Creative Compositing Part 3

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PhotoShop 6.0 - The Escape
Creative Compositing - Part 3
Nick Rumbelow - April 2002
2
Table of Contents
3
The Final Result
Fig.1 The Completed Composition
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Section 1
Introduction
5
Introduction
Objectives

• Continuing with the Creative Compositing series,
  The Escape helps you learn how PhotoShop 6.0
  can be used creatively and effectively in our
  work in Creative Services at Morgan Stanley.
• The series takes an immersive approach,
  throwing you in at the deep end, with detailed
  explanations of whats happening, why its
  happening, and how to deal with it. The Tools are
  explained as they are being used, which allows
  PhotoShop to reveal its secrets sooner, and you
  can begin to enjoy discovering your creative
  potential.
• By guiding you through the production of creative
  compositions, these tutorials aim to provide you
  with enough experience to anticipate some of the
  issues you may face in your work, and the
  confidence to experiment and understand the
  results of what you do.
• But most of all, it is hoped that you will enjoy
  using the software, and not be held back by
  considering anything to be beyond you. Although
  PhotoShop may appear daunting at first, once you
  understand a few simple concepts about how
  graphics are produced, it is a very easy
  application to use. If you can imagine it,
  theres a way of creating it in PhotoShop, just
  experiment.
• In this tutorial, the focus is on creating
  photo-realism. It may sound obvious, but the
  truth is that to be able produce convincing
  results, you must first learn how to look! Dont
  be held back by self-doubt - experiment,
  experiment, experiment.
• The pace of this tutorial is a little faster than
  the others, so to help keep things clear, styles
  of text in this tutorial indicate the following
• Bold, black Arial Instructions
• Bold, blue Arial Menu items, options or tools
• Bold, red Arial Settings or selections
• Times New Roman Theory
• Italic Times New Roman Illustrations

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6
Introduction
Topics Covered

• Palette Well
• Custom patterns
• Define Pattern
• Seamless Patterns
• Offset Filter
• Clone Stamp Tool
• Clouds Filter
• Add Noise Filter
• Define Brush
• Hue/Saturation
• Units and Ruler Preferences
• Guides
• Actions
• Mosaic Filter
• Shear Filter

• Transform Selection
• Colour Balance
• Bevel Emboss Style
• Layer Mask
• Perspective
• Gradients
• Snapshots
• Bas Relief Filter
• Colour Channels
• Texture Channel
• Lighting Effects
• Focal Depth
• Shadows
• Pen Tools
• Alpha Channels

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Section 2
The Wall
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The Wall
Getting Started
1 The Plan
2 Create a New Document

• First, youre going to build the wall with bricks
• Cover it with plaster
• Hang the wallpaper
• Create the frame
• Paint the picture
• Tear away some of the wallpaper
• Hack away some of the plaster
• Distort some wallpaper as though the wall is
  uneven
• Bring it all together by creating some lighting
  effects

• To create the image at the correct dimensions to
  fit a PH1 placeholder
• Open a new image using the following settings
  (Fig. 2)
• Width 17.42 cm
• Height 11.20 cm
• Resolution 300 dpi
• Mode RGB Colour
• Contents White
•  

3 The Bricks
Fig. 2 New Image

• Leaving the Background layer blank, create a new
  layer and name it Bricks
• As well as filling an area with colour, you can
  also fill with a pre-defined repeating tile
  pattern. But first you need to define the pattern
  you want to use
• Open the file S\Training Department\Staff
  Personal Training\PS Training - The Escape\Escape
  Files\Bricks.jpg (Fig. 3)

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9
The Wall
Repeating Tile Pattern
Fig. 3 Bricks.jpg
4 Define a Custom Pattern

• Select All by pressing CtrlA
• Select Edit gt Define Pattern
• Accept the default name for the pattern and click
  OK
• The contents of the selection have now been
  copied into a store of patterns, which will
  always be available as a fill until it is
  deleted.
• Switch back to the composition and make sure the
  Bricks layer is still selected
• Select Edit gt Fill (ShiftF5)
• Set the Contents to Use Pattern (Fig. 4).
• The Custom Pattern option becomes active
• From the Custom Pattern drop-down list, select
  the brick pattern you just created
• Choose Normal for the Blending Mode, and set the
  Opacity to 100
• Click OK
• The image fills with the brick pattern, but it
  doesnt look natural because it is a repeating
  tile and you can see the edges of the pattern
  tiles where they join. The pattern is not
  seamless.

