How to apply perspective in Photoshop. Photoshop CS6 - Perspective Correction Tool

Before learning linear perspective, it is assumed that you are already familiar with the term eye. If you haven't done it yet, you need to do it. In another way, we can say that the eye is an observational perspective. But having a good eye without knowing the laws of perspective, the so-called exact science, which is part of linear geometry - linear perspective - is not enough.

In order for the eyes to see everything that appears before us, they see it in a distorted form. I don't attribute this to what is being portrayed. I attribute this to a drawing, an image of a sheet visible in the plane using a perspective relationship of shapes in space.

Linear perspective - already section descriptive geometry. And we simply create space on the plane of the sheet. You just need to know how everything works, how everything happens.

Your eye, without any understanding of linear perspective, is blind copying of visible objects. Success in working on a drawing largely depends on knowledge of the rules of linear perspective and the ability to apply them in practice.

I will try to explain as simply as possible, without going into the jungle of details of descriptive geometry - no one needs this. Let's isolate the main thing. My main task at this stage is to start your thinking in this area - linear perspective, which is an important practical addition to your eye. Using the eye, backed by knowledge of perspective, is our task and the path to successful drawing.

So... Look to the side, up, down - absolutely everything that moves away from our eyes, everything is subject to apparent change and reduction. But we take it for granted, as a matter of course. This is how it should be, this is how our eyes see and sometimes we don’t even notice this feature. Well, okay, but we need to depict approximately the same reality on the plane of the sheet. Our task is to be able to convincingly depict objects in accordance with our visual perception visible forms in space. We must be able to support the work of our eye with knowledge of linear perspective, and use it if necessary.

1. Let's add a little geometry to our training in order to get closer to mastering the exact science. What can you do, because linear perspective is part of one of the branches of geometry. Just a little to understand the meaning.

Let's take for a start the simplest and most beloved shape - a cube, and even simpler - its constructive beginning - a square. We will make a volumetric cube from a flat square using linear perspective. So, let's draw a square.

All its sides are equal, the angles are right. You can use a ruler. Draw with me.

2. Draw a square, good. Now we will draw the horizon line. In general, it is believed that where the eyes are, there is the horizon. The horizon line is always at eye level. IN real life, for example, when drawing a still life - how to determine the horizon line? Of course, with the help of an eye when observing the shape of objects. It is also easy to determine using water poured into a transparent container. I think you understand how? Move the container in front of you - at the height where the surface of the water appears to us as one line - this will be your horizon. In general, this is an imaginary line, but it plays an important role in the perspective construction of the image.

In geometry, perhaps the horizon line is specified, so for now, set the distance between the square and the horizon line yourself. Let's draw.

3. Now let's get acquainted with the vanishing point.

This is the point at which all parallel edges of an object converge. In fact, they do not converge, but come as close as possible in perspective, because parallel lines do not intersect, but you can’t dictate conditions to our eye, that’s how it sees. And we’ll also make sure that our vanishing point will be located almost in front of the square. It’s as if we are looking “head-on” at the square. To do this, we make intersections on it - from corner to corner (draw diagonals), get the point of intersection of the diagonals and use it to derive perpendicular to the line

horizon.

That's it, the vanishing point has been found.

4. Next step: connect the corners of the square with the vanishing point: 5. The next step is to make a cube from a square. To do this we need to find segment a-b

, which will be the back face of the cube.

Again, in a linear perspective it can be calculated; we won’t bother so much. In the drawing it is determined by the eye, but for now we determine it by sensation.

This is the cube we got, which we built according to the laws of linear perspective, absolutely without resorting to the use of an eye-observational perspective.

But such a drawing can be obtained if we look directly at the depicted object from the front. As soon as you deviate to the right or left, the picture turns out to be completely different. And most importantly, there are actually two vanishing points. After all, we can deviate from the subject in two directions, right? Least. Usually, you have to take into account the right and left side subject. So, let's move on.

Just like in the first case, we draw a square, mark the horizon line and determine both vanishing points, but now taking into account the fact that the cube we get will be rotated in space.

One vanishing point will be located closer to the square, the second further away. In a linear perspective, of course, these quantities are determined or specified by dimensions, but we do it “by eye,” by feeling.

Now, as in the first case, we connect the corners of the square with the first and second vanishing points. As you can see, we have found a segment b-c, which will be useful for constructing a cube in the future:

And then we will, as in the first case, build a cube. This is the cube we got, taking into account the perspective constructions. It’s just a pity that you won’t have to make such constructions in the drawing. But it’s impossible, we are not engaged in drawing, we are “creating” space in the plane of the sheet.

And it’s not at all necessary to make drawings on a sheet, determine vanishing points, or make constructions. When drawing from life, you should first of all use observational perspective, that is, with an eye, and apply knowledge of the basic laws of linear perspective if necessary, reinforcing the eye. One should help the other. Only in this case can one achieve good heights in drawing and professionalism.

Well, how is all this achieved in the drawing? How can you correctly convey perspective in paper space? How exactly do eye-observational perspective and linear perspective combine? Please look like:

If you analyze these diagrams, you can understand that the eye and perspective go hand in hand, helping each other. First, the eye works, determining the basic quantities, location in the sheet, basic angles, rotation, and finds the initial perspective relationships using three points (which form conditional angles). And linear perspective works to substantiate, check, confirm what is found, and corrects the actions of the draftsman where he needs it.

