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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
In this movie, I'll show you how to rebuild broken details in a sweeping panorama, that you've assembled using the Photomerge command inside Photoshop. For example, I stitched together 19 different images to create this panorama of the Guggenheim Museum in Bilbao, Spain. But not all is well. Even though most of the details align just fine, we do have some broken stuff. That's most obvious in the tiles in the lower left corner of the image. So I'll go ahead and zoom in to those tiles like so.
And, notice that we have some busted details in this region. These seams right here, and here, and here don't line up properly. And we've got even bigger problems over in these tiles. So, these areas here don't line up, going down this way as well. And if you look hard enough, you can find other problems. Including some in the tiles in the lower right corner of the image. So what I'm going to do now is show you how to make better tiles, like these right here, that have no bad seams in them whatsoever.
And, it's all a function of finding a representative image to draw from. For example, I was telling you that altogether I used 19 images. Well, this one right here, the eighteenth image, Contains the most tiles over here in the lower left corner of what is ultimately our panorama. So, we're going to work from these tiles by selecting them, just using the rectangular marquee tool. And notice that I'm selecting up into the stairs, selecting this person right here as well and into the shadow.
But, I'm not selecting too high because I want to point of reference for Photoshop's Warp command. Then I'll go ahead and copy the selection by going to the edit menu and choosing the copy command or you could just press Ctrl+C or Cmd+C on the Mac. And now I'll switch over to my composition in progress right here. And I'll zoom out just a little bit. And then I'll go up to the edit menu and choose the Paste command, or press Ctrl+V, or Cmd+V on the Mac. Probably need to zoom out just a little bit more, like so.
I'll press shift+tab in order to bring back my right side panels, including the layers panel here. And I'll go ahead and rename this layer image 18, just so I remember where it came from. You'll also want to go ahead and Ctrl+drag or Cmd+drag that layer up. And because we'll want as much flexibility as possible when transforming this layer, you want to convert it to smart object. By right-clicking with the rectangular marquee tool and choosing convert to smart object. Now I'll press the five key in order to reduce the opacity of this layer to 50% in that way we'll be able to better see what's going on.
And I'll think I'll Ctrl or Cmd+drag it downward actually so that the stairs more or less lined up like this. So you can see the straight stairway, right at this location. And then the curving stairway the one that bends towards us down here below. And were trying to match the bending stairway incidentally. And to do so go up to the Edit Menu>Transform>Warp command and that'll take you to Photoshop's Warp mode. And then we want to change the kind of warp and this I just figured out through trial and error.
To Arc, so that we can bend this detail down. Now, initially, that bends the tiles upward, as you can see here. But we can get the effect we're looking for if you change the bend value to negative nine. So, negative values bend details downward, positive values bend them upward, at least by default. And if you're getting a different effect, by the way, if you're bending the image horizontally instead of vertically, you can just click on this Change Warp Orientation icon up here in the Options bar. But in my case, it's working out just fine.
So, now I'll switch out of the Warp mode by clicking on the little Warp icon over here on the right side of the Options bar. I'm now working inside the free transform mode, incidentally. And the reason that I'm still transforming this layer is because I need to initially rotate it by dragging outside of the transformation boundary. And notice that I'm rotating this layer, about five degrees, as you can see in that little heads up display. And I'll go ahead and move this guy upward. And I might use the arrow key in order to nudge it into a better location.
And now, I need to drag the tiles around. That is distort this layer. And I'll do that by pressing the Ctrl key or the Cmd key on the Mac and dragging the bottom of the transformation boundary like so. So I'm tying to get this line right there to match up with the one to the right of it. And now Ctrl+drag or Cmd+drag this upper right handle. So that I'm giving better alignment like so. So, I want this guide to align right there. And I want the stairway to align as well as possible.