Fig. 4 Fill Patterns
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10
The Wall
Offset the Edges
5 The Offset Filter
Fig. 5 The Offset Filter

•  Go back to the Bricks.jpg
• To solve the problem, you will shift the top and
  left edges of brick into the centre of the
  pattern, and get the bottom and right edges to be
  shifted out of the pattern and wrapped back to
  replace the top and left edges
• Select Image gt Image Size
• You need to note the pixel dimensions, in this
  case 400 x 450 pixels
• Click Cancel
• Now select Filter gt Other gt Offset (Fig. 5)
• You need the edges to offset half the patterns
  width and height
• Set the Horizontal edges to be shifted 200 pixels
  to the right
• Set the Vertical edges to shift 225 pixels down
• The Undefined Areas should be set to Wrap Around
• Click OK

Fig. 6 The Offset Bricks
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11
The Wall
Hide the Seams
Fig. 7 The Clone Stamp Tool
6 The Clone Stamp Tool

• So now the seams have moved away from the edges,
  into the centre, where you can edit them (Fig.
  6). You will subtly clone from different areas of
  brick and paint over the seams
• Select the Clone Stamp Tool (Fig. 7)
• Choose a 21-pixel brush set at 0 Hardness (100
  feathered)
• In the Clone Stamp Options at the top of the
  screen, set the Mode to Normal, and the Opacity
  to 50
• Select Aligned
• This means that the point you are sampling from
  will follow relative to your cursor movements. If
  this option was not checked, you would keep on
  sampling from the same place, which can make it
  look very obvious that you have been cloning
• You want to sample from this layer only, so keep
  Use All Layers unchecked

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The Wall
Seamless Tile
7 Cloning
Fig. 8 The Edited Bricks as a Seamless Tile

• To set the point from which you wish to sample
  first, hold the Alt key down
• Notice the cursor has changed into a stamp icon.
  This indicates that the sample point can be set
• With the Alt key still held down, left-click to
  one side of the seam you are about to cover
• Let go of the Alt key, move the cursor over the
  seam, and left-click a few times
• Whenever you click, the seam is replaced with the
  area sampled
• Sample the brickwork from the other side of the
  seam, and continue to cover it
• For the best, least noticeable effect, keep
  changing the sample point, and just dab with
  mouse, rather than painting in long strokes
• Eventually all the seams will have vanished (Fig.
  8)
• Select All again (CtrlA), and define the pattern
  once more (Edit gt Define Pattern)
• Accept the default name again
• Close Bricks.jpg without saving
• Now swap back to the composition
• Press ShiftF5 to open the Fill dialog box (Edit
  gt Fill)
• This time, when you pull-down the Custom Pattern
  menu, a second brick pattern has appeared. New
  patterns are always added top to bottom, left to
  right

8 Adding Deleting Custom Patterns

• Delete the old pattern (the one on the left) by
  right-clicking it and selecting Delete Pattern
• Select the new brick pattern, and keep the other
  settings as before
• Click OK
• Now the bricks are seamless, and the wall is
  filled more convincingly (Fig. 9)
• Save your composition

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The Wall
The Edited Brick Wall
Fig. 9 The Brick Wall
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14
The Wall
Plastering
9 Plaster Mixture
Fig. 10 Add Noise to the Plaster

