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Okay gang. Now for this final demonstration of the immense power of the Vanishing Point Filter, I'm going to show you how to wrap artwork around multiple surfaces. So let's make sure that we have both our artwork and our surfaces open. The two images in question are Chans & Masks.psd, which you see before you right now and DVD case.psd, which we saw just a moment ago. You can see it again, here it is. Let's go to the Chans & Masks.psd image. I want you to press Ctrl+A, but we've got two layers that we're trying to contend with here, because of my little CS4 guy right there. So press Ctrl+Shift+C or Command+Shift+C on the Mac in order to copy a merged version of all of the layers inside of this image.
Now go back to DVD case. Let's create a new layer by pressing Ctrl+Shift+N, Command+Shift+N on the Mac, and I'm going to call this guy Artwork, like so, or maybe lowercase a, because I've got a lowercase d for depth, fine. Click OK, and then I'm going to go to the Filter menu and choose the Vanishing Point Filter. I'll press Ctrl+V or Command+V on the Mac to paste in that artwork. It is a merged version of the artwork; I'm seeing both CS3 and CS4 in red on top of it.
Now, I'll go ahead and drag my artwork down onto one of the planes. Now, where you're seeing the default settings, you would not be seeing what you're seeing now in front of you, at least inside of the video. But I've modified my settings a little bit because I needed to restrain that big huge Scrubbco logo that was sliding down onto the floor. I needed to eliminate that problem. So I turned off an option that's turned on, by default. We want to turn it back on. So go up here to little menu icon, and notice this option right here that says Allow Multi-surface Operations. Go ahead and turn it on. Now the artwork will wrap onto all of the connected planes, this is very important, were these planes not connected, then we would not be able to wrap onto multiple surface.
It's just because we pulled that perpendicular planes and then we swung them that this is able to work. It would also work with perpendicular frames that we had not swung, but they do have to be linked to each other, the planes, that is. All right, so this is looking good. Now the problem is the artwork is too big, notice that if I align the spine of the artwork to the spine of the box, then Lynda's head is getting cut off over here, the logo, and the ISBN numbers are getting cut off and my face is getting cut off. So my goodness, my eye is going, it's just Lynda's shoulder. Gee whiz! We need to reinstate some body parts here.
Go to the menu icon and turn off Clip Operations to Surface Edges, so that we can see the full edges all the way out, and that will enable us to gain access to our control handles when we want to scale this artwork. So I'll go ahead and switch to the Transform tool right there. Let me show you what I mean. You can see now that I do indeed have access to all of my corner handles and my side handles, my top and bottom handles and so on. If we were clipping the operations, these are operations, whatever, clip the artwork to surface edges, then we would lose those transformation handles. They just totally disappear, which is nuts, in my opinion. It's one thing to clip the artwork, it's another thing to clip away the interface, but anyway, that's what they do. So let's go ahead and turn that back off, like so.
So I'm going to go ahead and scale this guy down, right there. I'll scale this corner handle as well, so that we bring Lynda back into the picture. Then at this point we just need to make a determination about whether the spine fits the way we wanted to, I think, it does, I mean the spine artwork right here. You need to make sure that the logo text right there, Lynda.com, fits inside the spine. Everything looks really good to me. Of course, you could rotate if you wanted to or something along those lines, but this is perfect, I think. So I'm going to go ahead click OK in order to accept my modification.
Now the only problem at this point is that we don't have any depth. We don't have any shading associated with this effect, and that's Vanishing Point for you. It is strictly a distortion tool. It does not do any shading or any lighting or anything along those lines. So you're just matching the perspective of the scene, nothing more. If you want to add shading, you're going to have to do it using other methods. What I did was I created this depth layer right there, which is really just a series of areas that I selected using the Lasso tool. Then I filled with these gradients here, these light gray to white gradients inside of these three regions.
You can see that this layer, which resembles the folded piece of paper, it actually extends outside of the DVD box. So we need to do a couple of things. We need to go ahead and clip everything to the box to the best of our ability, and in my case, I can just go ahead and clip the depth layer to the artwork layer by Alt-clicking or Option- clicking on that horizontal line. So, now we've got a nice clipping going on. We don't have too much paper to work with. Of course, we don't want it to look like just a bunch of blank paper. That would kind of ruin the effect of the artwork. So I'll switch to the depth layer. I want to keep the shadows. I want to drop out the highlights. Of course, I'm going to change the blend mode. We've seen this a million times now, but still, it's always we're seeing over and over again. Change the blend mode to Multiply, because that is such a rocking blend mode.
This is what the artwork looks like without that layer. This is what it looks like with that layer. Why don't we go ahead and fill the screen by pressing the F key a couple times. Zoom in. This is the final version of our artwork, thanks to those very simple but elegant operations that are available to us, swing in planes and multi-surface artwork, here inside of Vanishing Point.
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