adobe Photoshop 6 Bibles phần 4 pot

282 Part II ✦ Painting and Retouching Figure 7-16: Select a pattern from the drop-down palette and then click or drag with the pattern stamp tool. Figure 7-17 shows an example of how you can apply repeating patterns. I selected the single apartment window (labeled in the figure) and chose Edit ➪ Define Pattern. I then painted with the pattern stamp tool at 80 percent opacity over the horse and rider statue. Aligning patterns (or not) As is the case with the rubber stamp, the Options bar for the pattern stamp tool provides an Aligned check box. If you select the check box, Photoshop aligns all patterns you apply with the stamp tool, regardless of how many times you start and stop dragging. The two left examples in Figure 7-18 show the effects of selecting this option. The elements in the pattern remain exactly aligned throughout all the brushstrokes. I painted the top-left image with the Opacity value set to 50 percent, which is why the strokes darken when they meet. To allow patterns in different brushstrokes to start and end at different locations, turn the Aligned option off. The point at which you begin dragging determines the position of the pattern within each stroke. I dragged from right to left to paint the horizontal strokes and from top to bottom to paint the vertical strokes. The two right examples in Figure 7-18 show how nonaligned patterns overlap. As discussed in Chapter 6, you can also apply a pattern to a selected portion of an image by choosing Edit ➪ Fill and selecting the Pattern option from the Use pop-up menu. If you have an old grayscale image saved in the Photoshop 2 format sitting around, you can alternatively choose Filter➪ Render ➪ Texture Fill to open the image and repeat it as many times as it takes to fill the selection. (Texture Fill is intended primarily for preparing textures and bump maps for a three-dimensional drawing program, so most folks never touch this filter.) Note 283 Chapter 7 ✦ Retouching, Repeating, and Restoring Figure 7-17: After marqueeing a single window (top) and choosing Edit ➪ Define Pattern, I painted a translucent coat of the pattern over the statue with the pattern stamp tool (bottom). Pattern tile 284 Part II ✦ Painting and Retouching Figure 7-18: Select the Aligned check box to align the patterns in all brushstrokes so that they match up perfectly (left). If you turn the option off, Photoshop starts each pattern with the beginning of the brushstroke (right). Also investigate the new Fill Layers and Layer Style options for filling layers with patterns. You can explore both in Chapter 14. Creating patterns and textures Photoshop 6 provides a few sample patterns inside the Patterns folder, which lives inside the Presets folder. But if none of those patterns float your boat, you can cre- ate your own patterns. Ideally, your pattern should repeat continuously, without vertical and horizontal seams. Here are some ways to create repeating, continuous patterns: ✦ Load a displacement map: Photoshop offers a Displacement Maps folder inside the Plug-Ins folder. This folder contains several images, each of which repre- sents a different repeating pattern, as illustrated in Figure 7-19. To use one of these patterns, open the image, choose Select ➪ All (Ctrl+A), and choose Edit➪ Define Pattern. (For more information on displacement maps, see Chapter A on the CD-ROM accompanying this book.) 6 Photoshop 6 285 Chapter 7 ✦ Retouching, Repeating, and Restoring Figure 7-19: These 12 patterns are in the Displacement Maps folder included with Photoshop. ✦ Illustrator patterns: If you open the Presets folder, then the Patterns folder, and then the PostScript Patterns folder, you can find Illustrator EPS files that contain repeating object patterns. The patterns, some of which appear in Figure 7-20, are all seamless repeaters. You can open them and rasterize them to any size you like. Then press Ctrl+A, choose Edit➪ Define Pattern, and you have your pattern. ✦ Using filters: As luck would have it, you can create your own custom textures without painting a single line. In fact, you can create a nearly infinite variety of textures by applying several filters to a blank document. To create the texture shown in the top row of Figure 7-21, for example, I created a new 200 × 200-pixel image. I then chose Filter ➪ Noise ➪ Add Noise, entered a value of 64, and selected the Gaussian radio button. I pressed Ctrl+F twice to apply the noise filter two more times. Finally, I chose Filter ➪ Stylize ➪ Emboss and entered 45 in the Angle option box, 2 in the Height option box, and 100 in the Amount option box. The result is a bumpy surface that looks like stucco. 