Mark Heaps

Mark Heaps

Mark Heaps is the Executive Director for Heaps LLC, a digital communications studio. Mark has taken care of clients for over twenty years offering solutions for boutique businesses and top listed Fortune 500 clients alike. He’s an Adobe Community Professional and Certified Expert, an Adobe MAX Masters Award Recipient, a past Senior Instructor of Brooks College, a traveled musician, dad of two great kids, husband, dog owner, and foodie.

Let’s Get Surgical

with Mark Heaps

There are generally two different camps of thinking when it comes to making selections in Photoshop: really fast or really accurate. In this issue, we’re going to look at the tool most people use when they want surgical precision in their selections. So let’s introduce… The Pen Tool If you’re new to Photoshop, let’s meditate for a moment—breathe in, breathe out. You’ll need to stay calm while learning how to use the Pen tool. It isn’t that complicated, but unguided new users are generally very frustrated by it. It just doesn’t operate in a way that’s logical to most people outside the...

Let’s Get Surgical close

There are generally two different camps of thinking when it comes to making selections in Photoshop: really fast or really accurate. In this issue, we’re going to look at the tool most people use when they want surgical precision in their selections. So let’s introduce… The Pen Tool If you’re new to Photoshop, let’s meditate for a moment—breathe in, breathe out. You’ll need to stay calm while learning how to use the Pen tool. It isn’t that complicated, but unguided new users are generally very frustrated by it. It just doesn’t operate in a way that’s logical to most people outside the...

As we continue to dive into the fundamentals of selections in Photoshop, it’s inevitable that we discuss some of the more sensitive tools. Many of our tools have a sensitivity to data by appearance value. The type of data I’m referring to falls into two categories: Hue, which is color for the new users, and luminosity, which are tones often represented by shades of gray within Photoshop. As I’ve discussed in previous articles, there’s no one perfect selection tool that rules them all. Believe me, people have opinions on this, but at the end of the production day, it always gets decided by t...

A Bit Sensitive: Sample-Based Selections close

As we continue to dive into the fundamentals of selections in Photoshop, it’s inevitable that we discuss some of the more sensitive tools. Many of our tools have a sensitivity to data by appearance value. The type of data I’m referring to falls into two categories: Hue, which is color for the new users, and luminosity, which are tones often represented by shades of gray within Photoshop. As I’ve discussed in previous articles, there’s no one perfect selection tool that rules them all. Believe me, people have opinions on this, but at the end of the production day, it always gets decided by t...

Think differently about your business! Join Mark Heaps as shares tips and tricks for efficiency in Photoshop, while at the same time teaching you how to set yourself and your collaborators up for success. This class has two parts, and in the first half Mark demonstrates a number of Photoshop techniques to help you work smarter. In the second half he delves into more strategic concerns designed to help you grow your business, help you define who your customers are, learn key phrases and terms, and so much more. By the end of the class you’ll have a strong foundation for working as a great collaborator whether you are part of a team or an independent freelancer.

Photoshop for Business: Pro Techniques for Working Faster, Smarter, and Maximizing your Output close

Think differently about your business! Join Mark Heaps as shares tips and tricks for efficiency in Photoshop, while at the same time teaching you how to set yourself and your collaborators up for success. This class has two parts, and in the first half Mark demonstrates a number of Photoshop techniques to help you work smarter. In the second half he delves into more strategic concerns designed to help you grow your business, help you define who your customers are, learn key phrases and terms, and so much more. By the end of the class you’ll have a strong foundation for working as a great collaborator whether you are part of a team or an independent freelancer.

The Grand Marquee

with Mark Heaps

In our second article of this new series, we’re going to talk about the options available with the selection tools. But first, it’s probably a good idea to make sure we understand what the selection tools are. Specifically, we’re going to look at the shape-oriented selection tools: The Rectangular and Elliptical Marquee tools. When you’re selecting elements of an image in Photoshop, there are some general things that influence the process. Are you selecting a squarish thing, a roundish thing, an abstract or blobby thing, or a colorful thing? Terrible grammar and language aside, that’s of...