• You can display the names of the colours in the
  Swatches palette by clicking the little arrow at
  the top-left of the palette to show the Swatch
  Options, and then selecting Small List

• Create a new layer above the bricks, and name it
  Plaster
• For this, you will basically create a grey layer
  with some noise in the tones. Think of graphic
  noise as visual white noise, like a random
  disturbance. The best starting point for getting
  some natural variations in the tone is to
  generate some clouds
• Choose 15 Grey as the Foreground colour from the
  Swatches palette by left-clicking the colour
• Hovering the cursor over the colour swatch will
  reveal its name
• Set the Background colour to 40 Grey by holding
  Alt while you left-click the colour
• Select Filter gt Render gt Clouds
• Repeat the filter (CtrlF) until you are happy
  with the balance of tones
• Add some grain to the texture, by selecting
  Filter gt Noise gt Add Noise
• Use the settings as in Fig. 10
• Finally, blur the effect by selecting Filter gt
  Blur gt Gaussian Blur, using a Radius of 4 Pixels
• The texture should now look like Fig. 11
• You will come back to these two layers later, but
  for now, hide them so that they do not interfere
  with the next stage
• Save your composition

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The Wall
The Plaster Texture
Fig. 11 The Plaster Texture
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Section 3
Decorating
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Decorating
Design the Wallpaper
10 The Plan
Fig. 12 Draw the Flowers

• As were too poor to buy our wallpaper, youre
  going to design and make it yourself
• You will draw a flower (or any other shape)
• Repeat and transform it
• Define it as a brush
• Paint more flowers
• Define the flowers as a pattern
• Fill the wall

11 Create a New Layer

• Create a new layer above the Plaster layer. Dont
  worry about naming it, as it will be merged later
• Set Black as the Foreground colour
• Draw the flowers leaves using a small feathered
  Paintbrush, then use a slightly larger brush to
  draw the petals (Fig. 12)
• You dont have to draw flowers, you can create
  whatever shape you like, even just a couple of
  squiggles

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Decorating
Design the Wallpaper (contd)
Fig. 13 The Finished Flowers
12 Scale and Arrange

• Scale the flowers down to about a quarter of
  their size, then move them out of the way so that
  you can draw the next flower
• Create another new layer and draw the other
  flower in the same way
• Scale this flower so that it is the same size as
  the others
• Arrange them all offset from each other as in
  Fig. 13

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Decorating
Design the Wallpaper (contd)
Fig. 14 Scale Options
Reference Point Location
Use RelativePositioning
Horizontal Scale
Vertical Scale
Horizontal Skew
Horizontal PositionReference Point
Vertical PositionReference Point
Maintain Aspect Ratio
Set Rotation
Vertical Skew
13 Merge the Flower Layers
14 Define a New Brush

• Link the flower layers together, then merge them
  into one and name it Wallpaper (Layer gt Merge
  Linked)
• Select Edit gt Transform gt Scale
• In the Transform Options at the top of the
  screen, click the Maintain Aspect Ratio chain
  icon to constrain the proportions (Fig. 14), then
  set the Width Scale to 1cm and press Enter twice

• Now the flowers are ready to become a brush
• Zoom-in by drawing around the flowers using the
  Magnifying Glass Tool
• Use the Rectangle Marquee Select Tool to draw a
  square selection over the flowers (Fig. 15)
• If you begin to select, then hold the Shift key,
  the selection will be constrained to a square
• Select Edit gt Define Brush, and name the new
  brush Flowers (Fig 16)
• Deselect

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Decorating
Design the Wallpaper (contd)
15 Create the Wallpaper Pattern
Fig. 15 Preparing the Flower Brush

