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Photoshop CS Bible @Team LiB - Stacy C.

Stacy C. Photoshop CS Bible @Team LiB - Wiley Publishing, 2004. - 773 p.
Download (direct link): photoshopcsbible2004.pdf
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Restore All: To revert the image without resetting all values to their defaults, click the Restore All button. This affects frozen and thawed areas alike.
Liquify also offers a handful of reconstruction techniques that are more controlled and more complex than the reversion options. By selecting an option from the Mode menu and then clicking the Reconstruct button or dragging with the reconstruct tool (R), you can reconstruct a distortion so that it extends from a frozen area into neighboring unfrozen pixels. The Reconstruct button affects all unfrozen areas, but dragging with the tool alters only pixels under your cursor, subject to the Brush Size and Pressure values.Tip
All the reconstruction modes calculate the change to the image based on the warp mesh (grid). To get a better feel for how each mode works, deselect the Show Image check box, turn on Show Mesh, and then apply a simple distortion across a portion of the grid. Freeze part of the distorted region and then keep an eye on the grid lines at the intersections between frozen and unfrozen regions as you try out each of these modes:
Revert: The Revert mode restores unfrozen portions of the image to their original appearance, without regard to the borders between the frozen and unfrozen areas. Compare this to the Revert button, which restores frozen and unfrozen areas alike.
Rigid: This mode extends the distortion only as needed to maintain right angles in the mesh where frozen and unfrozen areas meet. The result is unfrozen areas that look very much like they did originally but smoothly blend into the frozen areas.
Stiff: Stiff interpolates the distortion so that the effect tapers away as you move farther from the boundary between the frozen and unfrozen areas.
Smooth and Loose: These two modes extend the distortion applied to the frozen areas into the unfrozen areas. The Smooth setting tries to create smooth transitions between frozen and unfrozen
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403 Photoshop CS Bible @Team LiB

areas. Loose shares more of the distortion from the frozen area with the unfrozen area. You'll achieve the most dramatic results when frozen and unfrozen areas have been distorted differently.
Displace , Amplitwist , and Affine: The last three modes work exclusively with the reconstruct tool. Using these modes, you can apply one or more distortions that are in force at a specific reference point in the image. Click to set the reference point and then drag through unfrozen areas to distort them. Use the Displace mode to move pixels to match the displacement of the reference point; select Amplitwist to match the displacement, rotation, and scaling at the reference point; and choose Affine to match all distortions at the reference
Although Liquify certainly gives you plenty of ways to reconstruct distortions, predicting the outcome of your drags with the reconstruct tool can be nearly impossible. So be prepared to experiment. And if you don't get the results you want, remember that you can undo a reconstruction just as easily as you can a distortion.
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8.4.5 Adding Clouds and Spotlights
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Adding Clouds and Spotlights
The five filters in the Render submenu produce lighting effects. You can use Clouds and Difference Clouds to create a layer of haze over an image. Lens Flare creates light flashes and reflections (as mentioned earlier). Lighting Effects lights an image as if it were hanging on a gallery wall. The new kid on the block is the Fibers filter, and like many new kids, it stands a good chance of getting made fun of, beaten up, and mostly ignored. Creating clouds
The Clouds filter creates an abstract and random haze between the foreground and background colors. Difference Clouds works exactly like layering the image, applying the Clouds filter, and selecting the Difference blend mode in the Layers palette.
Why on earth should Difference Clouds make special provisions for a single blend mode? Because you can create cumulative effects. Try this: Select a sky blue as the foreground color and then choose Filter ® Render ® Clouds. Ah, just like a real sky, huh? Now choose Filter ® Render ® Difference Clouds. It's like some kind of weird Halloween motif, all blacks and oranges. Press Ctrl+F (Win) or z -F (Mac) to repeat the filter. Back to the blue sky. Keep pressing Ctrl+F (z -F on the Mac) over and over and notice the results. A pink cancer starts invading the blue sky; a green cancer invades the orange one. Multiple applications of the Difference Clouds filter generate organic oil-on-water effects. Figure 11-46 shows an example of Clouds and Difference
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Part III: Selections, Masks, and Filters
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Clouds. Clogds Difference Clauds
Figure 11-46: Clouds (left) and Difference Clouds (right) each applied ten times in succession. Repeated applications of the Clouds filter always yield variations on the same theme; repeated applications of Difference Clouds soon result in roiling, plasma-like textures.Tip To strengthen the colors created by the Clouds filter, press Shift when choosing the command. This same technique works when using the Difference Clouds filter as well. In fact, I don't know of any reason not to press Shift while choosing one of these commands, unless you have some specific need for washed-out effects.
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