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Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.
Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.
Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.
Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.
The last step with this particular composition is concerned is to add some perspective time along this central wall above these two images here. Now you may have noticed and I will show if you press Ctrl+Alt+V or Command-Option-V on the Mac to bring up the Vanishing Point filter. You will notice that there is no Type tool whatsoever, so how in the world do we go about adding type to a perspective scene and the answer is we bring the type in from the clipboard, so go ahead and escape out of Vanishing Point and switch to this image right here, it's called sometype.psd.
It's available to you once again inside the 17 Vanishing Point Folder. And it's a little bit of self serving type here, this is going to be the lynda.com wing of this particular gallery. Now you might figure given that this is a live type layer, if you bring up the Layers palette you will see that we have some live type set against the white background, the background doesn't matter at all, I could just go ahead and turn it off and we will see that the live type is actually set against transparency here, so it's type and nothing else. You might figure that the way that we would go about selecting this type is select the type using the Type tool and I would go ahead and select all the type by pressing Ctrl+A or Command-A on the Mac and then go up to the Edit menu and choose the Copy command.
The problem with this approach is that the Vanishing Point Filter is wholly unaware of Type, it has no link, no hookup with Photoshop's Type engine, so you can't add Type to a scene, instead you need to add pixels and to do that you approach the image differently here. You go back to the Rectangular Marquee tool, you press Ctrl+A to select the entire layer and Ctrl+C that's Command-A, Command-C on the Mac. And you have got to make sure by the way that the lynda.com wing text is selected, make sure that layer is active and it doesn't matter whether the background is visible or not.
Now return to the composition here, let's go ahead and add yet another layer by pressing Ctrl+Shift+N or Command-Shift-N on the Mac. I will just call this guy Type because that's what it is then click OK. I have faith that Photoshop went ahead and added the layer to the stack, but just to be sure there it is, alright great. Now I am going to go up to the Filter menu and choose the Vanishing Point command and as before we are going to press Ctrl+V or Command-V on the Mac in order to introduce that type with all transparency intact.
Isn't that just wonderful? Alright, let's go ahead and drag the type into the wall like so and you can see that the Type is getting cut off a little bit here on the left hand side. I will explain what's going on there in the final exercise of this chapter, but for now let's just go ahead and scale this type, grab the transform tool and then drag one of these corner handles here and I am Shift+Dragging the corner handle in order to constrain the scaling of the type, so that it is proportional. And I might make the type a little bigger, notice that you do not have percentage control over your scaling inside of Vanishing Point.
Alright I am going to move this type a little bit over to the left here, so that it appears to be sort of equidistant from this wall and from the inside edge of this wall. Now I want to make the type translucent, but I don't want to do that here inside Vanishing Point, I don't want to reduce the opacity inside Vanishing Point because after all that's something that is handled better by an independent layer inside Photoshop. If you make the change here, it will be a static change and you won't be able to modify it later on down the line.
If you wait and leave the text set to a 100% and then change the opacity setting inside the Layers palette, it's a dynamic function, parametric function and you can change it anytime you like. Alright so let's just go ahead and leave the text the way it is, click OK in order to accept that change. In order to accept that new text, zoom in on the image, so it looks a little smoother. And finally let's go to the Layers palette and I am going to reduce the opacity of this text to 15% by typing in 15 on my keyboard, I have the marquee tool selected so of course typing 15 affects the opacity of this layer.
And then I am going to change the Blend mode from Normal to Multiply because the text has a little bit of a blue caps associated with it and it look just slightly better if we multiple it into the background, then I am going to press the Esc key in order to deactivate that Multiply option here on the PC. Finally I am going to tab away my Palettes, I am going to press the F key a couple of times, so that we can see the final version of the gallery with all of these wonderful perspective images with the electrical sockets cloned away from the baseboard and with this nice accurate perspective type all rendered using Vanishing Point here inside Photoshop CS3.
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