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Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
I have gone ahead and save my progress as Healed wall.psd and I'll provide you with some insights. This wall by no means perfect. There are some imperfections here and there but it's in pretty darn good shape actually. And one of the areas that I worked hard on was this left edge, which if you just heal it out right will end up producing some sort of charred areas. You'll get some dark spots over here and notice by the way I have deposited my modifications on this separate layer called Perspective edits that I had created in advance in the previous exercise, you saw me do it. So I have clicked OK. I'm out here in the larger world of Photoshop.
Let's go back into Vanishing Point so I can show you how I dealt with that edge. It's not that hard. Need just a lot of back and forth-ing. It's basically a function of using the Stamp tool and switching back and forth between off for Heal and on. So back and forth between those two options right there. Luminance is of no use where this wall is concerned. So I would just basically turn it off long enough to heal away one of those singed edges there and then turn it back on in order to get the colors right and the transitions right and so on.
So little bit of back and forth-ing. Now I'm here to tell you that was hard as I think I have established here, this next thing that we're about to do now is easy, friends so easy. What we're going to do is we're going to take this wall that we've created so impeccably wonderfully well and we're going to clone it on to the other two walls back here, this one and this one and here's how that works. We're going to use the Marquee tool. Now the Marquee tool is your one and only selection tool here inside Vanishing Point. But the great thing about it is it draws its marquees in perspective. Check it out. I'll go ahead and grab my Marquee tool, then I'll move down to this wall right there and now you can press the X key in order to magnify, I was telling you about that and I'll go ahead and surround this area. I still have the X key down.
With the Marquee, remember that Spacebar trick that comes in so handy when you're using the Shape tools and the Marquee tools and all that stuff inside Photoshop, doesn't work here inside Vanishing Point. Completely does not work, too bad. So what that means is you need to be careful when you're drawing your Marquees in the first place. I have gone ahead and drawn this Marquee. It's not animated not animated marching ants just static ants, just ants that are just sitting there. All right I'm going to release the X key now in order to zoom back out. Now then having surrounded this area that I want to modify, what you want to do is make sure that Move mode is set to Destination. This is just crazy what we're going to do here just without pressing in really inside of Photoshop.
I should take that back. It's kind of like the Patch tool little bit. So Move mode is set to Destination, Heal should be set to On, so that we go ahead and heal our modification here and then I want you to press the Ctrl and the Shift keys and what's happening here is Ctrl+ Drag a selection to fill the area with the source image. So we're going to define a source as we drag, Ctrl+Drag to a new location. Shift allows us to constrain the direction of the drag to exactly horizontal in this case, of course, horizontal in perspective. So now having set that. Ctrl+Shift+Drag or Command+Shift+Drag on the Mac until you see what you're seeing over there inside of this area. Watch this area, see how it kind of pans around that I just love that. I think that's so cool.
It's like whoa, it's like a big LCD screen that showing this wall moving by and drag over to about here. So you can see this edge, right? This tiled edge with the alternating light and dark tiles should appear against this edge over here. But I need to move my cursor over here to make it happen. You see what I'm talking about, right there is where you want to release. You're going to have some empty area over on the left side of that selection. That's okay and then you'll have a nice heal. Check that out. Now when I say nice heal I mean pretty nice.
I'm going to zoom in here a little bit. It is a little jaggedy and when I say a little jaggedy, it's quite jagged actually. Vanishing Points interpolation leave something to be desired. It's not the best interpolation engine on the planet. It's not as good as Photoshop proper. In its defense it's trying to do it in perspective but my thinking is it could be heck of a lot better than this. When you're making big reductions that's when it tends to look pretty ratty. So you want to reduce a little bit at a time if you can.
Now we're going to make things look a little better by transforming this wall a little bit by stretching it. We're going to do that by switching to this tool, the Transform tool, you get it by pressing the T key that makes sense. All right, so get the Transform tool then drag this edge, watch this, until we're close to those alternating tiles over on the left hand side. So at this point you want to release and then it's going to re-interpolate so this is one interpolation on top of another. But because we're upsampling and here is the thing. I have railed against upsampling in Photoshop so far.
I have been telling you, don't do it. It's not going to do you any good. It's kind of a little inverted here inside Vanishing Point. We have terrible downsampling inside vanishing point and reasonably good upsampling. So sometimes after downsampling, upsampling can unmess up some of your transitions. So make them a little smoother as they are now where this wall is concerned. Again, it's not perfect but it's better. Now I want to take this wall and I want to go ahead and copy it over to this location over there. And I'll do that by this time pressing Shift and Alt and that would be Shift and Option on the Mac and dragging this guy over to the right like so in order to clone it. Just do a straight clone and we'll line up those alternating tiles over there on the right hand side and then I'll drop things into place and we get a reasonably good match.
You're going to stop perfect, some ratty interpolation of course, since we're downsampling. So tremendously also things are in sharper focus then they are over in this wall. Things are pretty fuzzy over in this wall by this point. So we can then follow it up inside Photoshop right? So that's what we'll do. All right, so anyway that's how you do a clone. When you're transforming you have the option of doing a Flip and a Flop. These have to be some of my favorite options in Photoshop. Just a notion that somehow we are going to be able to distinguish Flip from Flop and notice if you hover and you get the tip, it says Flip the copy. Okay, thank you. That helped. And then Flop the copy. Thank you Photoshop for explaining that to me. Now it becomes perfectly clear. What? So Flip is a horizontal flip by the way. See how it flipped horizontally and Flop is a vertical flip.
Now we chose to name them flip and flop because sometimes what happens if you rotate this wall and now what was formerly, for example what was formerly a Flip becomes a Flop. Now formerly a horizontal flip becomes a vertical flip. So they didn't want to call them horizontal or vertical. We'll call them flip and flop. That makes sense. Anyway I undid that rotation. I don't want that. I want what we got just wanted to mention what flip and flop to you just in case you are curious and then click OK in order to accept this modification and deposit the results on to this Perspective edits layer, not bad, looks okay from a distance. Once we zoom in it looks pretty bad.
But why don't we just go ahead and select this area because it's on a separate layer. I can modify it independently of the background image. So let's go ahead and turn this layer off for just a moment so I can get a sense. That's pretty blurry back there. So let's turn it back on. So we're probably going to want to perform a fair amount of blur. Go up to the Filter menu and choose the Blur command and then choose Gaussian Blur, you could choose Lens Blur if you want to get it really right but Gaussian Blur I think it's going to be good enough for us. Not that much let's see something like I'm experimenting here. Something like 0.5, maybe even that's pretty strong. Let's take it down to 0.3 pixels right there and click OK and that's probably going to do us better. It's a fake right, it's a phony but it's looking okay.
All right so there we have it. We have the new walls in place. What about this wall back here? This guy is a real offender, it's a wall with issues and we need to cover up that graffiti. I mean if we're going to do the scrub code number we've got to cover up this guy too. This is not a marquee shape, right, it kind of goes in and out. We have this 4 sign that we've got to cover up. What do we do about that? How do we accommodate your regular selections they aren't exclusively rectangular. I'll answer that question. I'll show you how, in the next exercise.
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