Tài iệu Photoshop cs5 by Dayley part 92 ppt

Chapter 19: Distorting Images
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Smooth: This mode works best if the frozen areas are distorted differently than the unfro-
zen areas, after you have used another Reconstruct mode, for instance. Smooth copies the
distortion effects of the frozen areas and propagates them through the unfrozen areas.
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Loose: This effect is similar to the Smooth mode, but it creates more continuity.
Note
All the reconstruction modes have cumulative effects, meaning that you can continue to click the Reconstruct
button in any mode to achieve a bigger result. You also can choose another Reconstruct mode and layer it on
top of any other reconstructions you’ve already applied.
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Mask options
The mask options in the Liquify utility change the way masks interact with one another. Using the
drop-down menu that appears when you click any mask option, you can create or modify an exist-
ing Freeze Mask with any selections, transparencies, layer masks, or alpha channels already present
in your image.
These options look similar to the options that modify your selections, but if you are used to the
way the selection options work to change your selections, these options are going to confuse you,
because they do not work the same way at all. In fact, they don’t even work consistently with each
other. For instance, the Replace Selection option adds a mask over the element you choose from
the drop-down menu (Transparency, for instance), but every other option ignores the mask and
uses the unmasked area as the selection. On top of that, all these options treat masks created by
the Freeze Mask tool as selected areas, so when you add a transparency to a Freeze Mask, it looks
more like an intersection.
So, if you are using two different alpha channels from the drop-down menu, the mask options
work just the way you think they are going to, but using these options with the Freeze Mask tool is
confusing. Instead of giving you a list of what the mask options should do, I provide you with an
image of what they really do. In Figure 19.25, I created a Freeze Mask that runs through the flower
and the transparency. As I clicked each mask option, I selected transparency from the drop-down

menu.
Note
In order to use a selection from the drop-down menu, you need to create a selection in the original document,
save the selection using the Select menu, and then deselect the image before opening it in Liquify. If your
image contains an active selection when you open it in Liquify, you can liquify only the selected area.
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The three buttons at the bottom of the mask options are much more straightforward:
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None: This removes any freeze mask placed over the image.
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Mask All: This creates a mask that covers the entire image.
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Invert All: This changes masked areas into unmasked areas, and vice versa.
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FIGURE 19.25
The Freeze Mask tool in conjunction with the mask options creates unexpected results.
Replace Selection Add to Selection Subtract from Selection
Intersect with Selection Invert Selection
View options
The View options let you change the way you view the image in the Liquify utility.
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Show Image: Change the visibility of the image by toggling this option on and off. If the
mesh, mask, or backdrop is visible, you see those elements, but if not, the document win-
dow is white.
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Show Mesh: Turning this option on shows the mesh overlay that allows Liquify to work
its magic. You can change the size of the mesh to small, medium, or large, affecting the
detail of the Liquify effects. You also can change the color of the mesh.

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Show Mask: You can toggle the visibility of the mask on and off with this option. You
also can change the color of the mask.
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Show Backdrop: If your image contains other layers, you can view them by clicking Show
Backdrop. These layers are not changed in the Liquify utility, but they may affect the way
you want to make changes to the selected layer. You have several different viewing options
that give you versatility in viewing other layers.
After you have finished making changes in the Liquify utility, click OK to apply the changes you
made to your file and exit the utility.
Vanishing Point
When you talk about the vanishing point in an image, you are referring to the fact that as objects
get farther away from the camera, they become smaller, eventually vanishing against the horizon.
The rate at which this happens is the perspective of the image. Because the make-up of every image
is different, the vanishing point is also different. Some images that contain hard corners, such as
photos of buildings, can have more than one vanishing point.
Different perspectives and multiple vanishing points can make it difficult to make fixes by cloning
or create composites that look realistic, because it isn’t always easy to get the perspective just right,
even using the Transformation tools.
The Vanishing Point filter allows you to match the perspective of the target image when you clone or
combine images so the new elements look realistic. Compared to trying to free-transform or eyeball
an element until the perspective is just right, the Vanishing Point filter is simple and easy to use.
Note
Vanishing point changes the perspective of two-dimensional images, which usually has the effect of making
them look even more two-dimensional because there will be missing elements, such as compensating shadows
or more than one side. Using vanishing point to create banners, posters, car art, or other two-dimensional ele-
ments is the ideal way to use it.

