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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Skews and perspective-style distortions


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Skews and perspective-style distortions

Alright now purely for the sake of variety here I have modified a few of the elements inside of this tondo themed image. I have used the hue/saturation command to give the frame something of a gilded appearance. I have colorized the Michael Angelo fresco in the background, I have rotated the hands a little bit, I have modified the face ever so slightly and perhaps most obviously I have switched out the Raphael Cardinal with another Raphael image one of the famous cherubs from the Sistine Chapel and this time around we are going to try out a few of the distortion functions that are available to you when you are working with a Free Transform command.
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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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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Skews and perspective-style distortions

Alright now purely for the sake of variety here I have modified a few of the elements inside of this tondo themed image. I have used the hue/saturation command to give the frame something of a gilded appearance. I have colorized the Michael Angelo fresco in the background, I have rotated the hands a little bit, I have modified the face ever so slightly and perhaps most obviously I have switched out the Raphael Cardinal with another Raphael image one of the famous cherubs from the Sistine Chapel and this time around we are going to try out a few of the distortion functions that are available to you when you are working with a Free Transform command.

Now turn your attention for a moment to the Layers palette. You will notice that I have kind of tidied things up a bit. I have put all of the clock face elements inside of the face group and that includes the clock face from Nicolas Belton as well as the Raphael cherub and a little bit of a relief overlay there. And then comes the frame layer which is sitting loose inside of the stack and then finally we have a group for the hands for each of the clock hands, the minute hand, the hour hand and the second hand. Alright so I am going to go and twirl that close.

What I would like you to do is go ahead and select all of the elements that make up the clock. So, click on the face group and then Shift Click on the hands group. That will select that entire range of layers including the layers that are inside the group. And if you Ctrl drag the clock around inside the image Window you notice that the entire clock moves independent of the Michael Angelo fresco in the background which should be deselected inside of the Layers palette. Alright I am going to undo that movement. Now one of the wonderful things about the Free Transform command is that it is applicable to multiple selected layers at a time.

So I would like you to go up to the Edit menu and choose a Free Transform command or of course you can press Ctrl T or Command T on the Mac. Now I mentioned how you can scale the image by dragging any of these handles either a corner handle like so or, I will undo that movement, you can also drag one of the side handles which includes the top and bottom handles by the way in which case you will squish the image like I have here. Alright I will undo that modification as well by pressing Ctrl Z, Command Z on the Mac. If you want to slant or distort the image all you have to do is press and hold the Ctrl key on the PC or the Command key on the Mac while dragging one of these handles.

For example I am going to Ctrl drag the side handle right here and notice that I skew the image or if you prefer slant the image on screen and I will go ahead and Ctrl drag or Command drag this top handle as well. So that gives you a sense of the kind of skews that you can perform and your slants will be recorded up here inside of the Options bar to the best of Photoshop's ability, it doesn't always do such a great job of recording the slant information as it turns out but that's what these H and V values are all about.

This is telling us that we have 4.6 degrees of horizontal skew and for some reason it's telling us that we have 0 degrees of vertical skew because it's gone ahead and rendered out the skew as a straight rotation which maybe accurate as it turns out, not sure, I will leave it to Photoshop to figure that one. Anyway you can also Ctrl or Command drag a corner handle and if you do, you will move that corner handle independently of the other corner handles around the transformation boundary and that's called a four-point distortion because you can move each one of these four corner points independently of each other once again by Ctrl dragging or Command dragging that point around.

A few other tricks that you should keep in mind if you Ctrl Shift drag one of the points, notice that you will constrain it along the existing axis. So you will either constrain along this sort of horizontal axis that you have setup or along the vertical axis that you have setup and that's once again a function of pressing the Shift key along with Ctrl or Command as you drag one of the those corner handles. Of course the same thing applies when skewing, you can Ctrl Shift drag or Command Shift drag in order to skew along the existing skew line that you have set up, along the existing axis as Photoshop sees it.

Check this one out, this one is really weird as it turns out that if you press Ctrl Alt or Command Option on the Mac and drag one of the handles you will move the opposite handle symmetrically around the transformation origin and that goes for not only Ctrl Alt or Command Option dragging a corner handle but also Ctrl Alt or Command Option dragging a side handle. Alright this isn't really the effect I want. So I am going to go ahead and press the Escape key in order to exit the Free Transform mode and restore the original unmodified version of the selected layers and I am going to press Ctrl T or Command T again to once again reenter the Free Transform mode.

So what I have done is I have just cleared out all the old garbage I have applied and reentered the free transform mode so I can start things over again because what I really want to do is I want to apply a perspective distortion. That means pressing a whole lot of keys. You press Ctrl Shift and Alt at the same time or Command Shift and Option on the Macintosh side and then drag one of the corner handles and notice what you get, you get a pure perspective style distortion and I have still got Ctrl Shift and Alt down as I am making these modifications.

Now I am going to release the keys and drag up on this top handle in order to stretch the image upward a little bit and I might go ahead and increase the impact of the effect by Ctrl Shift Alt dragging one of these lower handles a little bit more one of these lower control handles and then I will Ctrl Shift Alt drag on one of the top handles on one of the top corner handles and then I will drag up a little bit, I don't have the keys down any longer because I am performing a scale. I will drag up a little bit on the top handle in order to stretch the image upward and finally I will Alt drag not Ctrl, I am just Alt dragging the side handle outward in order to move both of the side handles symmetrically outward with respect to that transformation origin in the center there.

And once I get the effect that I am looking for, I will press the Enter key on the PC or the Return key on a Mac in order to accept my perspective style distortion. So there it is. This is the original version of the clock layer and this is the modified version of the clock layer thanks to the distortion functions that are available to you when you Ctrl drag or Command drag one of the handles inside of the Free Transform mode.

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