the application.

So let’s get to customizing… click on the arrow of whichever menu you want to start customizing.

You basically have two options: whether the menu is visible or not, and what color the menu is.

Personally, since I have never had a reason to adjust the Pixel Aspect Ratio, I’m going to turn it off. Just click on the Eye icon and it will disappear.

It also greys out all of the sub-menus underneath that item.

Now, when I go to my Image Menu, I can no longer see “Pixel Aspect Ratio.” What I do see though, is the “Show All Menu Items” at the bottom.

So, you can see your menu items are hidden, not lost forever.

One of my favorite new CS2 features is the Smart Object Layers. Since I’m finding myself using these features a lot, I’m going to highlight them.

In my Menus editor, I scroll to find Layers then find Smart Objects. Click under Color on “None” and a drop down of color options open.

I chose Red. Now, when I go to my Layers menu in the program, it looks like this:

Pretty cool, huh?

Now all I have to do is save my settings by clicking on the Diskette Icon at the top.

Name my settings and save!

In case you didn’t notice, there’s also a way to edit Keyboard Shortcuts [Ctrl + Alt + Shift + K]. It’s a very similar setup to editing the menus, so I’ll let you figure it out.