Photoshop 6 Bible (eBook)

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.In the lower-left exampleof Figure 11-41, I centered my brush on Miss Liberty s eye and moused downfor a few seconds until I got the result you see in the figure.Chapter 11 &' Full-Court Filtering535Original WarpTwirl clockwise Pucker, BloatFigure 11-41: Here, you see the distortions I achieved by using the warp,twirl clockwise, pucker, and bloat tools inside the Liquify window.Twirl counterclockwise ( L ): The opposite of twirl clockwise, this toolspins pixels counterclockwise (left).Pucker ( P ): Drag with this tool to send pixels scurrying toward the centerof the tool cursor.The effect is similar to applying the Pinch filter with apositive Amount value.If you mouse down instead of dragging, Photoshopsteadily increases the extent of the distortion until you release the mousebutton.Bloat ( B ): When you drag or mouse down with this tool, pixels underneath the brush cursor move outward, like a stomach after too manytrips to the buffet line.As is the case with Pucker, the longer you hold downthe mouse button, the more bloating you get.Part III &' Selections, Masks, and Filters536To create the lower-right example in Figure 11-41, I moused down with thepucker tool over the mouth area and then moused down again on the eyearea, this time with the bloat tool.Shift pixels ( S ): As you drag with this tool, pixels underneath the cursormove in a direction perpendicular to your drag.For example, if you dragdown, pixels flow to the right.Drag straight up, and pixels move to the left.Reflection ( M ): The M, it appears, stands for mirror; dragging with thistool creates a reflection, albeit one you might see in a funhouse mirror.As you drag, Photoshop copies pixels from the area perpendicular to thedirection you move the cursor.So if you drag down, you clone pixels to theleft of the cursor onto the area underneath the cursor.TipTheoretically, you can create a mirror image of an object by using this tool.Butunless you re really going for a distorted mirror image, duplicate and flip it usingthe ordinary Duplicate and Flip commands.Dragging with the Reflection tool istoo unpredictable for this purpose (remember, this is a tool intended to distort,not duplicate).You can, however, limit the distortion by freezing the area thatyou re going to copy, as explained in the next section.Then Alt-drag from theedge of the frozen area into the unfrozen region.After you drag with any of these tools, you can undo the effect by pressing Ctrl+Z.If you want to go further back in time or explore some additional reversion options,read the next section.Freezing and thawing pixelsAs I mentioned a few paragraphs ago, Photoshop automatically freezes selectedpixels when you enter the Liquify dialog box, which means that any distortionsyou apply don t affect them.You can freeze additional areas at any time.You alsocan thaw pixels so that they once again become slaves to the distortion tools.To freeze a portion of your image from the Liquify window, you have two options:&' Press F to select the freeze tool, shown along with the Freeze options inFigure 11-42, and then drag over areas that you want to protect.You canadjust the brush size and pressure as you can when working with the distor-tion tools.But in this case, the pressure setting determines how deeply frozenthe pixels become.At anything less than 100 percent, the pixels become par-tially distorted when you drag over them with a distortion tool.If you set thepressure to 50 percent, the distortion is applied with half the pressure as inunfrozen areas.&' If you created a mask channel before choosing the Liquify command, youcan freeze the masked area by selecting the channel from the Channelpop-up menu.Chapter 11 &' Full-Court Filtering537ThawFreezeReconstructFigure 11-42: Use the freeze, thaw, andreconstruction tools and options to maskoff areas from distortions and to revertdistorted pixels to their originalappearance.To thaw frozen areas, thereby making them editable again, paint over them with thethaw tool (T).The Brush Pressure setting affects this tool just as it does the freezetool.To thaw the entire image, click the Thaw All button.TipJust as you can inverse a selection outline or invert a mask in the quick mask mode,you can click the Invert button to quickly freeze any unfrozen pixels and thaw anyfrozen ones.Reconstructing and revertingIn the Reconstruction section of the Liquify window, you see a Mode pop-up menuplus two buttons, Reconstruct and Revert.You can use these options not only torevert an image to the way it looked before you applied a distortion, but also toredo a distortion so that it affects the image differently.The following list outlines reversion possibilities:&' To undo your last drag, just press Ctrl+Z, as always.Press again to undothe undo.&' To return everything back to the way it was when you first opened the Liquifywindow, Alt-click the Cancel button, which turns into the Reset button, andthen Alt-click the button.Again, everything works as usual.Part III &' Selections, Masks, and Filters538&' To revert unfrozen areas to their original appearance, choose Revert from theMode menu and then click Revert.Alternatively, drag over the areas you wantto revert with the reconstruct tool, labeled in Figure 11-42.As is the case whenyou work with the freeze and thaw tools, the Brush Pressure setting deter-mines the impact of the tool.TipIf you press Escape while a reversion is in progress, Photoshop stops in itstracks.This technique enables you to use the Revert button to reverse some,but not all, distortions that you applied to unfrozen areas.Now for reconstruction techniques, which are considerably more complex thanthe reversion techniques.By selecting one of the following options from the Modemenu and then clicking the Reconstruct button or dragging with the reconstructtool, you can reconstruct a distortion so that it extends from a frozen area intoneighboring unfrozen pixels.The Reconstruct button affects all unfrozen areas, butdragging with the tool alters only pixels under your cursor, subject to the limits ofthe Brush Pressure setting.TipAll the reconstruction modes calculate the change to the image based on the warpmesh (grid).To get a better feel for how each mode works, deselect the Show Imagecheck box, turn on Show Mesh, and then apply a simple distortion across a portionof the grid.Freeze part of the distorted region and then keep an eye on the gridlines at the intersections between frozen and unfrozen regions as you try out eachof the modes:&' Rigid extends the distortion only as needed to maintain right angles in themesh where frozen and unfrozen areas collide.Any unaffected unfrozen areasrevert to their original appearance.The result is unfrozen areas that lookalmost but not exactly as they did originally.&' Stiff interpolates the distortion so that the effect lessens as you move fartherfrom the boundary between the frozen and unfrozen areas.&' Smooth and Loose both extend the distortion from the frozen areas fully intothe unfrozen areas.With Loose, you get a little more continuity in the distor-tion between the frozen and unfrozen regions.&' Displace, Amplitwist, and Affine work only with the reconstruct tool.Usingthese modes, you can apply one or more distortions that are in force at a spe-cific reference point in the image.Click to set the reference point and thendrag through unfrozen areas to distort them.Use the Displace mode to movepixels to match the displacement of the reference point; select Amplitwist tomatch the displacement, rotation, and scaling at the reference point; andchoose Affine to match all distortions at the reference point [ Pobierz całość w formacie PDF ]

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