The Grand Marquee close

In our second article of this new series, we’re going to talk about the options available with the selection tools. But first, it’s probably a good idea to make sure we understand what the selection tools are. Specifically, we’re going to look at the shape-oriented selection tools: The Rectangular and Elliptical Marquee tools. When you’re selecting elements of an image in Photoshop, there are some general things that influence the process. Are you selecting a squarish thing, a roundish thing, an abstract or blobby thing, or a colorful thing? Terrible grammar and language aside, that’s of...

Understanding Selections

with Mark Heaps

Oh, I’ve heard it all when it comes to describing selections: “Marching ants,” “the blinky-dot thing,” “the dashed line area,” and my personal favorite, “the ghost frame.” Yes, I’ve heard these and many more over my years of using and teaching Photoshop. The team at Photoshop User magazine has listened to your recent feedback about wanting to know more about selections, so we’re kicking off a brand-new series all about selections. We’ll start with the fundamentals of how selections work, and then in each issue, we’ll go a little deeper into advanced areas, such as masks and much more, until...

Understanding Selections close

Oh, I’ve heard it all when it comes to describing selections: “Marching ants,” “the blinky-dot thing,” “the dashed line area,” and my personal favorite, “the ghost frame.” Yes, I’ve heard these and many more over my years of using and teaching Photoshop. The team at Photoshop User magazine has listened to your recent feedback about wanting to know more about selections, so we’re kicking off a brand-new series all about selections. We’ll start with the fundamentals of how selections work, and then in each issue, we’ll go a little deeper into advanced areas, such as masks and much more, until...

It’s true, presets are probably the last thing in the world that anyone wants to read, think, or talk about. But maybe after this article, you’ll give them a whirl and try adding them to your workflow. Presets save me loads of time every day. In fact, I can’t imagine not working with them because they’re so ingrained in my workflow. How to work happy, not harder, is always a goal when working in production. One of the most stressful parts of production isn’t understanding how to make something, but the repetition of making the same thing again, and again, and again. Now you may be thinki...

The Powerfully Unsexy World of Presets close

It’s true, presets are probably the last thing in the world that anyone wants to read, think, or talk about. But maybe after this article, you’ll give them a whirl and try adding them to your workflow. Presets save me loads of time every day. In fact, I can’t imagine not working with them because they’re so ingrained in my workflow. How to work happy, not harder, is always a goal when working in production. One of the most stressful parts of production isn’t understanding how to make something, but the repetition of making the same thing again, and again, and again. Now you may be thinki...

In this article we’ll be reviewing various ways to warp, distort, and transform pixels to help improve your images or refine your concepts. The piece shown here is an example of such a project, but first let’s review some of the fundamentals of warping, transforming, and Liquify! One of the best advantages we have in digital imaging vs. working in the old days of film is our ability to transform and manipulate the shape or form of a subject in an image. This was a really challenging task in the analog days of editing, and nearly impossible to do in a way that was convincing or “real” loo...

Transformations, Warps, and Liquify, oh My! close

In this article we’ll be reviewing various ways to warp, distort, and transform pixels to help improve your images or refine your concepts. The piece shown here is an example of such a project, but first let’s review some of the fundamentals of warping, transforming, and Liquify! One of the best advantages we have in digital imaging vs. working in the old days of film is our ability to transform and manipulate the shape or form of a subject in an image. This was a really challenging task in the analog days of editing, and nearly impossible to do in a way that was convincing or “real” loo...

A long time ago at Photoshop World, Jay Maisel gave a talk about his photographs. Jay is always a great speaker and his images are spectacular. One thing Jay said that stood out while he was giving advice that day was, “Don’t put words or letters in your pictures unless you want people to read them.” This was a simple, but very true, piece of advice. The human brain has a tendency to want to read the words that it sees. We are conditioned for it, and it’s almost impossible to look at a group of letters and not try to make words out of them. But what if those letters, or words, aren’t thi...

Dealing with Distracting Objects close

A long time ago at Photoshop World, Jay Maisel gave a talk about his photographs. Jay is always a great speaker and his images are spectacular. One thing Jay said that stood out while he was giving advice that day was, “Don’t put words or letters in your pictures unless you want people to read them.” This was a simple, but very true, piece of advice. The human brain has a tendency to want to read the words that it sees. We are conditioned for it, and it’s almost impossible to look at a group of letters and not try to make words out of them. But what if those letters, or words, aren’t thi...