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begin painting where you want the upper-left corner of the clone to appear
in Step 4. Stroke down and to the right so that the X traverses the original
object.




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


Figure 8-10:
Thanks to
the magic of
the Clone
Brush, the
blanket has
vanished,
replaced
completely
with cloned
snow!




Other Clone Brush options
As you have already seen, the size of the area and the hardness can be set on
the Tool Options palette. In fact, by using the Tool Options palette, you can
set all the usual variations available to Paint Shop Pro brushes: shape, opac-
ity (transparency), step, and density (speckliness). You can find more infor-
mation on these settings in Chapter 9.



Cloning versus selection
When you copy individual people or objects, you can either use the Clone
Brush tool or copy and paste. Which to choose? The Clone Brush tool isn™t
really the best tool for copying objects because constraining the tool to just
the object you™re copying is difficult ” although sometimes it™s the fastest
tool to use.




Cloning neatly within the lines
You can paint neatly within a precisely defined invert the selection to select everything except
area by selecting that area in the destination the palm tree. Then, your brush stroke can slop
image. (We describe selection in Chapter 3.) right over the tree without leaving paint on it.
Paint Shop Pro paints only within the selection
Creating a selection around the source area
marquee.
doesn™t help you copy from a precise area, how-
To paint Alex behind a palm tree, for example, ever. A selection works on only the destination
you can select the palm tree™s trunk and then area.




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142 Part II: Prettying Up Photographs

Here are three tips to tell you when the Clone Brush is the way to go:

When you have a large enough background to clone: If you left-click
very near where you originally right-clicked, you may soon start cloning
your clones. (Your X may traverse areas you just painted.) You don™t
lose quality, but a pattern becomes apparent more quickly. If you look
carefully at Figure 8-11, where we have begun to clone over Alex, you
can discern a pattern in the slats we have cloned.
When you want to put an object behind something: For example, you
may want Alex to appear behind a palm tree at Club Med. With the Clone
Brush tool, you can paint his image on either side of the palm tree. Paint
Shop Pro has ways of doing this job that give cleaner results, but the
Clone Brush tool is often simpler.
Only when backgrounds are similar: Copying an object without picking
up a few border pixels is difficult using the Clone Brush tool, so it works
best when the backgrounds match.




Figure 8-11:
Bad
patterning,
Indy.




Bringing Someone into Soft Focus
Directors learned long ago that smearing the lens with Vaseline produces a
soft, gentle look that gives everything a faint glow and makes the leading lady
look angelic. (Not coincidentally, it also hides wrinkles on aging marquee
stars, like Doris Day.) If you want to put the romance back in your photos,
you too can simulate this effect!

Choose Adjust➪Softness➪Soft Focus to bring up the Soft Focus controls, as
shown in Figure 8-12, which allow you to smear all the virtual Vaseline you
want.

This list describes the controls shown in the figure:

Softness: This option controls how blurry you want your image, much
like defocusing a camera. Slide the control to the right to give the image
that total I-forgot-my-glasses look.
Edge Importance: Blurring the image may cause faces to turn into
peachlike, fuzzy mushes; sliding this control to the right attempts to
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Chapter 8: Heavy-Duty Photo Alterations: Adding People and Removing Zits

keep the edges (and eyes) distinct. It also helps to produce halos that
surround objects, as opposed to a more general haze.
Halo Amount: You can produce halos that lend an angelic look to the
items in your image. Slide this control to the right for halo effects that
surround just about everything, or yank it all the way to the left to turn
off halo-ing altogether.
Halo Size: Sliding this control to the right creates large, wide bands of
halos, and moving it to the left produces tighter, “borderlike” halos.
Halo Visibility: To create halos of pure white light, move this control to
100 percent; for softer, more background-colored halos, pull it leftward.




Figure 8-12:
William™s
wife Gini,
seen
through the
eyes of love.




Adding Blurs and the Illusion of Motion
“Why would I want to add blurs to an image?” you may ask. “Didn™t I spend
the big bucks to buy a digital camera that takes nonblurry photos?”

We have to admit that you have a point. But, sometimes, you™re trying to
paste an image into a slightly blurry photo and you need to match the larger
picture™s fuzzy background. At other times, you need to add a motion blur to
something to make it look like it™s moving very fast.

