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Flat in, perspective out

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

Video: Flat in, perspective out

In this exercise we are going to add a painting to each of the remaining two blue canvases here and that painting is this guy right here perspectivepainting.jpeg, available to you inside the 17VanishingPoint folder, And you can see that the painting has a little bit of perspective associated with it and it appears inside of a frame. Now that might make you think, the fact that it has perspective. You might interpret to be a good thing. After all you might be able to use the perspective of this painting to heighten the perspective of the larger composition but that turns out not to be true. Vanishing Point can only handle the perspective of one scene at a time so when you are importing images into Vanishing Point those images have to be flat so that they can be sub- servient to the perspective of the larger composition.

Flat in, perspective out

In this exercise we are going to add a painting to each of the remaining two blue canvases here and that painting is this guy right here perspectivepainting.jpeg, available to you inside the 17VanishingPoint folder, And you can see that the painting has a little bit of perspective associated with it and it appears inside of a frame. Now that might make you think, the fact that it has perspective. You might interpret to be a good thing. After all you might be able to use the perspective of this painting to heighten the perspective of the larger composition but that turns out not to be true. Vanishing Point can only handle the perspective of one scene at a time so when you are importing images into Vanishing Point those images have to be flat so that they can be sub- servient to the perspective of the larger composition.

And so we are going to rip this image out of its perspective environment using that wonderful technique I showed you way long ago associated with the Crop tool. Go ahead and grab the Crop tool from the tool box here. Drag roughly around the painting like so. Then turn on the Perspective checkbox here inside the Options bar, which allows you to move each one of the corner handles independently as I'm doing right here. Now you will drag directly on the corner handles. There is a little bit of a bug in this version of Photoshop so that I have to drag kind of over to the left of the corner handles but I can tell I have got them because I have got that grey arrow head cursor.

Once you get your crop boundary well inside of the frame just go ahead and press the Enter key or the Return key on the Mac in order to rip the image not only under the frame, but out of its perspective environment as well. It is now a flat image. I'm going to reduce this image since the Vanishing Point filter does such a bad job of interpolating images when you're downsizing them. I'm going to go ahead and downsample the image right now by going up to the Image menu and choosing the Image Size command and then make sure that Constrain Proportions and Resample Image are both turned on and that Resample Image is set to Bicubic. Then I change this value here to percent and reduce the Width value to 32% so that both Width and Height change to 32 and I'll click OK in order to accept that modification. Let's zoom into the image so we can see it at the 100% view size.

It's much smaller of course now. Press Ctrl+A, Ctrl+C in order to copy that image to the clipboard. On the Macintosh side that's Command+A, Command+C. I am going to switch back to my perspective composition, to this bluegallery.psd document. Let's go ahead and add a layer to the composition by pressing Ctrl+Shift+N or Command+Shift+N on the Mac and I will call this guy 'landscape' I figure. And then click OK in order to create the new layer. It should appear at the top of the stack, not inside of this clipping group. So you should see a layer thumbnail flush with the left side of the palette. Alright next let's go up to the Filter menu and choose the Vanishing Point command and I am going to go ahead and press Ctrl+V or Command+V on the Mac to add the painting to the scene and we'll drag it into this forward wall right here like so. Notice how it's still gargantuan compared with that wall even though I reduced it to 32%.

So I am going to have to switch to the Transform tool and I am going to have to reduce the size of this image fairly significantly here. And this time around- actually I will go ahead and undo that modification here. This time I am going to, oops! I am going to press the Shift key as I reduce the size of this painting because I really can't see all of it so I want to make sure that I am doing a proportional resize and then I'm not stretching some detail inside of the landscape painting. Alright that looks pretty good.

Now I am going to switch back to my Marquee tool and I am going to Alt or Option drag that painting to this wall over here like so. Let's go ahead and zoom in there and I press the Alt key or the Option key in order to clone that painting of course and now I will once again use the Transform tool in order to reduce the size of this painting. This time I am not pressing the Shift key. I am just dragging the handles around in order to get this painting, more or less to match the blue frame in the background there.

Alright that's it. I'll click OK in order to accept that modification and I'll end up with two new paintings inside of my gallery. Let's go ahead and mask them into place by going to the Channels palette. Control+Click on either of your mask thumbnails, up to you. On the Macintosh side of course you would want to Command+Click on that thumbnail. Now using the Rectangular Marquee tool, let's go ahead and Alt+Drag, or Option+Drag on the Mac, around those selected areas that we don't want to keep, so we are subtracting from the selection outline.

Then back to the Layers palette, make sure the landscape layer is still active and click on this little layer mask thumbnail at the bottom of the palette in order to mask those guys into their new homes. And if you are bothered by the fact that you have got a little bit of a blue outline there- I am certainly bothered by it- then make sure that the layer mask thumbnail is active here inside the Layers palette. Then go up to the Filter menu and choose that Maximum command once again if it's still up there at the top of the Filter menu. If not go down to the Other command and then choose Maximum in order to expand that maximum brightness value, which is white, and then click OK in order to accept the results. So there we are. You can also shade those paintings if you want to. I am not going to bother.

I think actually they looked pretty darn good just the way they are. Here are our new paintings inside of the gallery, rendered in perspective, thanks ironically to the fact that we took them out of perspective using the Crop tool.

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 · 39059 viewers

Deke McClelland
Author

 
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  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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