• You are now ready to use the new brush to create
  a pattern
• Create a new RGB Colour image, measuring 250 x
  250 pixels at 300dpi, with the contents set to
  White
• Select the Paintbrush Tool
• From the Paintbrush Options at the top of the
  screen, click the Brushes drop-down menu, and
  select the Flowers brush from the bottom of the
  list
• Notice the brush is about a quarter the size of
  the canvas
• Choose four similar colours from the Swatches
  palette as the Foreground colour, and stamp the
  four flowers as in Fig. 17
• Select All by pressing CtrlA
• Select Edit gt Define Pattern, and also name the
  new pattern Flowers
• Close the new image without saving

Fig. 16 Defining the Brush
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Decorating
Create the Wallpaper
17 Adjust the Appearance
Fig. 17 The Flower Pattern

• If youre not happy with the over-all appearance
  of your wallpaper, you can shift the colours
• Later on, you will be applying Lighting Effects
  to the wall, and much of the pattern might fade
  into the shadows, so add definition to the
  pattern by using Auto Contrast (Image gt Adjust gt
  Auto Contrast)
• Select Image gt Adjust gt Hue/Saturation (CtrlU)
• Adjust the Hue and Saturation sliders until you
  are happy with the tones
• Save the composition

16 Fill the Wall With Flowers

• In the developing composition, zoom-out again,
  make sure the Wallpaper layer is active, then
  select Edit gt Fill (ShiftF5)
• From the Contents drop-down, choose Pattern, and
  then select the Flowers from the Custom Pattern
  menu
• Make sure Blending is set to Normal, the Opacity
  is set to 100, and Preserve Transparency is not
  selected
• Click OK
• The layer fills with the pattern, replacing the
  original contents (Fig. 18)

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Decorating
The Finished Wallpaper
Fig. 18 The Wallpaper
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Section 4
The Frame
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The Frame
Setting-Up
Fig. 19 The Guides in Place
18 The Rulers and Guides

• With the wall built, now you can make the frame
• Create a new layer at the top of the palette
• Dont worry about the name yet, as it will be
  merged with others later
• The frame is going to measure 7.5 x 7.5cm, it
  will be 0.5cm thick, and you will use guides to
  set it up
• If the Ruler is not visible along the left and
  top edges of the screen, select View gt Show Ruler
  (CrtlR)
• Select Edit gt Preferences gt Units Ruler, and
  make sure the Ruler Units are set to centimetres
  before clicking OK
• Zoom-in so that you can see half-centimetre marks
  on the rulers
• Select View gt Snap To and make sure Guides is
  ticked
• Select the Move Tool and drag a guide from the
  vertical ruler, and set it at 5.5cm
• Drag another guide from the vertical ruler, and
  set it at 6cm
• Drag two more guides, and set them at 12.5 and
  13cm
• Now drag four guides from the horizontal ruler
  and set them at 2, 2.5, 9 and 9.5cm (Fig.20)

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The Frame
Build the Frame
19 Select the First Piece of the Frame
20 Actions

• Select the Rectangular Marquee Select Tool, and
  from the Select Options at the top of the screen,
  make sure Feather is set to 0px and the Style is
  set to Normal
• Select the rectangle that forms the bottom piece
  of the frame (Fig. 20)
• From the Swatches palette, select a Pale Brown
  for the Foreground colour, and a Dark Brown for
  the Background colour

• To create the wood effect on each piece, you will
  need to perform the same actions four times.
  Similar to using Macros in Microsoft Word, you
  can record a series of actions to be repeated at
  the click of a button by creating a new Action
• If the Actions palette is not visible, select
  Window gt Show Actions
• From the bottom of the Actions palette, click the
  Create New Action button, or click the Actions
  Options arrow and select New Action (Fig. 21)
• Name the new Action Wood, leave the other
  settings as their defaults, and if it is not
  already activated, click Record
• Notice the Record button has turned red
• Select Filter gt Render gt Clouds
• Select Filter gt Noise gt Add Noise, using the
  following settings
• Amount 20
• Distribution Uniform
• Monochromatic On
• Select Filter gt Pixelate gt Mosaic, using a Cell
  Size of 4 Square

