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Note Software developers continually update and improve software. Check for updates in the Help system. ## Getting Creative with Brushes Photoshop includes the ability to apply a wide range of artistic effects to images. You can turn photographs into paintings, add visual elements such as patterns or text, and even replicate the surfaces of real-world items. These can be the subjects of sophisticated photo manipulations or are the work of someone experimenting with creativity. At its core, Photoshop is a paint program. It comes with an arsenal of brushes that provide the visual brushstrokes needed for creative effects. Figure 7-3 shows the Brush types that Photoshop offers. Figure 7-3. There are five main brush types in Photoshop: Filters, Dimension, Gradient, Texture, and Pattern. Filters create an overlay, so they don’t work as well when you’re converting images to web format. You can learn more about the different brushes in the box on “Using Brushes in Photoshop.”

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Adobe Photoshop offers many special effects that can be used when creating images: – We can change the size of an image in pixels, percentages, inches, centimeters or some other units: even if it’s really large, the length of an image can be changed, even after having saved it. – We can use the “add effects” feature to apply several special effects that can be available to apply some effects to images that are already imported. – We can use the “animation” feature to make sure that your pictures appear clearer. – We can use filters to “tint” the images (they can be activated in several places: in the menu, in the “effects” tab, in the “filters” tab, in the “tools” tab and in the “add effects” tab). – We can use the “masking” feature (the masking tool) to selectively delete portions of an image: it can be useful for creating special effects. – We can use the “videohistory” feature to record the movements of the image during a long period of time (important for students, photographers or animators). – We can use the “paintbrush” feature to edit any image, we can add objects on the image (we can draw on an image as well as we can add elements to the image, from the color of the paintbrushes to gradient, shapes and even images or videos). – We can use the “geometry” tool to change the size, the position and the rotation of objects that are already on the image. – We can use the “patterns” feature to apply many types of patterns to an image, without having to delete the elements. – We can use the “brushes” tool to create new shapes and apply them to the image. – We can use the “presets” feature to save the parameters of our selected tools, like for example the color and the size of the brushes, for the next time. – We can use the “brushes” tool to create and edit drawings, to create patterns or to paint, we can create a sketch, we can use a pencil or a graphite stick. – We can use the “layers” feature to insert some type of image or objects in the middle of another image or in the middle of a composition. – We can 05a79cecff

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of the chemical disease, and that it was the same treatment that had been administered to his friend Steinsvag. The hypothesis that the medication was responsible for the demise of the other two men was further explored in 1987 when Steinsvag’s widow was given the results of a standard post-mortem examination and toxicology report by the Directorate of Forensic Medicine. As part of the report, Dr. Eric Hoffmann, a forensic pathologist who had examined Steinsvag during his 1970 post-mortem examination, wrote in his section on the diseases, “no explanation was found for the death of the two men.” Perpetrator On August 29, 1970, the saga of the two drowning was re-visited by Norwegian newspaper Dagbladet, in the person of journalist Knut Bøhler. It was in this article that the name of Hartvig Vinje was first made public. Bøhler then travelled to the home of the recently widowed widow to interview her and her husband’s son, Øystein, for a further article on the matter which appeared in the newspaper’s evening edition of September 1, 1970. Hartvig Vinje was revealed to be the name of a 22-year-old man living in Sjøholt, a tiny farming community on the island of Øygarden, who had borrowed a friend’s boat at the time of the incident. Bøhler was impressed by Hartvig Vinje’s lack of interest in the affair, saying of the 22-year-old: Vinje’s refusal to confess to the killings was mirrored in the response of the police. Senior officer Petter Bull from the Oslo Police Corps alleged that he had concluded from other evidence, particularly that of the boat’s black-painted bottom, that Vinje had indeed been at the scene of the crime, and was not interested in denying this. However, the Director of Police Advertised the officer’s comments at a news conference at the time with the statement: With this in mind, attention turned to the victim of the second drowning. The police officer was subsequently quoted by Dagbladet as saying: “The youngest victim has given us the most serious clue, the name of the killer. We have already noticed when we were investigating the first murder. His last name is Vinje”. However, Bøhler later revealed in his book Death on the Upside Down that this was in fact untrue, stating that the name “V

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