Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Skews and perspective distortions

From: Photoshop CS4 One-on-One: Advanced

Video: Skews and perspective distortions

In this exercise, I'm going to introduce you to the skew and perspective style distortions that are available to you when you're working inside the Free Transform mode. Now, I should caution you that these are not true perspective effects. So your elements will not decline toward the horizon, meaning that they do not appear to go smaller as they move away from you, rather, you're just moving points toward each other independently as you'll see. If you want true perspective style distortions, then you go to the Filter menu and you choose the Vanishing Point command, and we will be discussing Vanishing Point, which is an application unto itself in a future chapter of this series.

Skews and perspective distortions

In this exercise, I'm going to introduce you to the skew and perspective style distortions that are available to you when you're working inside the Free Transform mode. Now, I should caution you that these are not true perspective effects. So your elements will not decline toward the horizon, meaning that they do not appear to go smaller as they move away from you, rather, you're just moving points toward each other independently as you'll see. If you want true perspective style distortions, then you go to the Filter menu and you choose the Vanishing Point command, and we will be discussing Vanishing Point, which is an application unto itself in a future chapter of this series.

But for now, we'll just be taking a look at these more convenience options, and they can be good enough for many different kinds of distortions as you'll see. So I'm working inside of this image called Blue boy.psd, and the idea here is I just switched out the cardinal for this adorable Raphael Cherub and then otherwise I have just colorized a few things and moved the hands around just so you get the sense that time has passed. Here's what I want you to do. I've also tidied up stuff here in the Layers palette as you can see.

So if you Click on hands and Shift+ Click on face, then you're going to select all of the layers that make up the clock. So notice, if I press the Ctrl key or the Command key on the Mac and I start dragging things around, I'm going to move the entire clock, hands, and face, and numbers, and frame and all. So I'm going to press Ctrl+Z, Command+Z on a Mac to undo that modification. So let's go up to the Edit menu. First I want you to choose transform, just so that you can see some options that are available to you. Notice we have Skew, Distort, and Perspective. So you can enter all of those modes as independent mode, so that no matter what you're going to skew your selected layers or distort them or apply some perspective to them.

But I'm going to show you ways to do that in the Free Transform mode with the help of a few modifier keys. It's kind of fun once you get a sense of how they work. But also notice that you have some very specific kinds of rotations and flips available to you. So you can rotate selected layers 180 degrees or some variation of 90 degrees one way or the other way, and then you can also flip your selected layers if you like. All of these options are available in the Free Transform mode and here is how it works there. If you go to Free Transform by pressing Ctrl+T, Command+T on the Mac, then you Right-Click or Ctrl+ Click somewhere in the Image window, and then you've got all those options still available to you. So you could flip the clock horizontally, for example. Then you can rotate it, just by dragging outside the bounding box, and so on, and so on.

But I just want you to see that stuff is there. Let's go ahead and press Escape, and then press Ctrl+T or Command+T again, and I'm going to back up a little bit from my image so that I can see that entire bounding box right here. Now, I was telling you, if you drag one of the side handles, whether it's a left-side or a right-side handle or a top or bottom handle, they're all side handles. If you drag one of those guys, then you're going to scale the layers disproportionately, as I've done here. So I'll press Ctrl+Z, Command+Z on the Mac. If you want to apply a skew instead and by skew, I mean slant or shear or whatever you want to call it. You press and hold the Ctrl key or the Command key on the Mac, and you drag one of these side handles. So for example, I'm going to drag this handle down like that and notice that I'm moving this handle, the top handle, independently of the bottom handle and therefore creating a slant, and I could apply a different kind of skew. In this case, a vertical skew, by Ctrl+Dragging or Command+Dragging say the right handle, and as I do that, Photoshop is going to do its best to keep track of my skewing up here in the Options Bar, and notice that it's giving me 7.1 degree horizontal skew. But then it went ahead and rendered out my vertical skew as negative rotation right here, and it left the vertical skew value 0.