Fig. 20 First Frame Selection
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The Frame
Build the Frame (contd)
Fig. 21 Actions Palette
21 Shear the Wood Texture

• Select Filter gt Distort gt Shear using the
  settings as in Fig. 25 using the following
  method
• Position the bottom handle first (Fig. 22)
• Create a new handle by left-clicking on the line
  where it is intersected by the first gridline.
  Drag this handle to near the left edge of the box
  (Fig. 23)
• Click the line where it is intersected by the top
  gridline to create another handle, and drag it
  into position as in Fig. 24
• For the final handle, click the middle of the
  line and drag upwards (Fig. 25)
• Set the Undefined Areas to Wrap Around
• Click OK
• The speckled effect is now warped into a wood
  grain pattern.

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27
The Frame
Shearing the Wood Texture
Fig. 22 First Shear Handle
Fig. 23 Second Shear Handle
Fig. 24 Third Shear Handle
Fig. 25 Fourth Shear Handle
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The Frame
Create the Other Pieces
Fig. 26 The Four Pieces of the Frame
22 Use the Wood Action

• Rather than just duplicating the layer, each
  piece will be unique
• Create another new layer
• With the Rectangular Marquee Select Tool still
  selected, click inside the selection and the drag
  it up so that it is above the piece you just
  created (the wood pattern does not move, just the
  selection)
• To constrain the movement to a straight line,
  start moving the selection first, then press and
  hold Shift
• Now the process will be repeated, so end the Wood
  Action recording by clicking the Stop button
  (Fig. 22)
• To apply the Wood Action, click the Name in the
  Actions palette to activate it, and then click
  the Play button
• Repeat this another two times, to make the four
  pieces of the frame (Fig. 27)
• Delete the last empty layer created by the Action
  and Deselect

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The Frame
Create the Other Pieces (contd)
Fig. 27 The Pieces in Place
23 Reposition the Pieces

• Now to put the pieces together
• Select the layer containing the top piece, and
  select Edit gt Transform gt Flip Horizontal
• The grain now flows in the correct direction
• Select the Move Tool, and move the piece into
  position at the top of the guides
• Activate the next layer down, and select Edit gt
  Transform gt Rotate 90o CW
• Move this into position as the left piece
• For the next layer down, select Edit gt Transform
  gt Rotate 90o CCW, and position it as the piece on
  the right
• The frame should now look like Fig. 27

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The Frame
Create the Other Pieces (contd)
Fig. 28 Cut the Mitre Joint With a 450 Selection
24 Mitre Joints

• Join the pieces by cutting them into mitre
  joints
• Select the layer containing the bottom of the
  frame
• Make this the only layer visible by holding Alt
  while clicking the layers eye icon in the Layers
  palette
• Use the Rectangular Marquee Select Tool to make a
  small square selection anywhere (hold the Shift
  key)
• This selection will become a cutting tool
• Choose Select gt Transform Selection, then holding
  the Shift key, rotate the selection 45o, then
  press Enter
• With the Rectangular Marquee Select Tool still
  active, move the selection into place as in Fig.
  28(a), and press Delete
• Move the selection to the other end of the frame
  piece, and press Delete again as in Fig. 28(b)
• Now for the next piece
• Activate the next layer above
• It becomes visible
• Hide the previous layer by clicking its eye icon
• Move the selection into place, and cut the corner
  away by pressing Delete
• Move the selection to the other end and cut that
  corner too
• Repeat this process for the remaining frame
  pieces

(a)
(b)
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31
The Frame
Join the Pieces Together
25 Merge the Frame Layers
27 Bevel the Frame

• With all the pieces in place, you can now join
  them together in one layer
• Reveal all the layers (including the brick and
  plaster)
• If there are any gaps, just scale the piece so
  that the piece fits the guides by snapping to
  them
• Link all the frame layers together
• Merge the linked layers by selecting Layer gt
  Merge Linked (CtrlE)
• Rename the layer Frame
• Hide the guides, they will not be required again
  till later (CtrlH)

