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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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© 2004 ... Your company
747 Photoshop CS Bible @Team LiB

spherize, and Spherize pinch.Figure 11-15: Spherize also lets you wrap your image around a horizontally (top row) or vertically (bottom row) oriented cylinder.Figure 11-16: I pinched the image 10 times and applied the Radial Blur filter with its default settings to create a conical gradation.Figure 1117: You can adjust the direction of the Twirl filter to suit whichever side of the equator you happen to be on.Figure 11-18: Our poor Pinch-headed subject (upper left) gets subjected to the tortures of the Twirl filter (upper right). Repeatedly applying the Twirl filter at a moderate value (bottom left) produces a smoother effect than applying the filter once at a high value (bottom right).Figure 11-19: You can create surprisingly naturalistic effects using distortion filters exclusively.Figure 11-20: Although they appear as if they might be the result of the ZigZag filter, these images were created entirely by using the gradient tool, the Twirl filter, and a couple of transformations.Figure 11-21: Mr. Pinch does his duty as a proud American, resulting in a kaleidoscopic sample image.Figure 11-22: The results of applying the ZigZag filter using Amount values of 30 percent (top row) and 100 percent (bottom row) and each of the three Style settings. In all cases, the Ridges value was 5.Figure 11-23: The effects of the ZigZag filter using two Ridges values and each of the three Style pop-up menu settings. In all cases, the Amount value was 50.Figure 11-24: The effects of three different Ripple filter Amount values.Figure 11-25: The effects of the three different Ripple filter Size settings.Figure 11-26: Raising the Ripple Size value spreads out the effect; raising the Ripple Magnitude adds more depth and contrast to the ripples.Figure 11-27: For maximum privacy while showering, choose a Glass door with high Distortion and low Smoothness settings (upper right).Figure 11-28: The Wave dialog box lets you wreak scientific havoc on an image. Put on your pocket protector, take out your slide rule, and give it a whirl.Figure 11-29: The only difference between the examples in this figure is in the Number of Generators. Adding generators increases random action by creating more intersecting waveforms.Figure 11-30: With all other parameters set according to the specifications at the bottom of the figure, increasing Wavelength creates a larger horizontal distance between the peaks of waves. Increasing Amplitude creates a higher wave peak.Figure 11-31: The effects of the unsmooth Triangle and Square types, using relatively high Wavelength and low Amplitude values (top two examples) versus relatively low Wavelength and high Amplitude values (bottom two examples).Figure 11-32: Clicking Randomize rolls the dice and gives you another Wave effect based on the parameters you've set. Compare the first example to the second, and the third to the fourth.Figure 11-33: Click the grid line in the left corner of the Shear dialog box to add points to the line. Drag these points to distort the image along the curve.Figure 11-34: Not liking the effect I achieved with a normal application of Shear (left), I chose Image ® Rotate Canvas ® 90° CCW, which allowed me to vertically distort my image with the Shear filter (right). Finally, I chose Image ® Rotate Canvas ® 90° CW to restore the image to its original upright position.Figure 11-35: In effect, the Polar Coordinates dialog box enables you to map an image onto a globe and view the globe from above.Figure 11-36: The world expressed in rectangular (top) and polar (bottom) coordinates. The decorative ornament atop the first image becomes a happy inhabitant of the North Pole in the second.Figure 11-37: Two familiar circular images (left) converted from polar to rectangular coordinates (right). The top example is simple enough that you might be able to predict the results of the conversion in your head. The lower example looks cool, but you'd need a brain extension to predict the outcome.Figure 11-38: Using only the Liquify command, I was able to transform Raphael's 16th-century vision of St. Sebastian from a languid, matronly aristocrat (left) into a self-assured senior who managed to snag a part in the high school play (right).Figure 11-39: Choose Filter ® Liquify to shove pixels around in your image by dragging them with a brush.Figure 11-40: Making big strokes with the forward warp tool produces wacky results (left); short, careful drags give you more control (right). But you have to be patient. It took 6 strokes to make the big changes on left and about 30 to make the subtle changes on right broadening the nose, expanding the lips, raising the chin, and lifting the eyelids and brows.Figure 1141: Here I used the twirl tool to curl St. Sebastian's hair. I started by clicking and holding in 15 locations to rough in the basic curls (left). Then I clicked and dragged between those curls to fill in the effect (right).Figure 11-42: Armed with the pucker tool, I clicked and dragged along the jaw, chin, nose, and mouth (left) to reduce the masculine elements of what had become a fairly meaty guy. Then I pressed Alt (Option on the Mac) and moused down on the eyes, eyelids, and lips to fill out his feminine attributes.Figure 11-43: Here I dragged down on the left side of the face and up on the right to slim the face with the push left tool. The first image used a Brush Pressure value of 50, which produces extreme results. For the second image, I redid the edits using a Pressure value of 20. I would still characterize the effect as extreme, but it's better.Figure 11-44: Using the mirror tool, I dragged up on the left side of the woman and down on her right side. Pixels are reflected in a clockwise direction.Figure 11-45: Four variations created using the turbulence tool, twice holding the
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