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Figure 19.26 shows a photo with at least two vanishing points: the plane of the rock surface is one
perspective, and the boys are a different perspective. You can use the Vanishing Point filter to clone
an image of the boys onto the rock or to copy another image there.
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FIGURE 19.26
I can use Vanishing Point to change the perspective of elements in the image to match the perspective of
the rock plane.
Follow these steps to learn how to use the Vanishing Point filter:
On the Web Site
Download Figure 19-26 from the Web site to follow along with this exercise.
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1. Duplicate the layer you are going to open in Vanishing Point.
The Vanishing Point filter makes changes directly to the layer, so you want to keep your
changes non-destructive to the original layer.
2. With the duplicate layer selected, choose Filter ➪ Vanishing Point.
The Vanishing Point utility opens. The Create Plane tool is automatically selected.
Vanishing Point uses planes drawn by the user to determine perspective.
3. Use the Create Plane tool to draw a four-sided plane that exhibits the perspective
you want to emulate.
In Figure 19.27, I drew a grid that matches the plane of the rock face.
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FIGURE 19.27
This grid follows the perspective of the rock.
4. Edit the plane if needed.
After you draw the grid, the Edit Plane tool is automatically selected. You can move the

grid as a whole or change it by selecting one of the handles. If the grid is blue, you’ve
done a great job—it’s in perspective. If it’s yellow or red, you need to readjust it.
5. Draw a second plane.
Click the Create Plane tool, and draw a plane that is in perspective with the children, as
shown in Figure 19.28.
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FIGURE 19.28
Now two different planes are involved in this image.
6. Now you have several options:
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Clone one plane into the other. Using the Stamp tool, you can Alt/Option-click in
one plane and drag to clone it into the other plane. You can see in Figure 19.29 that
the perspective of the boys has changed from plane to the next.
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Create a selection in either plane. Use the Marquee tool to create a selection in one
plane and hold down the Alt/Option key while you drag it to another plane. The
results are square and lack the softness that can be created with the Stamp tool, but the
perspective changes and the image appears in the second plane.
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Use the Transform tool to resize and rotate a newly moved selection.
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FIGURE 19.29
The Stamp tool works like the Clone Stamp, but the results are changed in perspective.
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Use the Brush tool to paint. The color, size, and other features of the brush were set
before Vanishing Point was opened. You also can use the Eyedropper to change the

paint color.
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Copy a selection from another document into the Vanishing Point utility. By using
Ctrl/Ô+V, you can paste a previously copied document into Vanishing Point and place
it on a plane. Figure 19.30 shows an American flag placed and blending onto the rock.
7. Click OK to exit Vanishing Point and apply the changes to your image.
Tip
As you select each tool, the options bar at the top of Vanishing Point changes to reflect that tool. Watch for
options that make the tools easier to use and more versatile. For instance, with the Marquee tool selected, I
used the Heal option to blend the flag into the rock so it looked more realistic.
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FIGURE 19.30
Changing the perspective in Vanishing Point makes the flag look like it’s painted onto
the rock.
Summary
In this chapter, I showed you several ways to distort or otherwise transform your images and sev-
eral different reasons to do so. Whether you are resizing, tweaking images so they fit better into
composites, or simply having fun creating artistic effects, you should have the skills to do so. You
learned how to do the following:
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Perform several transformations
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Effectively use the Content Aware scale
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Use the all-new Puppet Warp
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Work in the Liquify utility

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Use Vanishing Point to change perspective
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