• Finally, bevel the frame by selecting Layer gt
  Layer Style gt Bevel and Emboss
• Use the following settings (Fig. 29)
• Style Inner Bevel
• Technique Smooth
• Depth 500
• Direction Up
• Size 10 px
• Soften 0 px
• Angle 120o
• Use Global Light On
• Altitude 30o
• Gloss Contour Linear
• Anti-aliased On
• Highlight Mode Screen (White)
• Highlight Opacity 75
• Shadow Mode Multiply (Black)
• Highlight Opacity 75

26 Adjust the Colour Balance

• Use the Auto Contrast function (CrtlAltShiftL)
  to enhance the grain
• What kind of wood would you like this to be?
• Select Image gt Adjust gt Colour Balance (CtrlB)
• By default, the Midtones are selected, and
  Preserve Luminosity is on
• Adjust the sliders to change the balance of
  colours in the Midtones to however you want, then
  do the same to the Shadows and Highlights
• By adjusting the colour balance, you can make the
  frame look like mahogany, rosewood, teak, oak or
  pine, etc, you can even stain the wood your
  favourite colour.

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The Frame
Bevel and Emboss Layer Style
Fig. 29 Bevel the Frame
26
33
The Frame
Align the Frame to the Wallpaper
29 Save
28 Align the Frame

• When layers are aligned, the linked layers will
  move to alignment with the active layer

• Your composition should now look like Fig. 31
• Save your work

• With the frame complete, all that remains is to
  align it to the centre of the wall
• Activate the Wallpaper layer
• Link it to the Frame layer, but keep the
  Wallpaper layer active. When layers are aligned,
  the linked layers will move to alignment with the
  active layer
• Select the Move Tool
• Use the buttons in the Move Tool Options at the
  top of the screen to align the frame to the
  centre of the wallpaper (Fig. 30)
• Unlink the layers
•  

Fig. 30 Layer Alignment Options
Align Vertical Centres
Align Left Edges
Align Right Edges
Distribute Vertical Centres
Distribute Left Edges
Distribute Right Edges
Distribute Horizontal Centres
Align Top Edges
Align BottomEdges
Align HorizontalCentres
Distribute Top Edges
Distribute Bottom Edges
27
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The Frame
Complete the Frame
Fig. 31 The Completed Frame
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Section 5
The Sunset
36
The Sunset
PhotoShop 6.0 - The Escape
Setting the Sun
29
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The Sunset
PhotoShop 6.0 - The Escape
Setting the Sun (contd)
Start Opacity Stop
End Opacity Stop
Start Colour Stop
End Colour Stop
Middle Colour Stop
Midpoint Controller
Stop Settings
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The Sunset
PhotoShop 6.0 - The Escape
Setting the Sun (contd)
31
39
The Sunset
PhotoShop 6.0 - The Escape
Layer Masks
Layer Mask Selected Indicator
Layer Mask
32
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The Sunset
PhotoShop 6.0 - The Escape
Snapshot vs. History

• It is strongly advised to take regular snapshots,
  as the History palette is limited

Snapshot
Create New DocumentFrom Current State
Create New Snapshot
33
41
The Sunset
PhotoShop 6.0 - The Escape
Hide All vs. Reveal All
34
42

• The Sea texture was discovered by experimenting
  with all the filters

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43
The Sunset
PhotoShop 6.0 - The Escape
Creating Distance
Delete These Areas
36
44
The Sunset
PhotoShop 6.0 - The Escape
Create the Sun

• Lens flares are discussed in detail in Creative
  Compositing Part 2 - The Forest

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The Sunset
PhotoShop 6.0 - The Escape
Create the Sun (contd)
38
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The Sunset
PhotoShop 6.0 - The Escape
Colour Channels vs. Alpha Channels