In the drawing, we do not show you the vanishing points, we do not draw the horizon line, if only lightly, for ourselves, in order to confirm the correctness of our actions and help the eye. We simply assume the presence of perspective and subject what is depicted to its laws.

And vice versa: perspective changes in sides and the location of vanishing points in the drawing are determined by eye. And the accuracy of the determination depends on the degree of development of your eye.

Work some more, build another perspective on your own. Change the point of view (left, right), change the height of the point of view, that is, the horizon line. See how the picture before your eyes changes, the very appearance of the object. Practice, these are useful skills.

For example, how will the cube appear when it is rotated like this:

The edges or angles that our eye determines are highlighted in red here. We complete the rest and test ourselves using linear perspective.

How will, for example, a cylinder behave in the future?

A very useful geometric figure, without drawing skills it will be difficult to convey objects based on a cylinder.

One point to note here is that any cylinder can fit into a rectangle. Suppose the rectangle rotates in space, we build it taking into account perspective, then the shape of the circles of the cylinder will depend on the shape of the rectangle. It’s easier to say as a basis, you can take the base and top of a rectangle, and based on this, build a circle.

And again, look, the construction can be based on a curve that can be calculated by an eye. This curve is highlighted in red. Everything else is already predetermined.

Now let’s draw three-dimensional forms, as they say, “from the lantern”, according to presentation, at will. It is important. Let's do an exercise to develop three-dimensional concepts and get a little skill in perspective images of these objects on a plane.

Draw, I get this group of objects, look on the left. In the process of work, you will notice that I depict some objects from an angle, or with a strong rotation. For example: look at the shape that is highlighted in orange - everything is fine, it has the vanishing points that were specified.

Now look at the shape highlighted in blue: it has one vanishing point. Or rather, it is located in such a way that to convey its shape it is enough to use one vanishing point. And it happens that the form has such an angle that the vanishing points of its perspective change. Look below:

The figure highlighted with purple shading has a strong angle, the vanishing points are shifted - O3 and O4 - which extends far beyond the boundaries of our sheet.

But nevertheless, absolutely all vanishing points will be located on the horizon line - at the level of our eyes. If you shift the horizon line, then absolutely everything will begin to change - from the edges to the corners.

Of course, this requires practice, draw, draw, experiment with turns and angles, practice. Develop your logical thinking.

You need to try to reach such a level in your understanding of linear perspective that you resort to its help in drawing already on a subconscious level, taking it for granted. There is no need to draw anything in the drawing.

And one more thing for the future, for the most stubborn: if you have reached the point in your practice that you use different vanishing points perfectly, work with volumes from small to huge and feel that there is a possibility of using two horizon lines, and you want it done, then you did a great job with this lesson. A solid, fat five to you. You are well done! I’ll explain why: such sensations arise when depicting, for example, an interior or exterior, where a person may feel too small or large volumes are not constructed correctly (according to our feelings) and there is a need to introduce some adjustments to the perspective construction in accordance with the visual perception of what is being depicted . In general, this is where their complexity lies. Sometimes you have to use two horizon lines, then use multiple vanishing points. But this is a completely different story, which requires no less attention, if not much more.

In addition to all this beauty that you can draw, try drawing the following:

1. kitchen utensils

When drawing them, try to take into account future abbreviations. You can do searches simply by training your eye, draw arbitrarily, as you think, or you can build them using a ruler, with a horizon line, vanishing points, enclosing them in a geometric figure, which will be their constructive basis - then try to compare both options. You don’t have to draw the entire room you’re in now. You are IN it, and when drawing the interior space of a room there are some points that are not discussed on this page. If you want, you can simply fragment the room. Search individual areas.

3. you can just practice drawing geometric figures in perspective.

4. Sketch outside. Draw individual buildings, the entire street, cars, the road and nearby buildings. Constructive, catchy, outline only the main things. And the main thing is to search for perspective distortions of what you depict in space. The eye works and you reinforce its work with the acquired knowledge.

Note.

In versions earlier than Photoshop CC, some of the functionality described in this article may only be available with Photoshop Extended. Photoshop CC does not have a special Extended version. All the features of Photoshop Extended are available in Photoshop CC.

The Perspective Correction feature makes it easy to correct perspective in images that contain perspective planes, such as the sides of buildings, walls, floors, and any other rectangular objects. In this filter, the user specifies planes in the image to which editing (drawing, cloning, copying or pasting, and transforming) is then applied. All editing actions are performed taking into account the perspective of the work plane. When retouching, adding elements to an image, or removing parts, the results look more realistic because the adjustments are correctly oriented and scaled according to the perspective of the plane. Once you've finished correcting the perspective, you can continue editing the image in Photoshop. To preserve perspective plane information in an image, save the document in PSD, TIFF, or JPEG format.

Editing perspective image planes

You can also measure image elements and export these 3D characteristics and measurements to DXF and 3DS formats for later use in 3D graphics applications.