And so I'll go ahead and Ctrl+drag or Cmd+drag this bottom right handle. And then I'll Ctrl+drag or Cmd+drag the upper right handle. And I'm just going to keep going back and forth until things appear to line up. And now, what we need to do is drag this edge in. So I'm just dragging the left edge of the transformation handle inward until we're lining up this detail right here. So we're trying to line up the bottom left corner of the stairway like so. Just so that we can get a little better alignment, I'll Ctrl+drag or Cmd+drag this upper left handle until we see something along these lines here.
This looks like a pretty good match to me, although now, We're out of alignment where the tiles are concerned. You can see this does require quite a bit of back and forth work. I'll Ctrl+drag or Cmd+drag that upper right handle inward. And I'll go ahead and Ctrl+drag or Cmd+drag this guy down, actually. Because otherwise, we're going to have a bad edge right there, because we're running out of imagery. I'll go ahead and move them down to about there. Let's see what else we need to do. That looks pretty good, I think I can make this work.
Although I do want to tuck this guy in just a little bit more. And if anything, we want the edge of the stairs to pop upward just a little bit, so that they're not hanging down, so we don't have any gaps. And this guy is actually fine, I can work with this. Now press the Enter key or the Return key on the Mac. At least that's what I'm going to do in order to accept this transformation. And finally, I'll press the 0 key, in order to increase the opacity of this layer to 100%. Now what we need to do is surround this layer with a pass out line.
That's the best way to work. Because we have a lot of man-made edges here. That's why the pen tool is going to be our tool of choice. But I'm going to use the pen tool without this layer on. I want to be able to see the original image. So I'll turn this image 18 layer off and I'll go ahead and select the Guggenheim layer for now. And then I'll grab my pen tool. And I'll go ahead and start dragging at about this location actually right there is probably going to work best. So, I might as well zoom in.
So that I get the best alignment possible. And let me turn that layer on for just a second. What I want to do is start right here at the base of the stairs. So I'll drag from this location. And I want to drag pretty far. I'll have to come back and edit that undoubtedly. And then I'll drag from the other corner of the stairs over here on the far left side. Now zoom out just a little bit and press the Ctrl key or the Cmd key on the Mac which temporarily gives me the wide arrow tool. And that will allow me to drag this control handles outward. So that we have a little better match.
So that this line traces along the bottom of the steps. And I know its hard to see these lines here, these path outlines in Photoshop. Especially in the video. But I'm tracing right along the bottom here and then I'll Alt+click or Option+click at this handle in order to convert it to a cusp point. So I just cut off its control handle that was extending out this direction and now click right about there. And here as well, and hopefully we'll get alignment on the feet, we'll see how that turns out. And then I'll click right about here, I think is going to work out.
We'll see. Now, I'll just Alt+drag or Option+drag, in order to draw a handle out, the control handle that is to say, which adds curvature to the next segment I create. In case you're wondering why I'm so high, we're going out, have to account for the position of the pigeon. I believe that guy right there moves upward in the image that I've modified. Actually, no, he's just totally distorted over here on the far left side. So I guess we don't need to compensate that much for him. All right. Now go ahead and turn that layer back off.
And I'll press the Ctrl key or the Cmd key on the Mac, so we can get that white arrow tool on the fly. And I'll move that point down so that it's aligned with the shadow, because a shadow's a good cut point. And then I'll go ahead and drag another point out here, another smooth point. So it has control handles, which cause curvature, as you can see. And we'll tuck this guy up a little bit. I've got the Ctrl key down, we have the Cmd key down, any time you see the white arrow tool. Now, I'll go ahead and zoom out. And I'll Alt+click or Option+click on that point to sever away it's control handle over on the left hand side.
And then, I'll shift+click down here just to create a straight vertical segment. And I'll shift+click over here to create a straight horizontal segment. Lets drag out from it in order to add a control handle. And a Alt+drag or Option+drag from this guy in order to add some curvature to this line as well. And lets see where did this control handle even go. I'm going to switch over by the way to the wide arrow tool the direct selection tool down here. And I'll go ahead and click off the path to deselect it and I'll click on it again.
