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Cytat
Do celu tam się wysiada. Lec Stanisław Jerzy (pierw. de Tusch-Letz, 1909-1966)
A bogowie grają w kości i nie pytają wcale czy chcesz przyłączyć się do gry (. . . ) Bogowie kpią sobie z twojego poukładanego życia (. . . ) nie przejmują się zbytnio ani naszymi planami na przyszłość ani oczekiwaniami. Gdzieś we wszechświecie rzucają kości i przypadkiem wypada twoja kolej. I odtąd zwyciężyć lub przegrać - to tylko kwestia szczęścia. Borys Pasternak
Idąc po kurzych jajach nie podskakuj. Przysłowie szkockie
I Herkules nie poradzi przeciwko wielu.
Dialog półinteligentów równa się monologowi ćwierćinteligenta. Stanisław Jerzy Lec (pierw. de Tusch - Letz, 1909-1966)
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.This image will serve as thecentral tile of your repeating pattern.7.Ctrl-click the item labeled Layer 1 in the Layers palette.Photoshop pastedthe 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 ª' Flatten Image.Either way, the selection outlineremains intact.9.Choose Edit ª' 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 selectionoutline any more.You ll need to be able to fill and clone freely without a selec-tion outline getting in the way. Chapter 7 &' Retouching, Repeating, and Restoring28911.Press Shift+Backspace or choose Edit ª' Fill.Then select Pattern from the Usepop-up menu, select the pattern from the Custom Pattern palette, and pressEnter.This fills the window with a 3 × 3-tile grid, as shown in Figure 7-22.Figure 7-22: To build the repeating pattern shownin Figure 7-25, I started by creating a grid of nineimage tiles.As you can see, the seams betweenthe 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 theportion 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.Afteryou have your windows arranged, click the title bar of the new image to makeit the active window.13.Select the rubber stamp.Press S.(Press S twice if the pattern stamp tool isactive; press Shift+S if you turned on the Use Shift Key for Tool Switch optionin 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. Part II &' Painting and Retouching29015.Specify the image you want to clone by Alt-clicking in the original imagewindow.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 pixelyou 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 ma Western-bred ignoramus, so what do I know?)16.Now click with the stamp tool on the matching pixel in the central tile ofthe new window.If you clicked the correct pixel, the tile should not changeone iota.If it shifts at all, press Ctrl+Z and try again.Because Aligned is turnedoff, you can keep undoing and clicking over and over again without resettingthe clone-from point in the original image.17.Turn on the Aligned check box.Once you click in the image without seeingany 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, inFigure 7-23, I extended the Buddha s cheek and neck down into the lower rowof tiles.I also extended the central forehead to meet the Buddha on the left.Figure 7-23: I used the rubber stamp s cloningcapability to extend the features in the centralface toward the left and downward. Chapter 7 &' Retouching, Repeating, and Restoring29119.Select a portion of the modified image.After you establish one continuoustransition between two tiles in any direction up, down, left, or right clickwith 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 centraland bottom tiles.Therefore, I selected a region that includes half the centraltile and half the tile below it.20.Repeat Steps 9 through 11.That is, choose Edit ª' Define Pattern, pressCtrl+D, choose Edit ª' Fill, select the pattern you just defined, and press Enter.This fills the image with your new transition.Don t worry if the tiles shiftaround a bit that s to be expected.TipIf you plan on creating a lot of patterns, you may want to record Steps 9through 11 as a script in the Actions palette.Then you can replay the scriptafter each time you clone away a seam.21.If you started by creating a horizontal transition, use the rubber stamp toolto 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 theproper alignment between clone-from and clone-to points.In my case, I shiftedthe 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 getthe clone-to point properly positioned, turn the Aligned check box back on tolock in the alignment.Then clone away.NoteAs long as you get the clone-from and clone-to points properly aligned, youcan t make a mistake.If you change your mind, realign the clone points and tryagain.In my case, I cloned the long droopy earlobe down into the face of theBuddha below.(I guess our young Buddha didn t stop to think that once thedroopy-ear fad passed, he would be stuck with it for the rest of his life.) I alsocloned the god s chin onto the forehead of the one to the right, ultimatelyachieving the effect shown in Figure 7-24.22.After you build up one set of both horizontal and vertical transitions, clickwith the rectangular marquee tool to select the transitions.Figure 10-24shows where I positioned my 128 × 128-pixel selection boundary.This includesparts 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 ifyou bothered to record it.If the tiles blend together seamlessly, as in Figure7-25, you re finished.If not, clone some more with the rubber stamp tool andtry again. Part II &' Painting and Retouching292Figure 7-24: After completing a smooth transitionbetween the central tile and the tiles below and tothe right of it, I selected a portion of the image andchose Edit ª' Define Pattern.Figure 7-25: This Eastern montage is the result ofapplying the Buddha pattern.Buddha sure looksserene and comfortable, especially consideringhe s resting on his own head. Chapter 7 &' Retouching, Repeating, and Restoring293Stepping Back through TimeSince roughly the dawn of recorded time, folks begged, pleaded, and screamed at thetop of their lungs for multiple undos in Photoshop.But it wasn t until Photoshop 5that 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 ofmultiple undos I ve ever seen.Moving beyond simple backstepping, the History palette takes the whole reversionmetaphor into Slaughterhouse Five territory.If you ve never read the novel (or you vesomehow forgotten), Kurt Vonnegut, Jr.suggested that humans live from one momentto the next like a person strapped to a boxcar, unable to change the speed or directionof the train as it hurtles through time.In most programs that offer multiple undos, youcan make the train stop and back up, but you re still strapped to it.The History paletteis the first tool that lets you get off the train and transport to any point on the track instantaneously
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