The Perspective Correction dialog box (Filter > Perspective Correction) contains tools for defining perspective planes, image editing tools, and the Ruler tool, as well as a preview area. The capabilities of the tools in the Perspective Correction function (Area, Stamp, Brush, etc.) are the same as the capabilities of the corresponding tools in the Photoshop Tools palette. Tool options can be adjusted using the same keyboard shortcuts. Opening the Perspective Correction menu displays additional tool options and commands.

Correct Perspective Dialog Box

Perspective Correction Tools

The perspective correction tools work similarly to their equivalents in Photoshop's main tool palette. Tool options can be adjusted using the same keyboard shortcuts. The tool you select affects the options available in the Perspective Correction dialog box.

Edit Plane Tool

Selecting, editing, moving and resizing a plane.

Create Plane Tool

Defines the four corners of a plane, adjusts its size and shape, and creates a new plane based on this data.

Region Tool

Select square or rectangular areas. You can also use this tool to move or clone selected areas.

Double-clicking the Marquee tool on a plane selects the entire plane.

Stamp tool

Drawing using a sample image. Unlike the Stamp tool in Photoshop's Tools palette, the Perspective Correction filter's Stamp tool can't copy elements of another image. See also Painting with pixels from a pattern in Correcting Perspective and Retouching with the Stamp Tool from the Photoshop Tools panel.

Brush Tool

Coloring the plane with the selected color.

Transform Tool

Eyedropper tool

Select the color to draw when you click in the preview area.

Zoom tool

Zoom in or out on the preview window.

Hand Tool

Allows you to move the image in the preview window.

Enlarge or reduce the viewing image

Move the image in the preview window

• In the Correct Perspective dialog box, select the Hand tool and drag the pointer in the preview area.

  Select any tool and, while holding down the Spacebar, drag the pointer in the preview area.

1.(Optional) Prepare your image for the Perspective Correction feature.

Before choosing the Correct Perspective command, do one of the following:

In order for the results of work with the Perspective Correction function to be placed in a separate layer, this layer must be created in advance. Saving the results of a perspective correction in a separate layer allows you to preserve the original image and adjust the opacity, styles, and blending modes for that layer.

If you plan to paste an element from the Photoshop clipboard, you must copy the element before selecting the Correct Perspective command. The element you're copying may be in another Photoshop document. If you are copying text, you must rasterize the text layer before copying it to the clipboard.

To ensure that perspective correction is applied only to specified areas of the image, you must select those areas or create an image mask before selecting the Perspective Correction command. See also: Selecting with the Marquee Tool and About Masks and Alpha Channels.

For a perspective object to be copied from one Photoshop document to another, it must be copied into the document in perspective correction mode. When you paste this element in Perspective Correction mode into another document, the object's perspective will be preserved.

2. Choose Filter > Perspective Correction.

3. Mark four corner nodes on a flat surface.

By default, the Create Plane tool is selected. To specify corner nodes, click the image in the preview area. When creating a plane, it is recommended to use a rectangular object as guides.

To create additional planes based on the specified parameters, use the Create Plane tool and Ctrl-drag (Windows) or Command-drag (Mac OS) a corner node. For more information, see Define and adjust perspective planes in the Perspective Correction window.

Using the Create Plane tool, specify four corner nodes.

To construct a plane based on the specified parameters, drag a corner node while holding down Ctrl (Windows) or Command (Mac OS).

4. Edit the image.

Perform one of the following actions.

Select an area. Once a selection has been created, you can clone, move, rotate, scale, transform, and also apply a fill to this area. For more information, see .

Paste an element from the clipboard. The inserted element becomes floating area, the perspective of which corresponds to the perspective of the plane into which the element is moved. For more information, see Inserting Elements in the Perspective Window.

Drawing with color or pixels according to a sample. For more information, see Paint with color in the Perspective Correction window or Paint with pixels using a pattern in the Perspective Correction window.

Scaling, rotating, mirroring and flipping a floating area. For more information, see About the selections in the Perspective Correction window.

Measuring an element on a plane. To display measurements in Photoshop, there is a Display Measurements in Photoshop command in the Perspective Correction menu. For more information, see Measurements when working with the Perspective Correction window.

5. Export 3D graphics characteristics and measurements to DXF or 3DS format.

6. Click the button OK

Before you click OK, you can display the grids by using the Show Grids in Photoshop command in the Perspective menu. For more information, see Displaying Grids in Photoshop.

3D graphics (plane) properties, textures, and dimensions created by working with the Perspective Correction filter can be exported to formats used by CAD, modeling, animation, and special effects applications. Exporting to DXF format creates a file with 3D graphics characteristics and all measurements. Along with geometry characteristics, exported 3DS files contain rendered textures.

Open the Perspective Correction menu and select Export to DXF or Export to 3DS.

In the Export to DXF or Export to 3DS dialog box, select a location for the saved file and click Save.

Before you begin editing in the Perspective Correction filter, you need to define rectangular planes, coinciding with the perspective of the image. The accuracy of the plane determines how correctly all adjustments and parameters of a given image will be scaled and oriented.

Once the four corner nodes are defined, the perspective plane becomes active and the bounding box and mesh are displayed. Scale, offset, and reshape are used to fine-tune the perspective plane. Using the grid options, you can align it with the elements of the image. Sometimes aligning the bounding box and mesh with the texture or pattern of the image helps fine-tune the perspective of the image. Adjusting the grid cell size makes it easier to count image elements.