Blurring effects, although many and varied, are simple to use. Choose
Adjust➪Blur to access these menu items:

Average: Pops up an adjustment dialog box with a single control,
Amount of Correction. Drag right for more blur.
Blur: Applies a moderate amount of blurring. No adjustment dialog box
appears.
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144 Part II: Prettying Up Photographs

Blur More: Like Blur, only more so.
Gaussian Blur: Pops up a single-control adjustment dialog box. Drag the
Radius control to the right for more blurring, or left for less. To the
trained eye of the blur aficionado, this blur is a bit more refined than
Average blur. To the rest of us, it™s just a blur.
Motion Blur: Produces an artistic effect that most people can under-
stand if they have tried to take a photo of a fast-moving child, a car, or
an animal and ended up with a motion blur. This effect, using an adjust-
ment dialog box, produces a motion blur! Drag the clock-hand-like
Direction control in that box to point in the direction you want motion.
Then set the Strength slider and move it to the right if you need more
blur (see the following Tip paragraph).

Blur is often most effective when applied selectively to a particular area
of your image. Select an area with any of the selection tools we discuss in
Chapter 3 and then apply the Blur effect. Applied selectively, Blur can help
focus attention on the subject of your photo and away from a confusing
background.

The Motion Blur effect is sometimes best applied to the background area
around the object you want to appear speedy, so the object of interest isn™t
blurred. It™s a great way, for example, to make Speedy, your lethargic retriever,
appear to live up to his name. Take a photo of Speedy in his fastest pose ”
moseying toward his dinner bowl, for example. In Paint Shop Pro, select the
area around Speedy before choosing the Motion Blur effect. Apply the motion
blur in the head-to-tail direction. Your photo looks like your camera tracked
Speedy as he sped heroically to save his Gravy Train from a watery demise.
Figure 8-13 shows this effect applied to Alex, with a slight feathering to make
him blend better into the blurred background.




Figure 8-13:
Speedy
Alex.




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Spot-Changing Colors within an Image
Although Paint Shop Pro offers a dizzying variety of ways to change colors
and intensities, the hue tool group, as shown in Figure 8-14, is the easiest. You
can lighten or darken areas of your image, swap colors in a target area, inten-
sify the colors, or leach them to a dull gray.




Figure 8-14:
Hue™s your
daddy? The
hue tool
group.



The hue tool group doesn™t do anything you can™t do by selecting an area and
then applying any one of the color adjustments we describe in Chapter 7.
However, it™s often much quicker to swipe a couple of strokes with a paint-
brush-like object across your area than it is to carefully . . . select . . . the
right . . . part and then adjust it.



Removing unsightly gleams and glares
You can lighten or darken in lots of different ways in Paint Shop Pro ” but
the most basic is the Lighten/Darken tool in the hue tool group. You™re given
two options here: RGB and Lightness. In most cases, RGB works just fine.
Hold down the left mouse button and drag to lighten an image; hold the right
button and drag to sink it into the shadows.

Lightness adjusts the lightness portion ” the L in HSL ” and RGB adjusts the
red, green, and blue portions. If you really want to know what the difference
is, check out Chapter 7.



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146 Part II: Prettying Up Photographs

Figure 8-15 shows an image of Dave™s trusty golden retriever, Alex, that was
taken a bit too close to the camera™s flash. On the copy on the right side, we
have right-clicked with the Lighten/Darken tool in RGB mode to tone down
the gleam on his nose and reduce the flash™s reflection in his eyes.



Figure 8-15:
Lightening
strikes
as the
Lighten/
Darken tool
takes the
shine off
Alex™s nose
and the
glare off
his right
eyeball.



To darken more gradually and gain more control over the results, set the
opacity to a lower value on the Tool Options palette.



