I'd saved my progress as Flipped original.psd. And as you may recall it features a horizontally reflected copy of the girl on this independent layer there. So here's the original version of the girl. Here she is flipped, so that we can clone from one layer to another. Now let me stress something. In this particular Beta version of Photoshop CS5, I am not able to enter a negative value for W. You may be able to do it in the shipping version of the program, in which case, give it a try. And then you can clone from the background layer onto itself without creating this independent version of the layer.
You and I will both rotate this source together, but you would enter negative on your own. From my perspective however it turns out to be a happy accident, because it permits me to show you how to clone from one layer to another inside Photoshop, which is a really great skill. Press the J key to switchover to the Healing Brush. And I want to direct your attention up here to the Options Bar. So things start off with the Mode, as you can see. I don't use blend modes a lot when I'm working with the History Brush. But you could, for example clone in Shadows using Multiply, or clone in Highlights using Screen.
If you select the Replace option then you are turning off all the healing magic. And there's little reason to do that when Photoshop provides another tool that clones without healing. And it's this guy right here, the Clone Stamp tool. Anyhow next in the Options Bar is Sampled versus Pattern, Sampled sources from the image. It requires you to set a source point by Alt or Option clicking, where Pattern allows you to load a predefined pattern that ships along with Photoshop. Or you can create your own patterns by going to the Edit menu and choosing the Define Pattern command.
And then you can heal with that Pattern. All right I'll go ahead and escape out of there. The next option Aligned. I am going to show you how that works in just a moment. So we'll come back to that. And then we have Sample that you could if you wanted to set it to Current & Below, if you had some blending going on between your layers. And if you want it to source from the overall composite view of the image, you would select All layers. All three of these options are going to deliver the same results for us, because Layer 1 is opaque. So might as well just leave it set to Current Layer there. Now I'm ready to Source.
And I'm going to press the Alt key or the Option key on the Mac, and click about midway along her jaw line there, like so in order to grab a source point. And there it is inside of my cursor. Now I am going to turn off Layer 1 and click on the Background. Now you still have to have Layer 1 there. You can't throw it away because Photoshop needs the source from it. But you can hide it and source from it invisibly, which is a really great feature. Now I'm going to increase the size of my cursor like crazy, so I can see what I'm doing. And I did that by pressing the right bracket key several times.
Now you can see that we've got some rotation problems. If I start painting in her cheek with this absurdly large brush, then the angle of the mouth, and her jaw and everything else don't match. It's the best match we've gotten so far in this area, but it's by no means good enough. So I'll press Ctrl+Z, Command +Z on the Mac to undo that. I am going to click of a Clone Source option. I'm going to click inside of this Rotation value right there. And I am going to press Shift down arrow. Now the reason I'm pressing Shift down arrow is because I happened to know that I want to rotate the source in a counterclockwise direction, which is negative despite the appearance of this little counterclockwise icon right there.
Negative is counterclockwise, positive is clockwise. If I just press down arrow without Shift, I would reduce this value in .1 degrees increment, which is too fine for my purposes. I want whole degree increments hence Shift down arrow. All right now I am going to move my cursor off into the Image Window, so I can see what I'm doing. And I'm going to press and hold Shift down arrow until this guy starts to rotate into the proper position. Now I move my cursor down a little bit. And what I have found is that about - 23 degrees, I get a pretty darn good match.
And at this point I'm going to click and then release, like so. In order to see if I have a good match of source and destination information, and turns out I do. Now that was a terrible heal right there, but I've got a good relationship between source and destination, and I want to retain that relationship. So what I'm going to do is go up to the Options Bar and turn on the Aligned checkbox, because you want to be able to paint multiple times from a single source. And if you turned on Aligned then you going to get repetition of detail, bad stuff is going to happen.
However in my case because I have already established the relationship between source and destination, I want Aligned on. Now I am going to press Ctrl+Z to get rid of that bad healing. And notice that I have preserved, thanks to the Aligned checkbox, I'm preserving the relationship between source and destination as I move my cursor. All right let's now zoom in, so we have a little closer view of the image. And I am going to reduce the size of my cursor dramatically, because that was just way too large.
And I'm going to paint over the area that I want to heal. And you'll see that cross moving around over there, and that seems kind of weird because it suggests that we are cloning from the hair. But in fact we are cloning from that area on a totally different layer. All right don't get too close to the mustache or the pretend whiskers there. This is about as close as you want to get to things. But you do want to leave yourself a little bit of extra wiggle room to go out beyond the scar and then release, like so. And Photoshop will go ahead and heal that region away. Now we still need to do a little work using the History Brush and potentially some other tools.
And we will do exactly that in a next exercise.
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