• Alpha Channels are greyscale representations of
  saved selections

Colour Channels
Load Channel As Selection
Alpha Channel
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47
The Sunset
Separated Colour Channels
Fig. 42 Red, Green Blue Channels Together
Fig. 43 Red Channel
Fig. 44 Green Channel
Fig. 45 Blue Channel
40
48
The Sunset
PhotoShop 6.0 - The Escape
Lighting Through a Texture Channel

• Texture Channels emboss Lighting Effects through
  Colour or Alpha Channels

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49
The Sunset
PhotoShop 6.0 - The Escape
Lighting Effects
Light Colour Swatch
Light Position/ Direction
Ambience Colour Swatch
Texture Channel
42
50
The Sunset
PhotoShop 6.0 - The Escape
Create Focal Depth
43
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The Sunset
PhotoShop 6.0 - The Escape
Different Types of Shadows
44
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The Sunset
PhotoShop 6.0 - The Escape
Casting a Perspective Shadow
45
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The Sunset
PhotoShop 6.0 - The Escape
Casting a Perspective Shadow (contd)
46
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PhotoShop 6.0 - The Escape
Section 6
Finishing Touches
55
Finishing Touches
PhotoShop 6.0 - The Escape
Creating Paths
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Finishing Touches
PhotoShop 6.0 - The Escape
Creating Paths (contd)
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Finishing Touches
PhotoShop 6.0 - The Escape
Vandalism
Load Path as Selection
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Finishing Touches
PhotoShop 6.0 - The Escape
Torn Wallpaper
50
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Finishing Touches
PhotoShop 6.0 - The Escape
Attention to Detail
Smudge Tool
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Finishing Touches
PhotoShop 6.0 - The Escape
Attention to Detail (contd)
52
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Finishing Touches
PhotoShop 6.0 - The Escape
Unify With Lighting
53
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Finishing Touches
PhotoShop 6.0 - The Escape
Unify With Lighting (contd)
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Finishing Touches
PhotoShop 6.0 - The Escape
Save for Web
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Finishing Touches
PhotoShop 6.0 - The Escape
The Final Result
56
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PhotoShop 6.0 - The Escape
Section 7
Summary
66
Summary
PhotoShop 6.0 - The Escape
Summary

• Section 2 The Wall
• Plan for the end at the beginning
• You can define a selection to become the pattern
  to fill an area by choosing Edit gt Define Pattern
• To fill an area with a defined pattern choose
  Pattern as the Contents in the Fill dialog box,
  then select your custom pattern
• To create a seamless tile for a custom pattern,
  use the Offset filter to bring the edges of the
  pattern into the centre, then use the Clone Stamp
  Tool to cover the seam by sampling from nearby
  areas
• When using an Aligned Clone Stamp Tool, the point
  you are sampling from will follow relative to
  your cursor movements
• An Un-aligned Clone Stamp Tool will sample from
  the same point each time the left mouse button is
  clicked
• For the most natural cloning, paint by dabbing
  with the brush at different opacities, rather
  than with long strokes
• You can display the names of the colours in the
  Swatches palette by clicking the little arrow at
  the top-left of the palette to show the Swatch
  Options, and then selecting Small List
• Hovering the cursor over an individual colour
  swatch will also display its name
• Section 3 Decorating
• Linked layers can be merged by selecting Layer gt
  Merge Linked
• Selecting Maintain Aspect Ratio in the Transform
  Options will constrain the proportions when
  scaling
• To make a square selection, begin the selection
  using the Rectangular Marquee Select Tool, then
  hold the Shift key
• To create a custom brush, make a square
  selection, then choose Edit gt Define Brush. The
  new brush now appears in the Brushes menu

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Summary
PhotoShop 6.0 - The Escape
Summary (contd)

