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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 saved my progress so far as All planes present.tif and you may have caught then I called my previous catch-up document one pane down. They are planes not panes, but I don't want to say one plane down. That wouldn't have been any good. All planes are present and accounted for inside of this image and we are now ready to edit the image. We are going to clone these brick patterns in perspective as you'll see. I'm going to warn you upfront because we got a lot of bricks to match here. So this is not the most forgiving image on the face of the planet but the good news is you'll have plenty of chance to practice. Isn't that great? All right, but before we make any modifications whatsoever, we need to create a new layer. I'm going to Shift+Tab up my Layers palette right here. I want you to see that we have a single layer image. And here is the thing, vanishing point is always seeing the composite image, so a merged version of all layers inside of your document, but then it turns around and deposits its results on the active layer. So the ideal situation is that you have a blank layer ready and waiting for vanishing point so that you can modify the results of the Vanishing Point Filter anytime you like.
So here is what I want you to do. Press Ctrl+Shift+N, Command+Shift+N on the Mac for New Layer, and we'll call this Perspective edits or something along those lines and then click OK, and now we have a blank layer ready for vanishing point, great. And vanishing point will see through that layer to the background, so it will actually use the background imagery to make its edits and then it will put the edits on Perspective edits. You get it? Okay, so here we go. We are going to go to the Filter menu, choose Vanishing Point, gone all over planes all over the place. Let's go ahead and zoom in here on this first wall, the one that has the largest brick patterns on it, and then I want you to go ahead and select this tool right here, the Stamp tool.
Now the Stamp tool does double duty inside of the Vanishing Point Filter. It serves as a standard cloning tool like the Stamp Clone tool inside of Photoshop. It also serves as a Healing Brush. So it can do either. So go ahead and click on it to make it active. You want to set the healing right there, the Heal mode from Off which is the default setting, not to Luminance, which will heal the luminance information, but leave the color alone. We want on, full on, because we have both color and luminance wavering across the course of this wall.
So go ahead and choose on and I suggest you work with Aligned on as well, so that we are aligning our brush strokes. Then what you what to do is you want to set a source. So go ahead and press the Alt or Option key and click in order to set the origin at the intersection of a few of the bricks right there. Then as soon as you release, you will see a preview of how your brush is going to paint, which is great, very handy of course. You can increase the diameter of the brush by pressing the Right Bracket key; decrease the diameter by pressing the Left Bracket key. The Hardness you can control just as you can in Photoshop with Shift+Right Bracket or Shift+Left Bracket. It works in finer increments, which is nice.] All right, so I'm going to set the Diameter to actually to 175, and Hardness to 80, and the Opacity wants to be 100%, so that's great, and then I'm going to make sure that my brush aligns.
Now notice the shape of that brush, it's all elliptical, right? You can see it as I move it around here that's an elliptical brush. It's not, it's circular. That is vanishing points idea of a circular brush, it just happens to be rendered in Perspective. That's why I was telling you the proportions of those little rectangles in the grid inside of the plane are so important because they determine the proportions of your brush as well. And if they get too skinny, you are going to have this little vertical line of a brush, which just produces horrible edits. You can give it a try if you like but I recommend you just stay clear of it.
I am going to go ahead after I get this more or less aligned. Now it's never going to be perfectly aligned, even though the Vanishing Point Filter is really wicked smart as I was saying. Notice look, you moved the brush up, look at the angle of those horizontal lines, they are moving up and to the left, and now I move it down they are moving down and to the left. So it's so smart, just sits here and matches the perspective of the scene. What a good little program. However, the problem is that these bricks aren't necessarily rendered impeccably well. And so we have got some wavering tiles. They are not even bricks. They are tiles. Why do I keep calling them bricks? They are not necessarily all uniform. So you can knock yourself out to make sure that every tile looks exactly right. I don't recommend you do that. It's a little too masochistic. I recommend that you just kind of just accept that people aren't going to really notice very much.
All right anyway, I'm going to go ahead and paint that area away. You don't want to paint too high, you are going to start cloning the graffiti some more. So I'll just go as high as I can go without running into former graffiti there and then I'll release in order to clone that graffiti away. Now I think this looks pretty good. I do have a little bit of repetition right there, this line that's also appearing down here, and you can see, by the way, the two crosses; the green cross shows the source and the blue cross or it's actually kind of a white cross here, shows the destination. So you can see that, of course, I'm going to clone this area because it's down there at the source.
So if you don't want that happen, if you want to clone that away then you'd have to Alt-click or Option-click to set a different source point. I'm going to set it over here, Alt-click or Option- click at this location and then let's see, if we can just do a single click in order to get rid of that without making a mess of things. Now it's great, pretty great. I mean we have got a little bit of weirdness right there. What the heck? Well let's get rid of the weirdness. Let's click on the weirdness to get rid of it and it looks good I think. All right and then let's go ahead and set another source point from my edits. It helps if you kind of move your cursor off to this side like this and then press Alt or Option and then go looking for your source point because otherwise, you are going to covered up with your brush preview right there.
So I'm going to Alt-click or Option- click at -- let's say this location right there, and then I'll clone it if I can, across that whatever that text says up there. It looks like it said the word milkman but I don't think that was really anything. It's in a different language, and then I'll paint that away. Let's see if we can go ahead and Spacebar+Drag things over. You know one of the things that's a little irritating about this filter on the Windows side of things is that the options-- it's got plenty of opportunities for your options to get stuck. So like when you change Heal from off to on for example, then it stuck on like that, so helpful. And then when you press the Spacebar, you can't get the Hand tool anymore. If you find that happening, you Windows people, you Macintosh people thankfully aren't going to run into that problem, but if you, Windows people do, you have to switch tools and then you can get back to your Spacebar dragging, so many workarounds with this Windows stuff.
All right, so press and hold the Alt key, the Option key on the Mac. I'm not going to completely fix this wall in front of you because it does take a little bit of effort and a little bit of time and it's kind of like watching your paint dry, but Alt-click or Option- click at that intersection right there, and then let's go ahead and paint this away. I'll tell you some familiar things work. Let me point one out for example. Notice that these bricks are wavering a little more than I would like them to. So I could go with a small brush. I could reduce the size of my brush and I could click here check this out, click here at that location, oops, that off. So let's go ahead and turn off Aligned.
I just press Ctrl+Z or Command+Z on the Mac to undo that modification. I'll turn off the Aligned checkbox for a moment, and let's see if we can find a better alignment. Oh, look at that, let's set a better source point there, Alt-click or Option-click at this location right there and let's go ahead and begin painting. Actually, let's lower that, Alt-click or Option-click right there and then we'll begin painting at this location. I'll click in order to establish the alignment, that's what I'll do, and then I'll turn on Aligned like so.
Then I'll try to remember where the heck I was. And I'll Shift-click like so in order to draw a straight line across there. So click and Shift-click for a straight line. Now this happens to be a horrible demonstration of that function because I just charred the wall at this location, I like heated it up. So forgive me for doing that, I did not mean to scorch the wall. Let's go ahead and press Alt or Option, and click once again. Those of you who are following exactly along with me will want to do this. Who are making even exactly the same mistakes I'm making. Let's go ahead and paint that away. That doesn't seem likely, but you never know, and I'll paint this and see what has get better. That's good.
All right, so I'm going to keep doing this. I'm going to keep working on this wall, you keep working on your wall, just remember that I'm in the background going, "Boy, girl, you are doing a great work" and then once you are done, beating your head against this wall here, rejoin me. In the next exercise, I have lots more fun stuff to share with you. Once we get this wall right, we can duplicate it onto the other walls. That's really easy as you'll see.
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