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group.



The retouch tool group offers many tools to choose from. Some of them
require a fair amount of technical insight into computer graphics in order to
use them properly. In this chapter, we cover the effects you™re likely to use
most.



Removing wrinkles with the Soften tool
One of the most useful Paint Shop Pro effects is great for retouching por-
traits: the Soften tool. The Soften tool, well, softens sharp edges ” wrinkles,
for example. Just brush the tool across those edges or click them.

Figure 8-2 shows a frighteningly close shot of the left eye of wrinkled, old
Uncle Dave, a friendly author. On the left is an unretouched copy; on the right
is the Soften tool softening his wrinkles.



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Figure 8-2:
The Soften
tool
removes a
few years
from Dave™s
left eye.



You could get the same result by selecting the wrinkled area and applying the
Blur or Blur More effect, but that™s more work. (We give you details later in
this chapter, in the section “Adding Blurs and the Illusion of Motion.”) If you
want a nice, soft, angelic glow to your entire image, the Soft Focus Adjustment
(see the later section “Bringing Someone into Soft Focus”) makes everything
radiant.

To work more gradually and do less softening in each stroke, set the opacity
to a lower value on the Tool Options palette.



Zapping warts and pimples
with the Smudge tool
The Smudge tool picks up paint from the place where you set it down and
smears that paint as you drag to other areas, to make it the closest thing Paint
Shop Pro has to finger painting. As the tool smears, it loses paint just as your
finger would. You can use smudging to soften edges, rub out pimples, cover
up glare spots, or even blend in a dot of rouge (in the form of low-opacity red
paint) that you have added to the cheek of your CEO™s portrait.

To minimize moles, pimples, and similar imperfections, start not on the dis-
colored area, but rather off to one side. Smudge across the discolored area
and release the mouse button after you™ve smeared skin tone through the
imperfection. Repeat in the opposite direction, again starting on clear skin.

Figure 8-3 shows the smudge effect as the Retouch tool is dragged from left
to right, starting with white and passing through the center of three differ-
ently colored squares in a single stroke. Notice how the paint fades as the
tool moves from left to right. The tops of the three squares have also been
smudged, but with repeated, circular strokes.




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Figure 8-3:
The Retouch
tool in
Smudge
mode. A
single stroke
through the
middle
creates a
“bullet
through an
apple” look,
and a
circular
motion
smudges
the tops.



As shown in the center of Figure 8-3, a single stroke may reveal the inherent
dottiness of computer stroking, which you can minimize by reducing the Step
value on the Tool Options palette (press F4 if you don™t see it). Repeated
strokes, as indicated along the tops of the squares in Figure 8-3, tend to
smear out those dots.

If your wart, pimple, or mole is too big to smudge ” and some are ” con-
sider using the Clone Brush tool to cover up the offending blemish with pris-
tine skin taken from elsewhere in your image. See the section “Removing
People, Places, and Things from Your Image,” later in this chapter.



Miscellaneous retouch tools
Not all retouching tools are useful; some are obscure, and others are more
creative than restorative. Still, they may be worth a try. This list provides
brief synopses of what they do:

Sharpen: Amplifies edges, wrinkles, and other sudden transitions (the
opposite of Soften).
Emboss: Creates a grayscale image that appears to be embossed, like
George Washington™s face on a U.S. quarter.




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Chapter 8: Heavy-Duty Photo Alterations: Adding People and Removing Zits

Push: Picks up the image area where you begin dragging and pushes it
along, leaving a trail of finely overlapping copies of that area. (Overlap is
controlled by the Step value on the Tool Options palette.)
Dodge: A term taken from photographic darkroom work that means to
lighten areas that are already somewhat light. It lightens the image and
enhances contrast at the same time.
Burn: The opposite of Dodge; darkens pixels that are already somewhat
dark. It darkens the image while enhancing contrast.

Burning and dodging are frequently used by professional photographers to
draw attention to parts of an image. For example, if you want your cousin to
stand out in her graduation picture, you might burn the people surrounding
her (as horrid as that sounds) and darken the rest of the assembly. The
viewer™s eye is then drawn to the light spot (namely, your cousin) in the
middle of a dark crowd.