In addition to its auxiliary role in aligning perspective planes with image elements, the grid allows you to visualize measurements when working with the Ruler tool. There is a special option to associate grid dimensions with measurements taken with the Ruler tool.

Creating Linked Perspective Planes

After creating a plane in the Perspective Correction window, you can create additional planes with the same perspective. After creating a second plane from the initial perspective plane, you can create additional planes from the second, and so on. You can create any number of planes. New planes are created at an angle of 90°, but they can be rotated to any angle. This is useful for precisely editing planes to replicate the geometry of a complex scene. For example, corner cabinets in the kitchen can be part of the same plane. In addition to tilting planes, you can always change their size using the Edit Plane tool.

Bounding box and grid warnings in the Perspective Correction filter

The color of the bounding box and grid lines changes according to current state plane. If the plane is invalid, then the corner node should be moved until the bounding box and grid lines turn blue again.

Blue

Acceptable plane. It should be remembered that acceptable planes do not guarantee that the desired perspective correction results will be obtained. Make sure that the bounding box and grid are accurately aligned with the geometric elements or flat area of ​​the image.

Red

Invalid plane. The Perspective Correction filter is unable to calculate plane proportions.

Yellow

Note.

Although invalid red or yellow planes can be edited (such as tearing off perpendicular planes), it is difficult to get the results oriented correctly.

Show or hide the grid, active selections, and perspective plane boundaries

From the Perspective Correction menu, choose Show Edges.

Note.

While resizing or repositioning, the borders of the selected areas are temporarily displayed, even if the Show Edges option is turned off.

Setting perspective plane grid cell sizes

By default, when you view an image in a Photoshop document window, the Perspective Correction filter grids are not visible, although they are saved in the image and appear each time you run the Perspective Correction filter. There is a grid display option that will appear in the Photoshop document window after you've finished working with the Perspective Correction filter. The displayed meshes are raster and not vector.

Open the Perspective Correction menu and choose Show Grids in Photoshop.

The Display Grids in Photoshop command should be selected in each session of the Perspective filter.

If you plan to display grids in Photoshop, you will need to create a new layer for the results of the Perspective Correction filter. This way the meshes will be stored in a layer separate from the main image.

When painting or retouching, highlighted areas allow you to correct imperfections, add elements, or enhance an image. In perspective correction mode, creating selections allows you to paint or fill specified areas of the image while maintaining the perspective defined by the image planes. Using selections, you can clone and move specific elements of an image in perspective.

The Marquee tool creates a selection within a perspective plane. If the selected area extends over several planes, then it is divided in such a way as to match the perspective of each of them.

The generated selection can be moved to any place in the image, respecting the perspective established by the plane. If the image contains several planes, then the selected area is adjusted to the perspective of the plane into which it is moved.

The Perspective tool allows you to clone the pixels of a selection as you move that area around the image. When working with the Perspective Correction filter, the selected area whose pixels can be moved to any part of the image is called floating area. Even though the floating area pixels are not on a separate layer, they appear to be a separate layer hanging over the main image. While the floating area is active, you can move, rotate, or resize it.

Note.

When you paste an element while using the Perspective Correction filter, the pasted pixels are in a floating area.

Clicking outside the floating area deselects the selection. When you deselect, the contents of the floating area are placed into the image, replacing the pixels that were previously under the selection. Making an exact copy of the floating area also cancels the original selection.

Inserted element in Perspective Correction.

The Perspective Correction filter has another option to move selected areas. The selected area can be filled with pixels from the area where the pointer is moved.

Copy and move a selection from one perspective plane to another

Selecting areas in the Correct Perspective filter

Move selections in the Correct Perspective filter

To determine how the selection behaves when moved, from the Move Mode menu, choose one of the following:

• To select the area where the selection area moves, choose Destination.

  To fill the selection with the pixels of the area where you drag the Selection tool pointer (similar to dragging a selection while holding down Ctrl or Command), select Source.

Drag the selection. Hold down the Shift key while constraining the movement so that it is aligned with the perspective plane grid.

Move, rotate, and scale floating areas

Select an area in the perspective plane.

Alt-drag (Windows) or Option-drag (Mac OS) a selection using the Marquee tool to create a copy of the selection and its pixels.

The copy becomes floating area, which appears to hover over the main image. You can move the floating area and use the Transform tool to scale or rotate it.

Perform one of the following actions.

• Click outside the floating area to deselect it. The contents of the floating region are placed into the image, replacing the pixels that were previously under the selected region.

  Click inside a floating area with the Marquee or Transform tools and Alt-drag (Windows) or Option-drag (Mac OS) to create a copy of the selection. Immediately after the copy is created, the original floating area is deselected, and that area replaces the pixels that were previously underneath it.

To repeat the move of the last copy operation, press Ctrl+Shift+T (Windows) or Control+Shift+T (Mac OS). This way you can easily create exact copies content.

When working with the Perspective Correction filter, you can paste elements from the clipboard. The element you're copying can be in the same or a different Photoshop document. As soon as you paste it into the Perspective Correction window, the element becomes a floating area that you can scale, rotate, move, or clone. When you move to a selected plane, the floating region adjusts to the perspective of that plane.