I'll tell you what, that could be totally right. The numbers sometimes don't add up properly. Once we start applying distortion, things get a little wonky. But for all, I know this is how things reconcile. It's up to Photoshop. I don't really care. Once I start getting in skew territory, I rarely work numerically. But anyway, that's what happens when you Ctrl+Drag the side handle to skew. So what about if you Ctrl+Drag the corner handles, what happens then? Well, let's go ahead and escape out for a moment so that we can start this over again. I'll press Ctrl+D or Command+D on a Mac, and then I'm going to Ctrl+Drag a corner handle and notice when you do that, you move that corner handle independently of the other corner handles which remain stationary. What I've done now is I'm applying what's known as a four-point distortion.

So I can do this as much as I like. Ctrl +Drag this corner handle, that would be Command+Drag on a Mac. Ctrl+Drag this corner handle, that's Command+Drag on a Mac. So you have ultimate freedom. You can just drag these guys all over the place, and then start doing things like Ctrl+Dragging or Command+Dragging the side handles as well. So basically what it comes down to is when you have the Ctrl key down or the Command key on the Mac, you can move any handle you drag independently of opposite handles thereby creating either what appears to be a slant in the beginning, and then ultimately renders out as a four point distortion as we now have.

So another way to work, Gosh! I bet those other modifier keys come in pretty handy too. Let's go ahead and try them out. What happens if you press Ctrl and Shift at the same time? That would be Command and Shift on the Mac. Why then you constrain the angle of your drag? So notice right now that I'm constraining the angle of my drag, so that this line right here along the top is staying at the same angle, whatever that angle is. So there we're able to create something of a perspective style effect at this point.

Then we also have the option of Ctrl+Alt+Dragging, this would be a Command+Option+Drag on the Mac, and you will now move two opposite handles in league with each other, basically, either toward each other or away from each other, like so. While the other two, the two opposing corner handles remain the way they were. All right then. So do I expect you to remember all this? I really don't. The reason I'm throwing it all at you is just so that you feel entitled to go in there and experiment if you like. Once you know that pressing the Ctrl key or the Command key on a Mac moves the handles independently, then you can start throwing the other keys in and see what happens.

I am going to press the Escape key in order to exit the Free Transform mode because now we're really going to get down to business here. I'm going to zoom in a little bit and I'm going to press Ctrl+T, Command+T on a Mac and now what happens, if you throw down all the keys? Every single modifier key goes down. So mash your fist on Ctrl+Shift+Alt or Command+Shift+Option on the Mac and drag one of these corner handles and notice what happens. The opposite corner handle moves as well, thereby creating something that resembles a perspective style distortion. So this is what passes for a perspective effect here in the Free Transform mode. I'm going to go ahead and drag, I'm just dragging now, just dragging this top handle down so that I have better access to this row of top handles here, and then I'll Ctrl+Shift+Alt+Drag, Command+Shift+ Option+Drag the handles pretty far out, I guess I should be zoomed out actually if I'm going to do this kind of wackiness and that might be a little farther than I want to go. That's pretty extreme I think. Let's Ctrl+Shift+Alt+ Drag this back in. This is the Command+Shift+Option+Drag on the Mac.

Let's go ahead and drag this guy back up as long as I'm working this way. Let's Ctrl+Shift+Alt+Drag these guys in like so, that's Command+Shift+Option+Drag on a Mac. Let's Command+Shift+Option+Drag, Ctrl+Shift+Alt+Drag these guys out. Let's drag this guy up like so and notice this here, the clock is just rushing at us now, awesome. All right. I'm going to press the Enter key or the Return key on the Mac in order to render that out and notice that we went from a pretty jagged looking image to a nicely rendered image after the effect was applied. So here it is.

We have this frame really rushing out at us with the clock declining in the background. So we get something sort of resembling a perspective effect, but its faux perspective my friends, believe me. Things start breaking up when you go quite this extreme but it is an option. In the next exercise, we're going to move to the final Free Transform option, the Warp command.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23956 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS4 One-on-One: Advanced.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.