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Swinging planes to custom angles

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

Video: Swinging planes to custom angles

In these last two exercises, I am going to show you two new features associated with Vanishing Point 2.0 here inside Photoshop CS3 and I call these features swinging planes and multi-surface art. They are both exceptionally cool as it turns out. Now to get a sense of how these features work I want you to open up a couple of images that are found inside the 17 Vanishing Point folder. One of them is this image right here it's called chansandmasks.tiff and this is the box art or my Photoshop channels and mask series 21.75 hours of pure mask and goodness as it turns out and it features the silhouettes of all the folks that work here at www.lynda.com engaged in their workday activities such as boxing in this gentleman's case.

Swinging planes to custom angles

In these last two exercises, I am going to show you two new features associated with Vanishing Point 2.0 here inside Photoshop CS3 and I call these features swinging planes and multi-surface art. They are both exceptionally cool as it turns out. Now to get a sense of how these features work I want you to open up a couple of images that are found inside the 17 Vanishing Point folder. One of them is this image right here it's called chansandmasks.tiff and this is the box art or my Photoshop channels and mask series 21.75 hours of pure mask and goodness as it turns out and it features the silhouettes of all the folks that work here at www.lynda.com engaged in their workday activities such as boxing in this gentleman's case.

And this person here is strangling him or herself and that's the kind of stuff that they do here. It's just a jamming action packed place. Alright so go ahead and open this image. We are going to map it around a DVD box as it turns out and that DVD box is included here and it's called dvdcase.psd also found inside that same 17 Vanishing Point filter and notice that it's made up of non-perpendicular surfaces. So the backside of the DVD case meets the spine which meets the front side of the case at custom angles.

Actually pretty obtuse angles meaning that they are bigger than perpendicular, they are greater than 90 degrees. Now the first version of the Vanishing Point filter that was included with Photoshop CS2 was able to accommodate perpendicular planes only but Vanishing Point 2.0 can handle custom angles as it turns out. So let's start things off by setting up our perspective grid, we don't need a new layer for that, you just need to go up to the Filter menu and choose the Vanishing Point command.

And notice that I have created a grid in advance for you just to give you a sense that sure enough you can create planes at any angle that you like. Why don't you go ahead and delete those planes however by pressing the Backspace key here on the PC or the Delete key on the Mac and we will draw our own planes because that's a lot more fun after all. I am going to click on 4 points along the rear surface of the DVD case, you can start on the front surface if you prefer. It's just that I am left-handed so I tend to work from the left over to the right; I read that way as well which makes life very, very confusing as it turns out.

Alright so anyway now I have got this perspective grid set up pretty well, this first grid and I might drag the corner handles around a little bit to get things better aligned with the DVD case and of course I can take advantage of that super duper wonderful X key trick that allows me to temporarily zoom in on a detail inside of the image, zoom into a 2X level of magnification from where I was originally. Alright now let's drag out a related plane by pressing and holding the Ctrl key on the PC or the Command key on the Mac and dragging from the side handle right there.

Now at this point you might say well gosh Deke that looks pretty perpendicular to me and it doesn't match the angle of the spine at all. Goodbye, I am done with your training, it's no good. Well wait a second, here's the deal. Initially you have to drag that plane out at a perpendicular angle but then you can swing it like a door and I will show you how that swinging works. Go ahead and press and hold the Alt key or the Option key on the Mac and then drag that door around like so. Alright so with the Alt or Option key down you can swing to any angle that you like and you are going to also go ahead and modify the angle value.

If you know exactly what that angle should be then you can enter an angle value as well. So I could change it to 180 degrees for example which would be directly in line with the backside of the DVD case. That of course is ridiculous. I might as well just do that with one plane instead of two. Anyway, I am going to go ahead and increase the angle by pressing Shift Up arrow and something along the lines of 210 degrees works out pretty well for this image. Now I will drag the edge in a little bit and I might do a little additional swinging here by Alt dragging this, buying around a little bit.

Alright anyway once I get it to a point that I like 211.88 degrees splendid, I will go ahead and make sure that it matches the spine, that it matches the size of this spine like so little access over into the other side of the spine it's probably good idea and then I will Ctrl drag out another plane. Now it's going to sort of recede into the distance there and that's by the way Command dragging of course on the Macintosh side of things. Then once I get the plane set up and it doesn't even have to be the right size or anything. In fact you want to keep it pretty short because it's going to swing out pretty good as it turns out.

Now Alt or Option drag that edge in order to swing it baby and notice that that tiny little edge there, it looked like it was so small, turns into a big gargantuan edge when we swing it outward. It was just that it was in such sharp perspective, we couldn't see how big it really was. Alright let's go ahead and drag this edge in so that it matches the DVD case and that's wunderbar. What do we do next people? As soon as we get a good grid in place, we go ahead and click on the OK button, we don't make any pixel level modifications because then we might want to undo them and that would mess up our grid, that would get rid of our grid in fact.

So let's just go ahead and click OK, then go up to the File menu and choose the Save command. I am not going to do that because then I would save over the grid, I already gave you. But that gives you a sense of it's sort of the best habit, the habit you want to get into when you are working with a Vanishing Point filter inside of your own images. Alright so we have set up a grid with swinging planes baby, in the next exercise, the next and final exercise, we are going to add some multi-surface art.

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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 · 39103 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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