Inserting an element when working with the Perspective Correction filter

Copying an element to the clipboard. The element you're copying can be in the same or a different Photoshop document. Please remember that insertion is only possible for raster (non-vector) images.

Note.

If text is copied, it must first be rasterized. Right-click on the text layer and select Rasterize. Then choose Select > All and copy the layer to the clipboard.

(Optional) Create a new layer.

Choose Filter > Perspective Correction.

If necessary, create one or more planes in the image.

To paste an element, press Ctrl+V (Windows) or Command+V (Mac OS).

The inserted element is now a floating area in the top left corner of the previewed image. By default, the Marquee tool is selected.

Using the Marquee tool, drag the inserted image onto the plane.

The image is adjusted to match the perspective of the plane.

Note.

After you paste an image into the Perspective Correction window, do not use the Marquee tool on the image other than to drag the pasted image into the perspective plane. Clicking anywhere in the image deselects the floating area. In this case, pixels are permanently inserted into the image.

Select the Brush tool.

Set the brush color. To do this, do one of the following:

• Select the Eyedropper tool and click any color in the image you're viewing.

  Click the Brush Color area to open the color picker and select a color.

In the Tool Options area, adjust the settings for Diameter (the size of the brush), Hardness (the smoothness of the edge), and Opacity (how much the paint layer obscures the image underneath).

Select "Recovery" mode:

• To draw without overlaying color, light, or shadowing surrounding pixels, choose Off.

  To paint with a light overlay of surrounding pixels, leaving the selected brush color, choose Luminosity mode.

  To paint by overlaying the color, light, and shadow of surrounding pixels, choose On.

Specify drawing options (optional).

• To draw continuously and automatically adjust the perspective of one plane to another, open the Perspective Correction menu and select Enable Multisurface Operations. If this option is turned off, you can only draw one plane in perspective at a time. To switch perspective, you need to stop drawing and continue it in another plane.

  To make the drawing consistent with the perspective of only the current plane, open the Perspective Correction menu and choose Perform Clipping Operations to Edges of Surface. If this option is disabled, you can draw in perspective outside the current plane.

Drawing is done by dragging the pointer. As you paint on a plane, the size and shape of the brush scale and change orientation to match the perspective of the plane. Moving the pointer while holding down the Shift key limits the brush strokes to a straight line corresponding to the perspective of the plane. You can use the Brush tool to specify a point on an image and Shift-click another point to draw a straight line connecting those points using perspective.

Tips, tricks, and full information about how it all works.

This is part one of what is expected to be a two- to three-part series of lessons on the theory of composition, perspective, and how all of this will allow you to create some really awesome drawings.

In Part One, we'll cover all three types of linear perspective with step-by-step examples and TONS of tips. I really hope you guys learn something new from this tutorial! The information given here is similar to what is given in any art colleges/institutes. Only here everything is free.

1: BASE

Perspective and composition usually go hand in hand. Good perspective in a drawing can dramatically enhance the effect of a composition. Conversely, poor composition can completely ruin the effect of perspective.

Today, in the first part of this series of lessons, we will focus on Linear Perspective and help your drawings gain depth and atmosphere.

INTRODUCTION TO COMPOSITION POINT OF VIEW

A conversation about perspective cannot begin without first talking about the horizon line. The horizon line is the most basic component of any perspective. It divides what is above and below, what is above and below, where lines/objects go and how far they go. The horizon line represents the farthest line the earth can see human eye. This is the area where everything comes down to one point. Where heaven and earth meet.

In the picture, the direction, angle and height of the camera are what is called point of view, or TO. TO is a very important tool in creating the mood and feelings that a drawing evokes. If you look higher, the viewpoint will place the horizon line lower on the drawing plane, causing the sky to dominate. If we look down, the horizon line moves up the plane of the drawing, and we see mainly the ground. We must consciously understand that we see more; we cannot simply place the horizon line anywhere just because “we liked it that way.” For example, TO looking up reveals the sky to us, and there must be a reason for this.

When planning your vantage point, ask yourself the following questions:
“Why do I show the earth or the sky more?”
“How high up am I looking? Is the horizon visible?
“Are there objects or characters blocking the sky? Standing in the way?
“Is there a ceiling or a flat surface? Or is the sky absolutely clear and open?”
“How does this viewpoint, together with these elements, make you feel?”
“Is this the feeling I am trying to achieve in the drawing?”

Look at these examples:

Click on the picture to view the image in full size and 100% quality.

Here are three drawing planes with different provisions horizon lines. Have you noticed how the location of the horizon line higher or lower on the plane changes our point of view? For example, what position of the horizon would be better to show off a race track or a stadium? What about demonstration flights? What about the example in the middle? Why is he lost compared to the other two? In this example, the drawing is divided strictly in half. There is no dominance between heaven and earth. This option may not be chosen by chance if the focal point is not the background.

LINEAR PERSPECTIVE

Since the horizon line is where all the details come together, when the sky and the earth meet, logically we would have to trace where the objects plotted on the viewpoint go.

In linear perspective, all details converge at one vanishing point on the horizon. All objects that look at us have parallel sides. Thus, all vertical lines are absolutely vertical, and all horizontal lines are horizontal. The only lines that are angled are those that move away from the edges of objects toward the vanishing point on the horizon line.

