Unfreezing a masked area means that it will be affected by the Liquify tools you use. Finally, I used the Forward Warp tool press W to "push" the cloud edge into a more rounded shape. Notice that both the masking and warp tools use brush cursor parameters shown at upper right , just like other brushes in Photoshop. Experiment with these tools to find the right balance. Warping over or near areas with textured details can cause distracting distortions.
Here, I made sure that any "stretching" of the land beneath the clouds nudged in a direction that didn't cause any odd-looking waviness. Before creating a 3D object in Photoshop CS4 Extended, make sure that you have the new 3D panel available and stretched out a bit in height, so that you'll have quick access to the various 3D "styling" options later. Part 3 of this series will talk more about what this panel does; for now, let's go ahead and create a 3D object for our scene!
As a 3D starting point, consider the size of your document and your output purposes. When you create a 3D object from a Photoshop layer, the larger the layer's pixel dimensions are, the longer it will take to create and process various changes to the object.
I was targeting this image for web output, and I knew that I didn't need to go wider than pixels, so I sized my image down to that width and created a new, empty layer. A few seconds later, I had a large gray sphere right on top of my image, as shown in Figure 2.
Figure 2 Creating three-dimensional objects from empty layers is a snap in Photoshop CS4 Extended if a bit slow sometimes. Once a 3D object is placed in the document, it needs to be sized and moved around a bit to fit properly within the context of the scene.
For this example, I needed to make the sphere recede into the background, so that it would appear to be floating in the area where the clouds had been parted. Essentially there are three options:. Whether you're using Photoshop or a 3D modeling program, the apparent view or perspective of a 3D object can be manipulated in these two ways: Leave the camera stationary as you change the object, or leave the object untouched and change the position of the camera.
For still images, you can use either method and get the same result. For this example, I used the 3D Slide tool. After selecting the tool, you can place the Slide cursor it looks like a four-pronged arrow anywhere on the document, click, and then drag in the direction you want the object to slide left, right, forward, or backward. I moved the cursor near the bottom of the document, then clicked and dragged upward to move the sphere back "into the clouds," as shown in Figure 3.
By the time it was positioned in the right spot, the cursor was near the top of the document, and the sphere had been reduced in size, as you'd expect to occur in the real world when something recedes into the distance.
Figure 3 Using the 3D object manipulation tools in Photoshop pressing Shift-K cycles through them is a simple matter of clicking-and-dragging on the canvas until the object is positioned and oriented as you like. After a minute or two of experimentation, you'll get the hang of this process.
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Our first mode is called Push. This mode very much reminds me of the Fingertip blend tool. You can see the effect it has in the middle of the eye drawing where I dragged down with the tool. The top and bottom lines for the lids of my eye are curved a little more than they were and the eye is overall larger than the original drawing.
I did use a brush size that was large enough to cover the entire eye in this case. The next mode is Pinch, which pulls areas closer together. Again, I used a large brush that covered the entire eye drawing, which then made the whole thing smaller in both directions. The next mode is called Push Left, which does just what it says it does.
In the example below I used a slightly smaller brush than the previous examples. This option, and its counterpart Push Right, takes the pixels and pushes them to the left of the brush stroke. This has done some weird things to the left side of my eye drawing in the example!
You can probably guess what the Push Right mode does, based on the example of the Push Left mode! Just from the tests that I did for this article to see how these tools and settings work, I do feel like Push Left and Push Right might be the hardest modes to predict the outcome of. I can see their usefulness but it was difficult for me to control what would happen when using these modes. Granted, a different strength and brush size setting would probably help, but to illustrate how these settings work for these tutorials I like to show more extreme examples.
Our next two modes are Twirl Clockwise and Twirl Anti-clockwise. The image below is an example of the clockwise twirl. I once again used a brush large enough to cover the entire eye drawing so it would be easy to see the effect. Make sure, though, to click first and then hit the hot key, or else Illustrator will think that you are trying to change the brush size rather than the direction of the twirl.
The best part of the Twirl tool is its ability to produce many unique shapes. If you want, you could go crazy twirling the tool across the entire page. Then start in the upper-left corner of the wood, and drag the tool up and down the graphic; then swipe it once briefly horizontally across the center.
Results will vary depending on your motions. Or you could be more controlled with your movements using Twirl and create vine-like branches, like the ones below. Change the size to create different-sized branches. Now click along the edges wherever you think a small branch should be.
Vines are not perfectly circular, though, so add some character to each one by clicking it with the Twirl tool, again changing the brush size as needed.
The Warp tool is excellent for molding shapes, which is exactly what this ornamental branch needs at this stage of the process. Then, start pushing the brush against any sharp or straight edges. You can also pull out some of the edges or pull on a few twirled vines.
You may want to play around with the Warp tool to see just how far you can stretch graphics. You may get something like the following:. Now double-click on the Wrinkle tool.
To add a slight texture to the smooth parts of the ornamental wood design, use the following settings:. The longer you hold the Wrinkle tool, the more it will wrinkle the image.
You can create something like the following texture by dragging the tool across the smoother sections of the graphic, making sure the crosshairs of the cursor are close to the edges to be wrinkled. You may notice that the Wrinkle tool works almost like sound waves and creates some really interesting effects.
Now your branches will look almost mossy, or at least tangled with vines. Start by creating an oval shape and filling it with a gradient. Make the size slightly larger than the width of your oval but not as high.
Then click and hold over the center of the oval until the sides come together in the middle. If the brush is higher than the oval, then the entire shape will disappear because the Pucker tool draws points on a path together.
Just as when you draw fabric together, however, the Pucker tool does not delete points of a path but simply gathers them together, shrinking the total area:. Make sure the size is no larger than the center petals.
Create a few variations:. You may want to play around with the Pucker and Scallop tools to see the different effects they create. As mentioned, Pucker draws points together, and it will do so even when you are dragging the brush across an image. The Scallop tool can create quite a variety of designs with its multiple settings. Before selecting Bloat, draw a long rectangle, and fill it with a brown and green gradient.
Begin bloating the rectangle into a vine shape. You may want to start at each end first:.
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