12-sided Cees Crumbles Fragment layers Honeycomb Mezzo effect Pentagons Random strokes Rectangular tiles Schnable effect Streaks pattern Twirl pattern 286 Part II ✦ Painting and Retouching Figure 7-20: A random sampling of the illustrations in the PostScript Patterns folder, found inside the Presets/Patterns folder. To get the second row effects in Figure 7-21, I started with the noise pattern and applied Filter ➪ Pixelate ➪ Crystallize with a Cell Size of 10 pixels. Then I again applied the Emboss filter with the same settings as before. To create the third row of textures, I started with a blank image and chose Filter ➪ Render ➪ Clouds. Then I applied the Emboss filter with an Amount value of 500. To punch up the contrast, I choose Image ➪ Adjust ➪ Auto Levels (Ctrl+Shift+L). I could go on like this for days. To learn more about filters so you can make up your own textures, read Chapters 10 and 11. Chapter 10 covers Add Noise; Chapter 11 explains Emboss, Crystallize, and Clouds. ✦ Marquee and clone: You can use the rectangular marquee and pattern stamp tools to transform an image into a custom pattern. Because this technique is more complicated as well as more rewarding than the others, I explain it in the following section. Cross- Reference Deco Drunkard's path Herringbone 1 India Intricate surface Laguna Mali primitive Optical checkboard Pinwheel Undulating dot gradation Weave-Y Wrinkle 287 Chapter 7 ✦ Retouching, Repeating, and Restoring Figure 7-21: To create a stucco texture, apply Filter ➪ Noise ➪ Add Noise three times in a row (upper left, upper right, lower left). Then choose Filter ➪ Stylize ➪ Emboss and enter a Height value of 1 (lower right). Building your own seamless pattern The following steps describe how to change a scanned image into a seamless, repeating pattern. To illustrate how this process works, Figures 7-22 through 7-25 show various stages in a project I completed. You need only two tools to carry out these steps: the rectangular marquee tool and the rubber stamp tool. Noise x3 Crystallize Clouds Emboss, 100% Emboss, 100% Emboss, 500% 288 Part II ✦ Painting and Retouching Those of you reading sequentially may notice that these steps involve a few selec- tion and layering techniques I haven’t yet discussed. If you become confused, you can find out more about selecting, moving, and cloning images in Chapter 8. STEPS: Building a Repeating Pattern from an Image 1. Open the image that you want to convert into a pattern. I started with an image from the PhotoDisc image library. 2. Select the rectangular marquee tool and then press Enter to display the Options bar, if it’s not already visible. Select Fixed Size from the Style pop-up menu and enter specific values in the Width and Height option boxes. This way, you can easily reselect a portion of the pattern in the steps that follow, as well as use the fixed-size marquee to define the pattern when you finish. To create the patterns shown in the figures, I set the marquee to 128 × 128 pixels. 3. Select the portion of the image you want to feature in the pattern. Because you’ve specified an exact marquee size, Photoshop selects a fixed area when- ever you click. You can drag to move the marquee around in the window. 4. Press Ctrl+C. This copies the selection to the Clipboard. 5. Choose File ➪ New (Ctrl+N) and triple the Width and Height values. In my case, Photoshop suggested a new image size of 128 × 128 pixels, which matches the size of the selection I copied to the Clipboard. By tripling these values, I arrived at a new image size of 384 × 384 pixels. 6. Press Ctrl+V. Photoshop pastes the copied selection smack dab in the center of the window, which is exactly where you want it. This image will serve as the central tile of your repeating pattern. 7. Ctrl-click the item labeled Layer 1 in the Layers palette. Photoshop pasted the image on a new layer. But to duplicate the image and convert it into a pat- tern, you need to flatten it, which you do in the next step. Before you flatten, you want to Ctrl-click the layer name to select the pasted pixels. 8. Press Ctrl+E. This merges the layer with the background, thereby flattening it. Or you can choose Layer ➪ Flatten Image. Either way, the selection outline remains intact. 9. Choose Edit ➪ Define Pattern. This establishes the selected image as a pat- tern tile. Give the pattern a name when Photoshop prompts you. 10. Press Ctrl+D to deselect the image. You neither need nor want the selection outline any more. You’ll need to be able to fill and clone freely without a selec- tion outline getting in the way. Cross- Reference 289 Chapter 7 ✦ Retouching, Repeating, and Restoring 11. Press Shift+Backspace or choose Edit ➪ Fill. Then select Pattern from the Use pop-up menu, select the pattern from the Custom Pattern palette, and press Enter. This fills the window with a 3 × 3-tile grid, as shown in Figure 7-22. Figure 7-22: To build the repeating pattern shown in Figure 7-25, I started by creating a grid of nine image tiles. As you can see, the seams between the tiles in this grid are harsh and unacceptable. 