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.If you clickthe down-pointing triangle at the end of the strip of tool icons, you display addi-tional options for the selected tool.Painting with the smudge toolMany first-time Photoshop artists misuse the smudge tool to soften color transi-tions.In fact, softening is the purpose of the blur tool.The smudge tool smearscolors by shoving them into each other.The process bears more resemblance tothe finger painting you did in grade school than to any traditional photographic-editing technique.In Photoshop, the performance of the smudge tool depends in part on the settings66of the Pressure and Finger Painting controls on the Options bar, which you accessby pressing Enter when the smudge tool is active.Here s what you need to knowabout these options:&' Pressure: Measured as a percentage of the brush shape, this option determinesthe distance the smudge tool drags a color.Higher percentages and larger brushshapes drag colors farthest.A Pressure setting of 100 percent equates to infinity,meaning the smudge tool drags a color from the beginning of your drag until theend of your drag, regardless of how far you drag.Cosmic, Daddy-O.&' Finger Painting: The folks at Adobe used to call this effect dipping, which I thinkmore accurately expressed how the effect works.When you select this option,the smudge tool begins by applying a smidgen of foreground color, which iteventually blends in with the colors in the image.It s as if you dipped your fin-ger in a color and then dragged it through an oil painting.Use the Pressuresetting to specify the amount of foreground color applied.If you turn on FingerPainting and set the Pressure to 100 percent, the smudge tool behaves exactlylike the paintbrush tool.TipYou can reverse the Finger Painting setting by Alt-dragging.If the option is off,Alt-dragging dips the tool into the foreground color.If Finger Painting is turnedon, Alt-dragging smudges normally.For some examples of the smudge tool in action, look at Figure 5-12.The figure showsthe effects of using the smudge tool set to four different Pressure percentages andwith the Finger Painting option both off and on.In each instance, the brush shape is13 pixels in diameter and the foreground color is set to black.Photoshop Part II &' Painting and Retouching192The Use All Layers option (previously called Sample Merged) instructs the smudgetool to grab colors in all visible layers and smudge them into the current layer.Whether the option is on or off, only the current layer is affected; the backgroundand other layers remain intact.For example, suppose the inverted eyes of the woman at the top of Figure 5-13 are ona different layer than the rest of the face.If I use the smudge tools on the eyes layerwith Use All Layers turned off, Photoshop ignores the face layer when smudging the30% 50% 70% 90%Finger Painting offFinger Painting onFigure 5-12: Eight drags with the smudge tool subject to differentPressure and Finger Painting settings. Chapter 5 &' Painting and Editing193eyes.As a result, details such as the nose and teeth remain unsmudged, as you cansee in the lower-left example.If I turn Use All Layers on, Photoshop lifts colors fromthe face layer and mixes them in with the eyes layer, as shown in the lower-rightexample.Figure 5-13: The original image (top) features inverted eyes on a layerabove the rest of the face.I first smudged the eyes with Use All Layersturned off (lower left) and then with the option turned on (lower right).Note that all this activity occurs exclusively on the eyes layer.To give you a betterlook, the two lower examples on the eyes layer are shown independently of thoseon the face layer in Figure 5-14.You can now clearly see the proliferation of facedetails mixed into the eyes in the right example.Meanwhile, the face layer remainsabsolutely unaffected. Part II &' Painting and Retouching194Figure 5-14: The eyes layer from the previous figure shown by itself.In Version 6, you can further vary the smudge tool effects through the Brush and66Brush Dynamics palettes.The upcoming section Brush Shape and Opacity exploresthese options, so I won t waste space repeating everything here.For now, just knowthat you can set the smudge tool to create gradually tapering and/or fading strokes and you can now use your mouse as well as a pressure-sensitive tablet to generatethese effects.Mopping up with the sponge toolThe sponge tool is actually a pretty simple tool, hardly worth expending valuablespace in a book as tiny as this one.But I m a compulsive explainer, so here s the deal:Press Enter when the sponge tool is active or double-click the tool icon in the toolboxto display the sponge tool controls on the Options bar.Then select either Desaturateor Saturate from the Mode pop-up menu to create one of the following results:&' When set to Desaturate, the tool reduces the saturation of the colors over whichyou drag.When you re editing a grayscale image, the tool reduces contrast.&' If you select Saturate, the sponge tool increases the saturation of the colorsover which you drag or increases contrast in a grayscale image.You can switch between the Desaturate and Saturate modes from the keyboard.Press Shift+Alt+D to select the Desaturate option.Press Shift+Alt+S for Saturate.Photoshop Chapter 5 &' Painting and Editing195No matter which mode you choose, higher Pressure settings produce more dramaticresults.Your settings in the Brushes and Brush Dynamics palettes also affect thesponge tool s performance; see the next section, Brush Shape and Opacity, formore information.TipColor Plate 5-1 shows the sponge tool in action.The upper-left example shows theoriginal PhotoDisc image.The upper-right example shows the result of applyingthe sponge tool set to Desaturate.I dragged with the tool inside the pepper andaround the corn area.The Pressure was set to 100 percent.Notice that the affectedcolors are on the wane, sliding toward gray.In the lower-right example, the effectis even more pronounced.I applied the sponge tools here with great vim and vigortwo additional times.Hardly any hint of color is left in these areas now.To create the lower-left example in Color Plate 5-1, I applied the sponge tool set toSaturate.This is where the process gets a little tricky.If you boost saturation levelswith the sponge tool in the RGB or Lab color modes, you can achieve colors of abso-lutely neon intensity.However, these high-saturation colors don t stand a snowball schance in a microwave of printing in CMYK.So, use View ª' Proof Colors (Ctrl+Y) topreview your image in CMYK before boosting saturation levels with the sponge tool.This way, you can accurately view the results of your edits.(Adobe changed theCMYK preview features in Version 6; Chapter 16 explains the new preview optionsif you need help figuring them out.)Figure 5-15 shows the yellow channel from each of the images in Color Plate 5-1.Because yellow is the most prevalent primary color in the image, it is the mostsensitive to saturation adjustments.When I boosted the saturation in the lower-leftexample, the yellow brightness values deepened, adding yellow ink to the CMYKimage.When I lessened the saturation in the two right examples, the amount ofink diminished.One of Adobe s recommended uses of the sponge tool is to reduce the saturationlevels of out-of-gamut RGB colors before converting an image to the CMYK mode.I m not too crazy about this technique because it requires a lot of scrubbing.Generally, selecting the out-of-gamut area and reducing the colors using more auto-mated controls is easier (as discussed in Chapter 11)
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