Photoshop: Content-Aware & Cloning

Lesson 11 of 13

Cloning to a Selection

 

Photoshop: Content-Aware & Cloning

Lesson 11 of 13

Cloning to a Selection

 

Lesson Info

Cloning to a Selection

So we've got a fun example here so this is what we're going to create I'll go ahead and add a solid color white background so that we aren't distracted by transparency there we go so here's what we're going to make so our original image started out just looking rather plain like this so I found an image of this one's and zero's which looks a whole lot like some of the scenes in the matrix movie and what I've done here is I've created a selection of these guys and then because I didn't want the I didn't want the new background to extend beyond the edges of their suits so creating a selection before you start cloning restricts your brush strokes toe on ly affect what's inside this election even if you paint outside of this election nothing will happen the only place that the other image will be cloned is inside that's elation so that's a really handy thing to do as well so it's going close this one and we'll take a look at actually I can leave it open and we'll just delete the image that...

I made for you there we go so let's say this is your starting point it doesn't really matter when you create the selection either before or after you set the sample point doesn't really matter so let's just go ahead and create a selection so what's the easiest way to create a selection of these guys there's a whole lot of contrast between what we want to select in the background, so the easiest way would be to use one of photo shop selection by color tools so we've got to those to choose from you could pick either the quick selection tool, which we used practically all day or the magic one tool you'll probably get a little bit smoother edges with the quick selection tool, so let's, go ahead and have a go with that with go ahead and activate it, and for this particular technique, we don't really have to have sample all layers turned on, but it won't hurt us if it's on, so we'll just go and leave it on that we can come down here and we're just going to single click with in a black area and immediately photo shop gives us a nice selection that we do have some of the wide areas that were grabbed tio so I'm gonna go ahead and press command d to get red rid of that selection, and I'm gonna go way down and brush size because I just want a little bit of the black to be selected then when I want to do is pop up to the selectmen, you can choose similar and that's going to go grab all the black fits in the whole image, and as I moved around within the image, you can see that even the easel areas of why that were included in my first click with the quick selection tool are not included in this and again that's because I had my brush purser very small for the quick selection tool, so it only grabbed a few pixels, and since those pixels were solid black, then choosing select similar made photo shop, go grab the rest of them without me having to try to paint and click on all that. You could also do that with the magic wand tool in exactly the same way all d select you go over here and grab the magic one tool, click somewhere within the black and then choose select similar so same thing. In my opinion, you're going to get a little bit of a smoother edge with the quick selection toll than you would with the magic wand tool. So here we are with the quick selection toll again make your brush cursor small enough that you're only going to grab a few pixels and then she's select similar here we go with that around, so we can see the whole thing now we're ready to go open up our other image and set our closers point, so come back over here to bridge and we're going to grab our matrix background now on this particular exercise file folder that I've set up free if you purchase the course, what you're going to get is the final version, but you're also going to get the individual images so that you can try to create it, you know, from scratch yourself. So now let's set our sample point so let's grab our clothes stamp told by pressing at s and make sure that actually that for this one there's really nothing we need tio set up on the options bar because we're not dealing with multiple layers here, so let's, go ahead and pop open our clone source panel uh, by pressing this little button right here or by choosing window clone source and we can just come over here and see a sample point now, you really don't want to set a sample point close to the edge of the image because what you're doing in the other documents is recreating that image edge. So for this one, if my goal is to fill these guys, let me go down in size little bit, fill these guys with black I need to set a sample point somewhere in the middle here, so I've got plenty of room to paint in either direction you could try turning off the aligned button that way your sample point will reset itself each time you release your mouse button and start painting again but we're going to go ahead and leave the line turned on and where it's set a sample point somewhere oh in this area right here okay, so you can see that we've got our first sample point set right there and if you wanted tio change the size and rotation angle with ease tools right there now and come back over to the other document they had to close up our clothes horse panel and we've got a nice preview of the area here see how I will if I like start my painting right here I'm going to repeat the top into that and there, so I want to start my painting up here so you'll notice as I'm painting even though my brush cursor is kind of honking big right? I'm not painting outside the lines this is another great technique toe have in your bag of tricks if you're in production or just for creating special effects, so this image and what I didn't do was do that on a nancy layer, so I'm going to do that real quick an empty layers will call this matrix now will paint it that way we've got some flexibility maybe let's say on layer opacity so after I finished painting your cloning, if I decide well, I like the effect but it's a little bit too strong than I could lower layer a pass ity so that it looks realistic to me but had you done it on the original layer than you would not have that ability so do you remember to create another empty layer so this is another great way to make money with stock photography so if you were an illustrator this is actually an illustrations that was drawn in a program like adobe illustrator then you could submit this file and then you could turn around and do this technique incident that file as well so just giving you some more ideas of how you might use these techniques in the real world so let's have another go and all of that so go ahead and delete the layer that I made for you and so we're going to create a new empty layer onto which we can do our cloning so we'll call this matrix and then we can create a selection doesn't matter which were you do these things in this whichever makes more sense to you if you go ahead and create the new layer before you make the selection, then you do need to make sure that the quick selection tool is set to sample all heirs mood and they were going to come over here and make our brush size fairly small but doesn't have to be microscopic because what we don't want to have happen is photoshopped to grab that whole guy because when you do that this cuff gets included in the selection and we don't want it in the selection or maybe you do it depends on what you're after, so we're gonna de select and go down and brush size even further so we get just a little tiny area of that solid color that we want to use and then we can come up to the select menu and choose similar and now we that's interesting it didn't work that way, so I guess for that particular thing you would want to make sure that you have that layer active because that select similar seemed to get tripped up by having the sample all layers turned on for the quick selection tool so that's good to know live on the bleeding edge right here so let's go ahead and click to activate the layer onto which the pixels live and now we can choose similar and now we get what we expect, so be aware of that kind of thing. We've got a new layer all ready to go we can go ahead and click to activate it. Now we can open up our background that we're going to use for our cloning and we can press x to grab the clone stamp tool and come over here and said a sample point all the while being cognizant of the edges of this image because we're cloning into another document we can repeat those edges if if, as we're painting that source moves atop those edges, then we would be repeating those edges over in our other doc, which is not what we want, so basically that's a long way of saying don't get too close to the edge when you're setting a sample point, so we're going to come down somewhere in this vicinity in depending upon how much of the little trails that you want to have do you want your guys to be filled with solid ones and zeroes? Or do you want some of this little trailing this to be shown? And if you want some of the trailing this to be shown that you might set your sample point somewhere lower in this particular image, so option or all clicked that your sample point go back to the other document and then just have a big ole painting party and because you created a selection before you started cloning, then you're cloning is restricted to the inside of that selection, and now you can see on this one, we've got a little bit more of those trailing bits going on and again, you're gonna wanna keep painting over these areas system make sure that you really got them all covered because the last thing you want to do is have to start over and try to match up positioning of clotheshorse points, and then when you're finished, you can press commander control d to get rid of your marching ants say this is a photo shot file if you need to go back and make some changes in it, your layers are all intact and by doing the cloning on a separate layer you build in the ability to change the opacity of just the fill on those businessman right there a great kind of conceptual image you can imagine this being used in ads all over the place. Any questions on cloning inside of a selection? Yeah, we do have a couple of juve would like to know um how would you extend the ones and zeros all the way down the leg if you wanted to extend that if I wanted to extend that what I would probably need to do is change the positioning of where I I took my source point or sent my sample point. Yes, there will be a little bit of experimentation when you're cloning from one document to the other about figuring out exactly where to set that sample point. There's really no magic rule for that suit is going to have to use trial in where we could go back in there. I mean, you could set a couple of sample points if you wanted he's in the clotheshorse panel to create a different affect or we could come back in and just set a sample point ah, way down here perhaps and to come back over, and then we could try to line these guys up to extend them that way. I didn't have a selection of this point. That's, what we've got painting outside the line, so you can see how how useful having a selection before you paying, because it keeps you from going outside the lines like that. Fantastic and sam cox would like to know, including into a selection is great. Can we also clone from a selection? Seems like it that might restrict the cloning. The clones sourced only come from a certain part of your image. What it seems like that would work. I have not tried it, but it seems like it would, in theory, anyway.

