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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.
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.
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