The rest of the hue tool group
Other tools are in the hue tool group, but they™re not used much:

Saturation Up/Down: Holding down the left mouse button and dragging
while you have the Saturation tool selected amplifies the inherent colors
in your image; holding down the right button leaches the colors out and
renders the image a lifeless gray. (For more information on what satura-
tion is, see the section in Chapter 7 about bringing your picture™s colors
to life.)
Change to Target: You can use the Change to Target tool to transform all
the colors under your brush into shades of the color in the Foreground
Materials box. If you™re really feeling comfortable with the whole HSL
thing (as shown in Chapter 7), you can replace the hue, saturation, or
lightness instead.
Hue Up/Down: This option pushes colors counterclockwise (red, yellow,
green, cyan, blue, violet, and magenta) or clockwise on the Paint Shop
Pro color wheel. We don™t know when you would use it, but, hey ” it
came with the program, right?


TEAM LinG - Live, Informative, Non-cost and Genuine !
Part III
Painting Pictures




TEAM LinG - Live, Informative, Non-cost and Genuine !
In this part . . .
F inally, someone has gotten serious about digital art-
work, without charging an arm or an ear. The Paint
Shop Pro painting materials and its new Art Media tools
give you some incredibly jazzy effects without ever having
to open a can of turpentine. Oil paint? Pastels? Canvas?
You want it, you got it ” or at least a darned good digital
simulation of it.




TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 9
Basic Painting, Spraying,
and Filling
In This Chapter
Starting a fresh canvas
Finding your tool
Choosing a color
Brushing
Spraying
Erasing
Painting
Using different brush sizes and shapes
Controlling how paint goes on
Replacing colors
Filling




O f course, Paint Shop Pro does all the basics you have seen in garden
variety “paint” programs (like the Paint program that comes with
Windows). For example, it lets you brush or spray lines, blobs, and colors
and fill in areas.

This is Paint Shop Pro, however, and pro means that you get a heck of a lot
more control than those simple programs offer. It also means more sophisti-
cated editing abilities, like replacing one color with another or erasing back-
ground areas. This tool is the one that Dave™s house painter, Phil, would use if
Dave™s house were digital ” and Phil™s a pro.

As with most jobs you do in Paint Shop Pro, painting affects only the active
layer and only the selected area. If it appears that a painting or retouching
tool isn™t working, make sure that you™re on the right layer and working
within a selected area (or clear the selection by pressing Ctrl+D). If you don™t
use more than one layer or don™t have any current selection, don™t worry
about those restrictions. Also, remember that by pressing Ctrl+Z, you can
undo any painting or erasing.
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150 Part III: Painting Pictures


Starting a Fresh Canvas
You can paint on an existing image in Paint Shop Pro, but if you™re starting a
work of art from scratch, you need a fresh canvas, or background layer. Here™s
how to start a fresh canvas:

1. Choose File➪New or press Ctrl+N.
The New Image dialog box appears.
2. Specify the size of your image by using the Width and Height value
boxes, and choose inches, centimeters, or pixels in the adjacent Units
selection box.
If you use inches or centimeters for your units, specify in the Resolution
box how many pixels you want per one inch or centimeter. Set the adja-
cent Units selection box to Pixels/cm or Pixels/inch.
3. Under Image Characteristics, choose Raster, Vector, or Art Media.
For purposes of this chapter, choose Raster. Vector is for text or shape
objects, and Art Media is for special artsy stuff, which we talk about in
Chapter 10.
4. For color depth, choose 16 million colors unless you know that you
have a special need for fewer colors.
5. For a solid background, deselect the check box marked Transparent.
If the color sample box displayed above the check box isn™t the back-
ground you want, click that sample box. In the Color dialog box that
appears, click a hue in the circle; adjust its lightness or darkness by
clicking in the rectangle in the center of the circle. Or, click any standard
color in the colored grid. When the Current box is the color you want,
click OK.




Finding Your Tool
Before you can do much of anything, you need to be able to find your tools!
Figure 9-1 shows the Paint Shop Pro Tools toolbar, where painterly tools, like
brushes, live. This toolbar has a slightly confusing design. It doesn™t give
every tool its own spot on the bar. The bar would be way too long.

Instead, the toolbar groups similar tools into what we call tool groups. A tool
group (or toolset) exists wherever you see a tiny downward-pointing triangle
(or down arrow) to the right of an icon.




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Chapter 9: Basic Painting, Spraying, and Filling




Figure 9-1:
The Tools
toolbar.
Tiny down
arrows
indicate
hidden tool
groups.

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