These lines moving away from objects are called “orthogonal”, and that is what we will call them from now on.

pay attention to following examples to better understand the principle of linear perspective:

1) Here a horizon line is drawn on the drawing plane. There is a vanishing point on the horizon line. At this point all our orthogonal lines that emanate from the objects of the drawing will converge.

2) Here we have drawn a square and a small rectangle. Notice that the square is at the intersection with the horizon line, while the small rectangle is located below this line and to the right.

3) From each corner of both figures we draw orthogonal lines to the vanishing point on the horizon. They all converge at this very point.

4) Now we remove the lines that are behind the object. (Also, you can avoid drawing these invisible orthogonal lines at all if they are not needed, as in this example. However, drawing invisible orthogonal lines can help you understand the object better.)

5) To avoid the effect of these blocks receding into infinity, we can cut off their backs by intersecting the orthogonal lines of each object. Notice that the front of the blocks have straight lines going up and down, left and right. Notice the new vertical and horizontal lines we added to the back cut of each block?

6) Finally, we remove the orthogonal lines going all the way to the point where we intersected them with the vertical line, thereby forming the final edges of these blocks. Now you can see that they are three-dimensional and located on the surface of the earth. You can continue to fill the drawing area with other shapes to obscure the horizon line.

7) Look at these new blocks we added! Let's draw their orthogonal lines to better convey the depth.

8) Looks better already! You can again trim the orthogonal lines with an intersecting vertical line, as we did earlier, to give these blocks volume. Next, we remove the excess orthogonal lines and overlapping shapes.

9) Now we have beautifully lined up objects in linear perspective. Think about what this scene is like. Perhaps on a city street? Or maybe these are large containers in a goods warehouse? In just 9 steps we have prepared a good base for further development scenes.

PRACTICAL APPLICATION OF LINEAR PERSPECTIVE

Linear perspective is best used when we are looking at something straight on. Typical linear perspective scenes are long sections such as a corridor, a tunnel, a train or bus interior, a street scene with a road going down, a city street going up or down. When you think about these scenes, it's easy to tell why they're best captured in one point. Because a detail at one point most likely leads and converges at a point on the horizon line, which is where your gaze will be directed. This will be the focal point of your drawing. Of course, you can use volume and contrast to move the eye away from the point where the orthogonal lines converge and change the center of focus (which we will discuss in more detail in Part 2), but you should expect that the viewer will still want to look at the point where the orthogonal lines converge. lines.

The vanishing point in your scene doesn't always have to be on the drawing plane. Have you ever thought about drawing bigger stage, instead of cutting out certain areas, which makes general composition is it getting narrower? Have you ever thought about tilting the horizon line so that all the elements in the drawing are at an angle? You'll be surprised how little things like this can change a drawing (these effects will also be discussed in Part 2). Sketching small sketches of the scene can help you choose an appropriate perspective. Save yourself a headache by planning your perspective and composition in advance, even if it's as simple as the pictures below:

1) What if we cut out a small section from the drawing we created earlier? Let's see how this cut out area will look in full size...

2) What do you think of this option? By enlarging this area, we find new possibilities for composition. Looks better? What if we added a person on the front ledge?

3) What do you think of the rotated composition? The image is still in linear perspective, it's just that everything is angled. How do you feel about this option compared to the previous one? When there is a lot of sky visible, should there be something there?

Here are some examples of my work that were done in linear perspective.

Using lots of detail to break up the vertical and horizontal lines can give the drawing a more or less one-point perspective look. Notice in the first example how the use of many shapes and short orthogonal lines can add a sense of greater depth to a fairly small scene?

2: CORNER PERSPECTIVE

While linear perspective can be found very often in drawings, it only occurs if you are facing the object. Otherwise, if your TO (remember, this is a Viewpoint) is rotated a few degrees to the right or left, it automatically becomes an angular (two-point perspective).

Linear perspective uses only one vanishing point and one set of orthogonal lines. As you most likely already guessed, angular perspective involves two vanishing points and two sets of orthogonal lines. This means that in angular perspective there are only two sets parallel lines on your property, which are usually (but not always) verticals. If you think about how objects rotate around you when you turn in place, you'll notice how quickly objects can go from a one-point perspective to an angular perspective. When looking forward, we see most of the visible world in angular perspective, and this should be one of the general forms perspective, often used in drawing. Look at the examples below:

1) Here we have a horizon line with two vanishing points. To begin with, I will say that we are not going to draw flat figures like in linear perspective. Instead, we'll start drawing orthogonal lines emanating from the points to get a better feel for the object we're about to draw.

2) Lines extending from each point form a grid of orthogonal lines. I assigned each point a different color to avoid confusion. This grid will serve as an assistant when creating perspective angles in our scene.

3) Using only orthogonal lines emanating from points, we drew two walls converging at one corner. Please note that all vertical edges of the walls are parallel to each other. This blank could become the basis for creating both interior and exterior. Is it a building, or part of a long corridor? It could be both.

4) In this case, we create the interior! Using the same orthogonal mesh, I added some more walls, doors, and light fixtures on the ceiling. All these lines only repeat the already defined orthogonal lines along which they go. The red vanishing point guides all left-facing walls, while the green vanishing point guides all right-facing walls.