Adding People, Places, and
Things to Your Image
Using the Paint Shop Pro selection commands makes it very easy to cut people
out of one image and paste them into another. For example, in Figure 8-4, we
have cut the faithful Alex from Dave™s snow-covered doorstep in Maine and
placed him next to Amy, William™s daughter, as she kneels next to her fantastic
creation: the Cleveland Snowduck.




Figure 8-4:
Paint Shop
Pro:
Bringing
people (and
animals)
together.




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Layers: Really, incredibly useful
If you™re going to be adding new people, places, allowed us to resize Alex, making him smaller,
or things to your image, you probably want to without changing Amy™s size. We also erased a
add them as new layers. When something is on little around Alex™s edges without erasing any of
a layer, you can edit it separately from the rest the snow on Amy™s layer. Whatever we did to
of the image. Alex™s picture didn™t affect Amy™s image, and
whatever we did to Amy didn™t affect Alex.
For example, when we created the Alex-and-
Amy fake in Figure 8-4, we put the picture of Amy Layering is so amazingly powerful that we have
and her Cleveland Snowduck on one layer and an entire chapter devoted to it; Chapter 11
then pasted Alex the dog into another layer. That opens up a whole new world to you.



This part of the program is a great deal of fun, and Paint Shop Pro aficionados
frequently get hours of enjoyment by inserting themselves into movie posters
so that they™re costarring with Salma Hayek. In fact, an entire underground
Internet movement is devoted to taking pictures from the news and doing
as many strange and bizarre things with them as possible. The Web site
www.fark.com, for example, holds PG-13“rated contests to see who can
“Photoshop” pictures of Alan Greenspan and Ludacris into the funniest
places. Some results are quite impressive.

We cover the mechanics of selecting a portion of an image in Chapter 3, and
we tell you in Chapter 4 how to cut and paste those portions into other
photos. That™s a good place to start ” but a simple cut-and-paste doesn™t
create realistic fakes. Not that you need your photos to hold up to the eye of
conspiracy theorists ” but plopping a picture of you, jaggies and edge halos
and all, into some random image just looks amateurish. Your completed pas-
tiche should look plausible at first glance, if not the second or third.

With that in mind, we here on the Paint Shop Pro 9 For Dummies staff offer the
following advice to make your images blend seamlessly:

1. Use the Magic Wand to select.
Yes, it™s easier to just draw a line around your target ” but unless you
have a steady hand and a ridiculously exacting eye, the Magic Wand does
it better after some fine-tuning. Get used to it.
2. Get rid of the holes and specks in your selection.
This task used to be difficult, but Paint Shop Pro makes it so easy now
with its Remove Specks and Holes command that it™s a crime not to
do it.




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Chapter 8: Heavy-Duty Photo Alterations: Adding People and Removing Zits

3. Feather a little.
Usually, you want to leave off those crisp edges. Feather one or two
pixels on the inside to help the selection blend into the background.
4. Eliminate the background color entirely.
We show you how to remove a color from a selection in Chapter 3, in the
section about removing the background or other colors from your selec-
tion ” and we show you an ugly image that shows what happens if you
don™t. Learn the lesson!
5. Resize appropriately.
When we first put Alex in the picture in Figure 8-4, he only came up to
Amy™s shoulder, making Amy look freakishly huge. A little downsizing
made a large difference.
6. Match the blur.
Most photos aren™t perfectly clear, and dropping a crisply focused image
into the middle of a slightly blurry pic looks wrong in a way that most
people can™t quite put a name to. Sharpening or Gaussian-blurring your
selection just a tad helps it to blend in.
7. Adjust the color.
Having a sunlit image brought into a fluorescent background makes the
image stick out like a throbbing thumb. Adjust the contrast, hue, and
brightness to match it as closely as you can. To find out how to adjust
contrast, hue, and brightness, look no further than Chapter 7.
8. Don™t forget the shadows!
A touch of low-opacity black paint can serve as a quick-and-dirty fake
shadow ” as we did in the example shown in Figure 8-4. If you want to
go all out, you can even paste in another identical selection as a layer,
deform it so that it™s twisted sideways and elongated like a real shadow,
position it so that it™s spreading out from the bottom of the image, erase
the layer so that it™s transparent ” and then fill it in with low-opacity
paint. But that™s a great deal of work for a quick fake!