• Section 4 The Frame
• To display the Rulers, select View gt Show Ruler
  (CtrlR)
• New Guides can be dragged from the Ruler
• To set the Ruler units, select Edit gt Preferences
  gt Units Ruler
• To snap selections to Guides, select View gt Snap
  To and make sure Guides is ticked
• A series of actions to be repeated, such as
  filling selections and applying filters, can be
  recorded using the Actions palette
• Colour can be adjusted by selecting Image gt
  Adjust gt Colour Balance (CtrlB)
• When layers are aligned, the linked layers will
  move to alignment with the active layer
• Section 5 The Sunset
• Related layers can be grouped into Layer Sets
• When a Layer Mask is attached to a layer, the
  layer remains untouched while the Mask hides or
  reveals areas of it
• Reveal All means the layer will remain visible,
  while areas covered by the Layer Mask will be
  hidden
• Hide All would hide the layer, revealing only the
  areas covered by the Mask
• A Layer Mask appears in the Layers palette as an
  extra thumbnail joined to the Layer to which it
  is attached by a chain icon
• Take regular Snapshots
• The Bas Relief filter creates an embossed effect
  by raising white areas of a pattern, and
  depressing dark areas and applying the Foreground
  colour to them
• Perspective can be applied to a layer or
  selection by choosing Edit gt Transform gt
  Perspective

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Summary
PhotoShop 6.0 - The Escape
Summary (contd)

• Create Lens Flares in their own layers
• Alpha Channels are greyscale representations of
  saved selections
• An RGB image contains three greyscale versions of
  itself these are the Colour Channels. Each one
  represents the distribution of one colour in the
  image
• A Channel is a Mask, or rather Masks are Channels
• The areas of a Channels colour are represented
  by white, while the areas that do not contain
  that Channels colour are represented by black.
• Shades of grey represent a percentage of colour
  present in that area
• Selections can be saved by choosing Select gt Save
  Selection. They are then stored as Alpha Channels
  in the Channels palette
• Selections can be loaded by either choosing
  Select gt Load Selection, or by dragging the saved
  selections Alpha Channel onto the Load Channel
  As Selection icon in the Channels palette
• Texture Channels emboss Lighting Effects through
  Colour or Alpha Channels
• Section 6 Finishing Touches
• The Pen Tools create versatile editable Paths
  which can be converted into selections
• To help achieve photo-realism make good use of
  the focal tools, such as the Blur and Smudge
  Tools, and the exposure tools such as Dodge, Burn
  and Saturate
• Lighting Effect help to unify the whole
  composition

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PhotoShop 6.0 - The Escape
Section 8
Where to Go From Here?
70
Where to Go From Here?
PhotoShop 6.0 - The Escape
Next
For further study, the following websites offer
PhotoShop tutorials, covering a wide range of
skills and special effects http//www.lynda.com
http//www.adobe.com/products/tips/photoshop.html
http//www.designsbymark.com/pstips/index.shtml
http//hotwired.lycos.com/webmonkey/design/graphi
cs/ http//www.art.uiuc.edu/workshop/photoshop/pho
to_tutor.html http//www.bgsu.edu/departments/tcom
/photoshop.htm http//seurat.art.udel.edu/Site/Inf
oDocs/GIFToot/PhotoTut.html http//www.fur.com/al
mackey/tutorial http//www.magicpixel.com.au/html/
workwel.html http//phototrix.hypermart.net http/
/artlinks.home.att.net/tutlist.htm http//www.even
ing.demon.co.uk/articles.html
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Where to Go From Here?
PhotoShop 6.0 - The Escape
Feedback(1)

• To help improve future tutorials, please use the
  feedback form included in the same directory as
  this tutorial to let me know what you think
• Did you find this tutorial easy?
• Did it work?
• Are the instructions clear, are there areas which
  are not explained well?
• Is the theory clear, did you understand what you
  were doing?
• Was any information missing?
• What topics would you like to see included in
  future tutorials?

• Note
• Samples of the authors PhotoShop work can be
  viewed at www.implicateform./co.uk

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