5) So, we have finalized everything and added more more details, again relying only on the orthogonal mesh. Notice how we raised the ceiling, continuing the line of the walls and connecting them again to the vanishing points. You can use temporary orthogonal lines to measure out what you need, such as the height of doorways, so they fit into their surroundings.

6) Remove the orthogonal grid, erase the temporary orthogonal lines, and you have a template for an attractive scene!
Just think how easily we could turn this scene into an exterior where there is no ceiling and the walls form other buildings.

Continued on next page

To be honest, I really love photographing architecture. At the same time, without a special lens, I often encounter an unpleasant effect - parallel verticals in a photograph become converging. This is expressed in the fact that the walls of buildings or columns, etc. They look like they are leaning towards each other. These perspective distortions occur because when shooting tall, vertical buildings, you need to tilt the camera to get the entire object in the frame. You can bypass this effect directly when shooting, but, alas, it is not always possible, so you have to apply perspective correction in Photoshop.

First, I want to tell you how you can slightly reduce perspective distortion when shooting. This is important because when corrected in Photoshop, part of the image will be cut off. As I already said, the effect of converging lines occurs when the matrix deviates from the plane of the object, for example, when shooting from below a tall object.

To reduce the angle of the camera, you can try:

• move away from the subject,
• try to stand on some elevation and raise the camera above your head,
• change the focal length to crop the bottom and/or top of the photo,
• use a special tilt-shift lens.

This is worth remembering when shooting, but sometimes the shot has already been taken, and the problem only became noticeable after some time. Well, this is where the ability to correct perspective in Photoshop comes to the rescue. I would like to add that with such correction there are no special digital effects; the method was carried over from film photography. In essence, it consists in deflecting photo paper from the plane of the frame when printing, thus compensating for the distortion of the verticals.

As always, there are several ways to solve a problem in Photoshop. I will tell you about two, in my opinion, the simplest and most convenient. The first is suitable for correcting perspective in automatic mode and does not always produce the desired result, but in terms of speed it only takes a few seconds. Let's take a photograph of an Armenian church as a basis:

Original image with perspective distortion

It is clearly visible that the verticals are piled towards the center. Select the tool " Crop Tool» (« Trimming"), and be sure to check the box at the top " Perspective» (« Perspective"). Next, we move the upper edges of the frame towards the middle so that they are parallel to the verticals in the photograph.

Correcting perspective with the "Crop Tool"

Click " Enter" and we get the corrected picture. The building has become a little flattened, to get rid of this you need to stretch the picture vertically. This effect also appears in the second method, so I will talk about the correction towards the end of the article.

The perspective has been corrected, but the picture is slightly flattened

The second method is to use the command " Perspective» (« Perspective") from the menu " Edit» (« Edit«) — « Transform» (« Transformation"). It gives you more options and, in addition to perspective, allows you to correct the tilt of the image to the left or right if the camera was tilted to the side when shooting.

Using the Perspective Command

When using this command, you need to pull any top edge to the side and visually select the desired level of perspective change. In addition, if you move the middle top point to the left or right, you can “tilt” the image in the desired direction to compensate for the tilt when shooting.

The result obtained is somewhat different from the previous one. Now we need to stretch the image vertically to compensate for its “flattening”. To do this, go to the menu again “ Edit» (« Edit«) — « Transform» (« Transformation") and select the command " Scale» (« Scale"). Stretch the image upward beyond the center point.

Final image with corrected perspective

Using any of these methods you can easily and quickly correct perspective in Photoshop. However, the second method provides slightly more possibilities. In some cases, you should not strive for absolute parallelism of vertical lines because When corrected, the picture becomes deformed, which is especially noticeable if there are round objects in the frame, such as domes.

Anyone who has ever photographed a building has encountered an unpleasant perspective distortion known as keystone. Because of it, in the photo it seems that the walls of the building are leaning in the opposite direction. This happens because the building and the camera lens are at different angles.

The only way to capture the entirety of a high-rise building in a photo, capturing its top part, is to tilt the camera back a little. As a result, the lower part of the lens is located closer to the building, and the upper part, accordingly, further away, which is why distortion occurs. This kind of problem always appears when it is necessary to capture a tall object entirely, but there is no way to move away to a sufficient distance. This defect is especially noticeable in photographs of buildings due to the straight sides parallel to each other.

Sometimes keystone distortion enhances the dynamism of a photograph and makes it more expressive. However, sometimes such effects are not needed at all, then the question arises: How to correct this distortion? The Photoshop editor provides several ways to solve this problem. Until recently, we used the tool Crop Tool(Cropping) and team Free Transform(Free Transform), but in later versions of the program a powerful filter appeared that pushed aside all other methods of correcting incorrect perspective, it is called Lens Correction Filter. Working in it is faster and more convenient. I will be working in Photoshop CS4.

Let's look at the original image we have to work on. Notice that the building seems to be tilted back, and its sides do not seem parallel to each other.

Original image

And this is the image that we will get as a result of the manipulations performed.

Final result

So let's get started!

