HEALING BRUSH AND PATCH ON THE SPOTLIGHT

Written by BLUR LOTERIÑA


Want a better way to edit your image? Photoshop offers you better tools you can use to remove flaws on your image.

Images are not that perfect, butrepparttar graphics world does not have a room for imperfections. So, computer graphics programs have tried and are still trying to create special tools that will help users in editing their work.

Image imperfections refer to flaws, such as blemishes, scratches and other unwanted spots. These arerepparttar 107295 things that you would not want your image to have. You would probably resort to editing tools.

One ofrepparttar 107296 most widely used tools to fix such problem isrepparttar 107297 Clone tool. Clone tool takesrepparttar 107298 pixel ofrepparttar 107299 sample area ontorepparttar 107300 part or flaw that you are correcting. Sample area, byrepparttar 107301 way, refers to that part that you want to replacerepparttar 107302 flaw with. For example, you want to correct your own photograph because it has dark spots onrepparttar 107303 right cheek. You can userepparttar 107304 other cheek as a sample area. It’s like copyingrepparttar 107305 left cheek and pasting it onrepparttar 107306 right cheek to coverrepparttar 107307 spots. Clone tool, however, has a drawback. Clone area is easy to spot because, sometimes,repparttar 107308 color ofrepparttar 107309 sample area andrepparttar 107310 area aroundrepparttar 107311 flaw does not match. This can also happen even if they haverepparttar 107312 same texture.

There is a tool that deals with this kind of problem, Photoshop’s Healing Brush. This tool is a lot better because it does not only droprepparttar 107313 pixel ofrepparttar 107314 sample area torepparttar 107315 flaw; it also usesrepparttar 107316 texture ofrepparttar 107317 sample area and applies its tonal characteristic aroundrepparttar 107318 flaw. The tool identifiesrepparttar 107319 flaw,repparttar 107320 area nearrepparttar 107321 flaw andrepparttar 107322 sample area. To access this tool, you can either selectrepparttar 107323 icon that looks like a bandage fromrepparttar 107324 Toolbar palette or pressrepparttar 107325 J onrepparttar 107326 keyboard. In gettingrepparttar 107327 sample, hold down Alt and click onrepparttar 107328 area. To paint overrepparttar 107329 flaw, simply click and dragrepparttar 107330 sample.

Fusing traditional and technical illustrations

Written by Granny’s Mettle


The following is an excerpt fromrepparttar tips and techniques provided by a designer using Photoshop 4. He based his techniques from a current project of creating illustrations for a story of a mythical city in a magazine.

According torepparttar 107294 designer, what is exciting about using computers is that artists and designers like him are now able to fuse present technology with traditional art. They are able to dorepparttar 107295 things that used to be done in traditional art, but much faster and less waste withrepparttar 107296 onset of digital technology. This is due torepparttar 107297 fact that designers are able to change and edit illustrations and ideas even if it's already atrepparttar 107298 final stage ofrepparttar 107299 project. Even withrepparttar 107300 changes,repparttar 107301 result ofrepparttar 107302 project rarely differs fromrepparttar 107303 original thrust and objective.

Stage 1: Sketch and Digitization Sketching and digitization are almostrepparttar 107304 same in both traditional art and digital technology. In traditional art, an artist usually starts by making a sketch on paper. With Photoshop's graphic palette, it nearly replicatesrepparttar 107305 same feeling. Nevertheless,repparttar 107306 designer is quick to add that shaping a drawing on paper is still faster and more intuitive than doing it onrepparttar 107307 computer. Although he also admits that even if basic drawing is done on paper, computer techniques can produce interesting effects such as halftones that are otherwise not available with drawing pencils.

Stage 2: Preparingrepparttar 107308 Layers After importingrepparttar 107309 sketch into Photoshop,repparttar 107310 image should be converted to sepia tones before working onrepparttar 107311 color. To convert to sepia, go to Image > Adjustments > Hue/Saturation, checkrepparttar 107312 Colorize box, and userepparttar 107313 sliders to colorizerepparttar 107314 lines into brown, reddish ochre, or yellow. This method provides a silkiness feel torepparttar 107315 line. In sepia,repparttar 107316 lines ofrepparttar 107317 sketch yield halftones that are more delicate, resulting to an image that is easier to view but retain its basic structure.

The designer suggests adding colors that do not compete withrepparttar 107318 lines inrepparttar 107319 drawing. This may weaken lines fromrepparttar 107320 original sketch. Atrepparttar 107321 same time,repparttar 107322 sketch should not also overpowerrepparttar 107323 colors. In effect, designers should blendrepparttar 107324 two elements to findrepparttar 107325 right balance.

Onrepparttar 107326 choice of sepia, designers should look atrepparttar 107327 technical rather thanrepparttar 107328 aesthetic considerations. Brown tones result from a mixing of allrepparttar 107329 colors, so whenrepparttar 107330 picture is colored,repparttar 107331 paint colors will blend more easily withrepparttar 107332 lines. However, using sepia is not an absolute rule, although it does provide softness inrepparttar 107333 drawing while preserving its descriptive character.

After turning it to sepia, create two new layers. Fromrepparttar 107334 layers palette, setrepparttar 107335 background layer in Multiply mode, and insert it between two virgin layers. The designer suggest putting colors on what he callsrepparttar 107336 'under layer', beneathrepparttar 107337 sepia line drawing layer, and adding detail and finish torepparttar 107338 'over layer'.

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