12. Drag the title bar of the new image window to position it so you can see the portion of the image you copied in the original image window. If necessary, drag the title bar of the original image window to reposition it, as well. After you have your windows arranged, click the title bar of the new image to make it the active window. 13. Select the rubber stamp. Press S. (Press S twice if the pattern stamp tool is active; press Shift+S if you turned on the Use Shift Key for Tool Switch option in the Preferences dialog box.) 14. Turn off the Aligned check box in the Options bar. Ironic as it may sound, it’s easier to get the alignment between clone-from and clone-to points estab- lished with Aligned turned off. 290 Part II ✦ Painting and Retouching 15. Specify the image you want to clone by Alt-clicking in the original image window. No need to switch out of the new window. Alt-click an easily identifi- able pixel that belongs to the portion of the image you copied. The exact pixel you click is very important. If you press Caps Lock, you get the crosshair cur- sor, which makes it easier to narrow in on a pixel. In my case, I clicked the cor- ner of the Buddha’s mouth. (At least, I assume that’s Buddha. Then again, I’m a Western-bred ignoramus, so what do I know?) 16. Now click with the stamp tool on the matching pixel in the central tile of the new window. If you clicked the correct pixel, the tile should not change one iota. If it shifts at all, press Ctrl+Z and try again. Because Aligned is turned off, you can keep undoing and clicking over and over again without resetting the clone-from point in the original image. 17. Turn on the Aligned check box. Once you click in the image without seeing any shift, select the Aligned option to lock in the alignment between the clone- from and clone-to points. 18. Use the stamp tool to fill in portions of the central tile. For example, in Figure 7-23, I extended the Buddha’s cheek and neck down into the lower row of tiles. I also extended the central forehead to meet the Buddha on the left. Figure 7-23: I used the rubber stamp’s cloning capability to extend the features in the central face toward the left and downward. 291 Chapter 7 ✦ Retouching, Repeating, and Restoring 19. Select a portion of the modified image. After you establish one continuous transition between two tiles in any direction— up, down, left, or right — click with the rectangular marquee tool to select an area that includes the transi- tion. In my case, I managed to create a smooth transition between the central and bottom tiles. Therefore, I selected a region that includes half the central tile and half the tile below it. 20. Repeat Steps 9 through 11. That is, choose Edit ➪ Define Pattern, press Ctrl+D, choose Edit ➪ Fill, select the pattern you just defined, and press Enter. This fills the image with your new transition. Don’t worry if the tiles shift around a bit— that’s to be expected. If you plan on creating a lot of patterns, you may want to record Steps 9 through 11 as a script in the Actions palette. Then you can replay the script after each time you clone away a seam. 21. If you started by creating a horizontal transition, use the rubber stamp tool to create a vertical transition. Likewise, if you started vertically, now go hori- zontally. You may need to turn off the Aligned check box again to establish the proper alignment between clone-from and clone-to points. In my case, I shifted the clone-to point several times — alternatively building on the central Buddha, the right-hand one, and the middle one in the bottom row. Each time you get the clone-to point properly positioned, turn the Aligned check box back on to lock in the alignment. Then clone away. As long as you get the clone-from and clone-to points properly aligned, you can’t make a mistake. If you change your mind, realign the clone points and try again. In my case, I cloned the long droopy earlobe down into the face of the Buddha below. (I guess our young Buddha didn’t stop to think that once the droopy-ear fad passed, he would be stuck with it for the rest of his life.) I also cloned the god’s chin onto the forehead of the one to the right, ultimately achieving the effect shown in Figure 7-24. 22. After you build up one set of both horizontal and vertical transitions, click with the rectangular marquee tool to select the transitions. Figure 10-24 shows where I positioned my 128× 128-pixel selection boundary. This includes parts of each of four neighboring heads, including the all-important droopy ear. Don’t worry if the image doesn’t appear centered inside the selection outline. What counts is that the image flows seamlessly inside the selection outline. 