Removing People, Places, and Things
from Your Image
The Clone Brush tool is a wonderful thing that allows you to erase someone
from an image without leaving a blank hole the way the Eraser tool does. The
Clone Brush requires you to select an area of your image ” also known as
“the source” ” before you start painting. When you paint with the Clone
Brush, you paste copies of the pixels from the source area into the area
you™re painting.
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This tool is frequently used in photograph retouching to “erase” areas in a
picture. If you don™t like your Uncle Fred, paint over him with a section of the
wall that™s off to his left.

This process is easier shown than described ” so suppose that you have
decided that the green blanket that Alex is sitting on in Figure 8-5 just has to
go. You had better cover it up with some snow!




Figure 8-5:
The original
image,
complete
with green
blanket.



1. Click the Clone Brush tool (shown in Figure 8-6) on the Tools toolbar.
If you don™t see the Clone Brush tool, you may have selected the Scratch
Remover tool earlier. If that™s the case, click the arrow next to the
Scratch Remover tool and select the Clone Brush tool from the drop-
down list.




Figure 8-6:
Attack of
the Clone
Brushes ”
the location
of the Clone
Brush on
the side
menu.



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Chapter 8: Heavy-Duty Photo Alterations: Adding People and Removing Zits

2. If necessary, adjust the size and hardness of the Clone Brush tool on
the Tool Options palette (see Figure 8-7).



Figure 8-7:
The Tool
Options
palette,
Clone
Brush“style.



Sometimes, you want to have a very large clone selection to replace
huge areas of a picture ” or, you want a small selection to make sure
that you can get right in between Alex™s paws. You can adjust the size on
the Size control on the Tool Options palette; large numbers mean that
you copy a large sample of the picture, and smaller numbers mean tiny
samples. You want a teeny selection, so choose 20.
The hardness is a percentage that determines how crisp the edge of a
cloned copy is; 100 percent is a razor-sharp edge, whereas 0 percent is a
fuzzy selection that looks almost blurred and blends easily into the
background (see Figure 8-8). We keep ours at 50 percent.



Figure 8-8: 100 percent
hardness
Values of
100 percent,
50 percent
50 percent,
hardness
and 0
percent 0 percent
hardness
hardness.



If you don™t see the Tool Options palette, press F4 on the keyboard.
3. Right-click the source area (the area you want to copy).
Clicking an edge or corner of the object you want helps you with the
next step. In this case, because you want to cover up the green blanket
with a fluffy coating of snow, right-click the snow in the lower-right
corner, as shown in Figure 8-9.




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Cloning between images or layers
The Clone Brush tool copies just as well from one you want to copy, and then left-click or drag
image window to another window as it does where you want to paint on the destination
within one image. It also copies between layers, image.
if you want. (If you don™t know what layers are ”
To clone between layers, select your source
and you should ” flip to Chapter 11.)
layer on the Layer palette. Then, right-click the
To clone between images, open both images. image you want copied. Select the destination
They appear in separate windows in Paint Shop layer on the Layer palette, and then left-click or
Pro. Just right-click the source image where drag on the image.




Figure 8-9:
A small
section of
the blanket
has been
replaced
with a copy
of the snow
from the
lower-right
corner.



4. Brush (left-click or drag) on the destination area (the area you want to
paint).
As you brush, keep an eye on the source area too. An X marks the spot
on the source image where the Clone Brush tool is picking up (copying)
pixels. As you move your brush, the X on the source image tracks your
movement. Move so that the X sweeps across the object you want to
copy, as shown in Figure 8-10.
If you ever want to choose another area to clone, all you have to do is
right-click a new section.

If, in Step 3, you right-clicked the upper-left corner of the area you™re copying,

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