By Steve Caplin (Auth.)
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Additional resources for Art & Design in Photoshop
So when we position her on a beach, we place her eyeline well below the horizon: so far, in fact, that it’s out of sight above the top of the image. If we add figures to this scene, then we’re making assumptions about our position relative to them: we may be shorter than them, or taller, or sitting down. In general, we’d assume ourselves to be of average height, and so on an eyeline with most of the people in the scene. In the four images shown here, the first is a view of a London street. The horizon is indicated by the converging lines of the building on the left (see following pages for more on how to read perspective out of a scene).
But we don’t need our interlopers to be anything like as intrusive as this: reducing them greatly in scale (bottom) still adds their ● The figure in the second image, above, adds nothing to the ‘story’ in this scene. But he balances the image: by looking over his shoulder, we’re taking his part in viewing the message on the monitor. In this montage, the figure represents us looking at the image. worth, but accentuates the massive scale of the Coliseum as well. +( Art & Design in Photoshop Contemporary Design Contemporary design It’s easy to assess design from the past.
Image ✔ DFI<@E=F ● When drawing with the Pen tool, the tendency is for the tool to keep drawing a single path until it’s closed off by clicking on the starting point. But we need to draw multiple open paths. To do this, after a path has been drawn, hold * ! and click anywhere away from the path. This will end the current path, so you can start drawing a new one. ● The pastel color feel we achieve in the fiinal step is typical of this sort of work: the aim is for it to look rather like a washed-out watercolor.
Art & Design in Photoshop by Steve Caplin (Auth.)