Class Description

Ready to take your Photoshop skills to the next level? Join author of the best-selling Photoshop: Missing Manual book series, Lesa Snider, for a full-day immersion into Photoshop’s Content-Aware technology. Lesa will cover everything you need to know about Content-Aware technology, in which Photoshop intelligently analyzes your images for optimum results when resizing, removing, or moving objects around. You'll learn concrete and practical uses for all of these tools including Content-Aware Fill, Content-Aware Move, and Content-Aware Patch, plus you'll learn how to use alpha channels to get the absolute most out of resizing your images for specific output sizes with Content-Aware Scale. And when these tools don't do a perfect job? That's when the Clone Stamp tool comes in! By the end of this deep dive, you'll have mastered the art of using all these tools non-destructively for maximum flexibility when editing your images.


Software Used: Adobe Photoshop CC 14.1

Reviews

a Creativelive Student
 

LOVE Lesa! Her very down-to-earth approach makes her workflow easily understandable and replicable. It's not just aimlessly following steps, but nor is it relaying concepts and then good-luck-to-you on how to apply them. She has great examples and a wonderful sense of humour! I've learned a lot from several of her courses.

Terri
 

This is a great course. I work for a clothing company retouching and post processing photos of the models. Being able to remove wrinkles from clothing and make it look natural is critical. Lesa does a great job of teaching the various methods of repairing everything from wrinkles, to color and texture. I go back to it often when I feel I'm missing something.

a Creativelive Student
 

Excellent course. Downloaded prior to a trip to watch on the plane.