23. Repeat Steps 9 through 11 again. Or play that script I suggested in Step 20 if you bothered to record it. If the tiles blend together seamlessly, as in Figure 7-25, you’re finished. If not, clone some more with the rubber stamp tool and try again. Note Tip [...]... the History palette: Photoshop ✦ Undo-independent stepping: Step backward by pressing Ctrl+Alt+Z; step forward by pressing Ctrl+Shift+Z Every program with multiple undos does this, but Photoshop s default keyboard equivalents are different Why? Because you can backstep independently of the Undo command, so that even backstepping is undoable 6 Just to sweeten the pot, Photoshop 6 enables you to change... warning dialog box any more because Revert is fully undoable 6 In Photoshop 5.5, Photoshop asked whether you wanted to save the file if you chose Revert and then closed the file Previously, Photoshop knew the reverted image and the saved image were identical — in Version 5.5, it got a bit mixed up This weirdness has been corrected in Version 6 The only thing you can’t do through the History palette is... 300 Part II ✦ Painting and Retouching The eraser tool Photoshop When you work with the eraser, you can select from four eraser styles: Paintbrush, Airbrush, Pencil, and Block Block is the old 16 × 16- pixel square eraser that’s great for hard-edged touch-ups The other options work exactly like the tools for which they’re named 6 In earlier versions of Photoshop, pressing E cycled you through the eraser... items that you want Photoshop to display at all times As for creating selections, you have at your disposal a plethora of tools, all shown in Figure 8-2 and described briefly in the following list You can access most of the tools by using keyboard shortcuts, which appear in parentheses Chapter 8 ✦ Selections and Paths Photoshop Figure 8-2: Photoshop 6 offers a bounty of selection tools 6 When multiple... path after the fact by moving, adding, and deleting points You can even transfer a path by dragging and dropping between Photoshop, Illustrator, and FreeHand For a discussion of the pen tool, read the “How to Draw and Edit Paths” section later in this chapter Photoshop 6 In Photoshop 6, selecting the Magnetic check box on the Options bar transforms the freeform pen into the magnetic pen, which used to... Figure 8-1 for the inside story.) Photoshop Figure 8-1: A magnified view of a dash mark in a selection outline reveals a startling discovery 6 Visible selection outlines can be helpful sometimes, but they can as readily impede your view of an image When they annoy you, you can press Ctrl+H to shoo them away, as in earlier versions of Photoshop However, in Version 6, Ctrl+H invokes the new View ➪ Hide... actually good news The day Adobe can figure out how to do your work for you, your clients will hire Photoshop and stop hiring you So I ask you — Photoshop, Slaughterhouse Five, just a coincidence? Well, yes, I suppose it is But the fact remains, you have the option of getting off the boxcar How you make use of your freedom is up to you Using the traditional undo functions Photoshop Before I dive into... from the background eraser Chapter 7 ✦ Retouching, Repeating, and Restoring Photoshop Figure 7-31: Drag around the edge of an image with the background eraser to erase the background but leave the foreground intact 6 You can select a brush for the background eraser in the Brush drop-down palette on the Options bar In Photoshop 6, you can press the arrow keys to move from one brush icon to another in... these tools, visit Chapter 14 Photoshop Chapter 8 ✦ Selections and Paths 6 CrossReference ✦ Path and shape selection tools: Use the path component selection tool (the black arrow) and the direct selection tool (the white arrow) to select and edit paths and vector shapes You can read more about these tools later in this chapter, in the section “How to Draw and Edit Paths.” Photoshop s type tool, when... Repeating, and Restoring Stepping Back through Time Since roughly the dawn of recorded time, folks begged, pleaded, and screamed at the top of their lungs for multiple undos in Photoshop But it wasn’t until Photoshop 5 that Adobe delivered what the masses craved The payoff for the long wait was huge: Version 5 offered up the History palette, which provides the best implementation of multiple undos . onto the icon. Either way, Photoshop duplicates the state to a new image window. Then you can save the state to the format of your choice. Tip 6 Photoshop 6 6 Photoshop 6 299 Chapter 7 ✦ Retouching,. from the Redo Key pop-up menu in the Preferences dialog box (the default setting): 6 Photoshop 6 6 Photoshop 6 295 Chapter 7 ✦ Retouching, Repeating, and Restoring ✦ Undo: To restore an image. accompanying this book.) 6 Photoshop 6 285 Chapter 7 ✦ Retouching, Repeating, and Restoring Figure 7-19: These 12 patterns are in the Displacement Maps folder included with Photoshop. ✦ Illustrator