Just to make that control handle appear so that I can see it on screen. And I'll go ahead and drag this guy in. Now, so far, the path outline isn't doing anything, except just existing here inside the path's panel. So I'll go ahead and switch over to the path's panel. We don't want to lose this path. Right now it's just temporary. So let's name it by double-clicking on it. And I'll go ahead and call this down left, because it's the bottom left region of the panorama. And then ill press the Enter key or the Return key on a Mac, in order to accept that name. Now with this path selected you want to go back to the layers panel.
Turn on the image 18 layer, if you're working with me. Go ahead and make it active as well. And then drop down to the Add Layer Mask icon and instead of clicking on it, you want to press the Ctrl key or the Cmd key on the Mac and click on it. And that's going to convert that path outline to a vector mass, just like so. And now we're going to have to modify this mask a little bit in order to make it work. And you know what, I think we're going to be better off because look at those feet. They look pretty bad, and also, this area doesn't look right over on this side.
We don't have a match where this little grill is concerned, little drain. So go ahead and move this line. This path outline down to below the grill into this point right there. And now we get this double grill effect. We'll solve that problem like so. I'm going to apply an additional transformation to this layer. And to pull it off properly you need to unlink the layer from its vector mask, by clicking on that little chain icon to turn it off. And then, make sure that the layer mask itself is turned off. By clicking on it, so you need to click on it again to turn it off.
And then that way, only the smart object is selected, as indicated by this double outline that surrounds it. Now, I'll go back up to the Edit menu and choose the Free Transform command this time around. And I'll go ahead and zoom out just a little bit. I might as well change the opacity to 50%, which I can do manually. Here inside the layers panel and now I'll drag upward like so on the top handle that's associated with this layer, In order to drag the drain upwards. So it's above the existing drain.
That is to say the one that we're keeping inside the Panorama and then press the Enter key or the Return key on the MAC in order to apply that change. That moves the pigeon up. So we'll have to compensate for him in just a minute. Now I'm going to press the 0 key in order to increase the opacity value back to 100%. I'll click on the Vector Mask thumbnail inside the Layers panel in order to select it, and now let's see if we can get some good work done here. I'll go ahead and drag this point out to this location right here, so we're bringing back the feet.
And I'll move this control handle down as well. So, that we're exposing all of that drain and this is going to be a little tricky, it's going to take some work in order to get it just right. But it's good work, don't you know. Actually, I need to move this anchor point even farther. To about here. And I'll go ahead and move this control handle up to this location here and this looks to me like we've got a decent match. Obviously I could spend a little more time getting everything exactly right, but that is not bad at all. We do however have a problem with the pegion.
So I'll go ahead and click on this anchor point, and shift-click on this one. And then I'll drag them both up together, because they're now both selected. Just so that the pigeon has a little more head room and he doesn't look quite so awkward. Let's go ahead and zoom out and take a look at this image. And it looks pretty darn good to me. I do think I need to take this point over just a little bit. I might nudge it from the keyboard using my right arrow key. And I'm going to take this point over a little bit as well. So I'm just nudging it. If you feel like you need a little better of control, you can add another anchor point to that location using the pen tool.
But I think I've done enough for now. And you may notice if you're working inside the same file as me, I'm just going to go ahead and scroll over to the other side. Over here, in the lower right corner of the image, you can see that we've got some broken tiles as well, right in this region here. And then, we've got a real mess. Right next to the railing. These details don't make any sense at all. Which is why I rebuilt them using image five, actually, along with the vector mask. And I was able to achieve this effect right here.
In which everything lines up very nicely indeed, including a few details in this region right there. All right so it takes a little work. But that's how you go about correcting broken details. Once again, so you can see the difference here, I'll go ahead and zoom in. I'll turn off the image 18 layer. This is how the tiles looked before. Not horrible actually, but obviously quite wrong. And this is how the tiles look now. Thanks to our ability to rebuild broken details inside of a panorama by warping and transforming the original stitched images here inside Photoshop.
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