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Drawing out perpendicular planes

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Drawing out perpendicular planes

Now that we have drawn the base plane, it's time to draw out some perpendicular frames to cover the other walls inside of this image. First I am going to go ahead and scale this existing plane just a little bit by dragging down here on the bottom handle in order to cover up this baseboard and I am also going to drag upward along this wall in order to just make sure that I have got this plane set up accurately. Notice as you move the plane up and down that it matches the perspective of the scene, so you can see now that we have an inclined top that's going down into the right here.

Drawing out perpendicular planes

Now that we have drawn the base plane, it's time to draw out some perpendicular frames to cover the other walls inside of this image. First I am going to go ahead and scale this existing plane just a little bit by dragging down here on the bottom handle in order to cover up this baseboard and I am also going to drag upward along this wall in order to just make sure that I have got this plane set up accurately. Notice as you move the plane up and down that it matches the perspective of the scene, so you can see now that we have an inclined top that's going down into the right here.

And I just want to make sure that it aligns with the molding up toward the top of this image and it looks pretty good. It also aligns to the bottom of the baseboard along the edge of the floor. So I think we have got a good base plane set up here. Now let's draw out a perpendicular plane that covers this wall. If I was to drag from this handle, the side handle I would just scale the plane like so and that's not what I want to do. So instead of dragging that side handle, I am going to press the Ctrl key on the PC or the Command key on the Mac and I am going to drag like so.

And notice with Ctrl or Command down, when you drag away from a side handle you create a new perpendicular plane just like that one there. Once you get this wall covered, Ctrl or Command drag again to create a perpendicular frame across this wall and then continue making additional perpendicular planes always by Ctrl or Command dragging that side handle. Now I am going to go down the hallway into the sort of another region perhaps it takes us to some bathrooms or something along those lines and then I am going to go down this imaginary wall here, I have no idea what's going on at this location.

Do take care however to make sure that your new edge right here does not overlap any of the existing edges, because it's going to make this point difficult to get to. Then Ctrl or Command drag again to go down this wall and if you don't get an exact match with the baseboard, don't sweat it too much I mean you could go ahead and undo that most recent wall just by pressing Ctrl+Z or Command-Z on the Mac and incidentally you do have multiple undos inside Vanishing Point. Notice how much difficultly I am having getting to that background plane right there and if you have problems getting to it what I would suggest you do is Ctrl or Command-Click in order to click through one of the planes to a plane in the background.

Alright now I am going to drag it out a little bit and Ctrl or Command-Drag it down this back wall once again, then finally to make sure that I am covering up all edges, I am going to go ahead and zoom out from the image until I can see some of these gray pasteboard and I am going to drag this wall over, at this time I am not pressing the Ctrl or Command key I am just dragging this plane outward. But as I was saying, I will go ahead and zoom back in here, it's not essential that you get this plane exactly matched up that is that you make sure that this background wall here is exactly the right size because you can always move this bottom edge up and down if you want to, so you can move each plane, the height of each plane independent of another one just by dragging the top or bottom handle.

What's trickier is trying to modify the corners of one of these planes if you find for example that somehow your corners are little out of whack with each other, you don't have any control, you are going to have a difficult time trying to modify those corner handles and adjust the plane from this point on. Now inside this prerelease version of Vanishing Point 2.0, I just get a little "no can do" cursor when I hover over a corner point. So there's nothing I can do whatsoever. Inside Vanishing Point that I have shipped along with Photoshop CS2, you could drag one of these extreme corner handles, either the corner handle on this extreme plane here or the corner handle on the very first plane.

However in doing so, you would make a mess of the other planes, it was pretty reckless stuff as it turned out. So make sure it's very important that you get that first plane lined up exactly right. Next I want to create a plane along this wall, so I am going to have to move this plane inward like so pretty far as it turns out, then I am going to Ctrl+ Drag outward like this and you can see I didn't go far enough. So I am going to undo that last modification by pressing Ctrl+Z, then I am going to drag this wall even farther in, I am just dragging the handle, I am not pressing the Ctrl or Command key this time.

Now I will press Ctrl or Command and drag out again that's still not right, I went too far this time. Let's back it up just a little bit, Ctrl or Command+Drag in order to get that perpendicular plane, now it looks exactly right, it matches up very nicely with this corner of this wall. And then finally let's zoom out again and Ctrl or Command drag this side handle until we cover up the near wall, the one that's right next to us. One more thing we need to do, we need to create a plane for the floor. We don't need a plane for the ceiling because Vanishing Point is not capable of doing things like arches, it has to be a flat plane, it has to be a flat ceiling or a flat wall or a flat floor, but we can certainly cover up the flat floor because after all it is flat.

So I want you to click on that very first plane in order to select it once again and Ctrl or Command drag away from the bottom point in order to cover up that floor. Is that not the coolest thing you ever done, did see in your life? That's pretty darn cool, I think, maybe not the coolest thing ever, but my goodness it's good stuff. Alright so we have drawn all our planes, we are covering up every single wall of any merit inside of this image. Now it's tempting at this point to start right in painting inside the image.

To paint away those wall sockets or duplicate the painting is one of the things that we are going to do or add some other paintings to the frames. However, what I caution you to do is once you have set up your base planes inside Vanishing Point, I don't want you to do anything else. I just want you to go up to OK button and click on it in order to accept those planes. The reason being if you were to do something inside Vanishing Point and then think better of it and undo that modification, you would lose those planes, if you did the planes and the modification in the same Vanishing Point session.

So better to go ahead and create your planes in an independent session then go up to the File menu and choose the Save command in order to save the plane along with the image. Now I am not going to do that because I don't want to wreck this particular image for you. But you might want to go ahead and do that right now. Go ahead and choose the Save command or Save As if you prefer to save it under a different file name and now from this point on when you go back to the Filter menu and choose Vanishing Point again, your planes will be safe even if you decide to undo subsequent Vanishing Point modifications.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39071 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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