Step 1: Duplicate the background layer

Before we start editing the image, I recommend making a copy of the original just in case. The source is in the layers panel called Background. To duplicate this layer go to the menu Layer(Layer), select New(New) and Layer via Copy(Copy to new layer ) . To save time, it is better to use the keyboard shortcuts Ctrl+J (for Windows) / Command+J (for Mac). So, now in the layers panel we see two layers, the copy layer is called Layer 1.

Step 2. Open the Lens Correction filter

Naturally, we will work on the copy layer, so we will activate it. To open the filter go to the menu Filter(Filter), then select the item Distort(Distortion) and Lens Correction(Distortion correction).

Step 3. Align the image

A large dialog box has appeared in front of us, on the left side of which we see several tools, a large preview of our image in the middle and some options for correction on the right. Before you begin correcting keystone distortion, you should pay attention to some very significant things that can complicate the correction process. First, let's make sure that the image is level and the horizon line is not blocked. To do this we will use the tool Straighten Tool(Alignment), it is the second one in the left column of tools in the open dialog box. We click on it.

Now we click on the image, and while holding down the left mouse button, drag the cursor parallel to some straight line in the image, it can be a wall or the horizon line, it doesn’t matter whether this object is located vertically or horizontally. I'll draw a line parallel to the roof of the building. After you release the mouse button, the program will automatically straighten the photo relative to the line you drew. If the grid on the preview bothers you, you can temporarily disable it by unchecking Show Grid(Show Grid) at the bottom of the dialog box.

If you need to enlarge the photo in the preview, press Ctrl++ (on Windows) / Command++ (on Mac), and to zoom out Ctrl+- (Win) / Command+- (Mac).

Step 4. Getting rid of the “barrel” effect

Sometimes in photographs you can notice unwanted effects that arise due to distortion distortion. A fairly common distortion is the barrel effect or barrel distortion, which creates the feeling that the middle area of ​​the image is protruding forward, as if there is a spherical object under the photograph. The opposite effect is called pincushion distortion, where the middle of the image appears to be concave. These types of defects are not very common, but if you notice something like this in your photo, then you should get rid of these defects before you begin to correct keystone distortion. There are two ways to do this.

Selecting the tool icon Remove Distortion Tool(Dewarp Tool), top in the toolbar. Click on the image and drag the cursor towards the center to get rid of the barrel distortion. To remove pincushion distortion, on the contrary, click in the center and drag to the edge of the image.

The same can be done using the slider Remove Distortion, which is on the right side of the dialog box. Drag the slider to the left to reduce pincushion distortion and to the right to correct barrel distortion. Regardless of the method you choose, make sure you don't overdo it or push the slider too far, otherwise it may have the opposite effect. Sometimes a grid helps a lot with this problem, so check out the Show Grid option mentioned earlier.

If you need to reset the distortion correction settings, simply enter the number 0 in the cell Remove Distortion.

Now that we have gotten rid of all the unwanted effects, we can finally move on to correcting keystone distortion.

Step 5. Correcting vertical perspective

At the bottom of the right column you will find the option Vertical Perspective(Vertical Perspective). And all you need to do to correct keystone distortion is move the slider left or right, depending on the distortion itself. If the building in the photo is leaning backwards, then you should move the slider to the left. Having done this, you will see that the walls of the building are now straight, and the building itself is standing straight. As you move the slider, pay attention to vertical lines grids and adjust the vertical lines of the building to them (they should be parallel to each other).

If the grid is not located very well, and it is difficult for you to understand whether its lines are parallel to the lines of the building, then you can drag it using the tool Move Grid Tool, which is located in the left panel under the tool Straighten Tool(Alignment) .

Step 6. Working with the Edge option

Tilt of the image created empty space at the bottom of the photo. We need to decide what to do with this empty area, for this we will use the Edge option. By default, the empty area is filled with a transparent mesh. At your own discretion, you can leave everything as is or fill this area with color. In my opinion, this makes the framing process much easier later on, so I fill this space with black or white. To do this, simply select from the drop-down menu Background Color(Background color).

This is where we finish working with the filter. Lens Correction and click on the OK button. An edited image appeared in front of us, we got rid of all the distortions, the walls of the building are now parallel to each other, and there is no feeling that the entire structure is about to fall back. The bottom part of the image is filled with black, which I set as my main color.

Step 7: Apply Free Transform

If after the manipulations done the building does not seem as tall as it should seem, you can use free transformation. To quickly go to the Free Transform option, press Ctrl+T (for Win) / Command+T (for Mac). A transform window appears around the image. For convenience, go to full-screen mode by pressing the F key. To stretch the image vertically, click on the point at the bottom of the image and drag it down until the building takes the required size. Press Enter (Win) / Return (Mac) to confirm the transformation.

Step 8. Crop the image

And finally, the final step is framing. We need to get rid of the black areas in our image, for this we will use the tool Crop Tool(Cropping). Select it from the toolbar or simply press the C key.

Now, using the mouse, select the area that we need to leave; everything that remains outside the frame will be deleted.

If you don't want to delete an area until the end of editing, you can simply hide it. To do this, select the function at the top of the panel Hide(Hide). You can change the framing later if necessary.

To complete the cropping process, press the Enter (Win) / Return (Mac) key.

For comparison, let's show our original image again:

And what we got. We got rid of pincushion distortion, removed keystone distortion and got a building with a straight, even facade.