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More about Joshua …. In a skilled and experienced hand, these tools lead to phenomenal results. In the hands of a careless artist, Photoshop cloning can be disastrous to the credibility of the result. This article introduces the several cloning tools available in Photoshop and goes over the proper usage and best practices of each.
The Clone Stamp tool is the oldest and most widely known of the cloning tools. The basic concept is that you duplicate certain portions of an image using a source, destination and brush.
To clone out the name on the tombstone above, you would select a source that shares the texture of the area you want to replace. In this case, the area around the words provides an ample source of stone texture from which to clone. Then, with no keys held down, begin painting over the area you want to replace. The image area from the source will be transferred to the destination. Photoshop does not restrict cloning to a basic default brush. Instead, it allows you to use any brush you want, allowing you to create an unlimited number of effects.
In the example above, and in most cases in fact, a small to medium-sized round soft brush gives the best result. As you can see, a hard brush often creates visible edges along the path of the clone. The transition is much smoother on the left side, where a soft brush was used. Both sides suffer from noticeable replication, but this was intentional to exaggerate the cloned area.
As stated, while a soft round brush is recommended for basic cloning, a number of interesting effects can be created using alternate brushes. Experiment with the opacity, blending mode and brush flow for an even wider variety of results.
These options affect the area you are sourcing. As you can see, with Current Layer selected, the clone stamp ignores pixel data contained in any other layer. Conversely, All Layers ignores all layer distinction and clones any visible pixels in the document invisible layers will be ignored. Finally, Current and Below samples pixels from the selected layer and any visible layers behind it. The final basic setting the circle with a diagonal line through it lets you decide whether the clone stamp tool should sample adjustment layers when cloning.
So, you can make drastic changes to a layer or group of layers without destroying the original pixels. This allows you to clone the original image, which can then be affected by an ever-changeable adjustment layer. If you do not choose to ignore the adjustment layer, the adjustment becomes permanent in the cloned areas.
In the layer set-up below, turning on Sample All Layers would by default clone pixels from both the background layer and the adjustment layer in the foreground. Turning on Ignore Adjustment Layers prevents this. As you can see below, the Spot Healing Brush tool is located under the Eyedropper tool and above the Brush tool, and it can be accessed quickly by hitting J on the keyboard. The Spot Healing Brush is by far the simplest cloning tool in Photoshop.
With little to no experience, you can repair small areas of an image. The secret to using the tool is in the name: Spot Healing.
To use the tool, simply hover over the area you want to replace and click once. Photoshop does all the work by examining the pixel data around the spot and seamlessly integrating the data into the destination. As you can see above, the tool does a remarkable job of not leaving behind any noticeable artifacts or repeating patterns.
The trick is to go slowly and work on very small portions of the image. The larger the brush, the more likely you are to clone unwanted portions of the surrounding area, and the more noticeable the repetition of pixels will be. The Healing Brush performs this operation with more built-in intelligence than the Clone Stamp.
As with the Spot Healing Brush, the Healing Brush attempts to automatically blend in the cloned pixels with the environment around it. This built-in intelligence proves extremely helpful when cloning a subject with diverse colors, textures and lighting conditions.
Using the Clone Stamp in these situations can leave you with a lot of noticeably patchy spots that really stand out from the surrounding area. The photograph above is a good example of a subject with a fairly complicated surface. Using the Clone Stamp tool would have made it quite difficult to paint over the cracked areas while retaining the integrity of the stained stone. Much of the discoloration would have been sacrificed as you sourced smoother areas to erase the cracks. However, the Healing Brush was able to effectively replace the cracked areas with smoother areas, while sampling from the surrounding area to replicate the stains.
By contrast, the Patch tool is the best way to clone large, relatively uniform areas. As with the other healing tools, the Patch tool not only performs a straight clone but attempts to blend in the edge of the selected area with the target environment. There are two modes to choose from for the behavior of the patch: With the source mode selected, first select the area of the image you want to replace, and then drag that selection to the area you want to source.
For instance, to eliminate the golf ball in the image below, you would first select the area around the golf ball, and then drag that selection around to find the best source. As you drag the selection around to find a suitable source, watch the destination i. Keep in mind that this preview is a straight clone without any blending the final image will look much better. Release the selection to see the actual result. As you can see, it does a pretty impressive job of blending the source and destination pixels all on its own.
But going over areas that need improvement with the Healing Brush is good practice. For instance, if we start with the same selection as before, dragging the selection this time gives us a preview of copying the ball to a new location.
After you release the selection, the golf ball is copied to a new area of the image and blended with the surrounding pixels. This tool gives you much more control over the results and functionality of the Clone Stamp and Healing Brush. The Clone Source palette contains three primary sections: The image above illustrates an example of when you might want to define multiple sources.
That location will now be saved to that button. Now, select the next button in line, and do the same in another part of the image. Once your sources are loaded, you can quickly shift between them simply by clicking the related button.
Notice that the file name appears just under the clone source buttons. Simply open a different file and set the clone source. Then, when you go back to the primary file to paint with the Clone Stamp or Healing Brush, the pixels from the other image will function as the source of the clone.
The second section of commands in the Clone Source palette really increase the variety of cloned results available to you.
You can set exact coordinates for the source, change the size of the cloned result relative to the original source, tweak the rotation of the result and set a precise offset again, relative to the original source.
You can see these transformation effects in action in the example above. The two bails of hay are actually one and the same, but they look considerably different because of the offset options. The overlay options are among the most helpful features in the Clone Source palette. Years ago, cloning involved a lot of guess work because it was difficult to tell exactly what the selected sample would look like without actually applying it.
This is extremely helpful when attempting to clone inorganic areas with straight edges, such as a brick wall. Working this way is actually quite difficult because the source significantly blocks your view of the destination.
But if you prefer it, try reducing the opacity of the overlay so that you can see the image below. Vanishing Point takes cloning to an entirely new dimension, literally.
The tool makes it possible to set up primitive planes across your artwork, which a clone then follows to simulate a three-dimensional space. Vanishing Point has a ton of features and potential applications, and it really merits its own entire article, so this will be just a brief introduction.
Grab the tool sitting second from the top to set up your initial plane. With this tool, click once on each of the four corners, outlining the desired plane. Then clone the door onto the front-facing wall using the same method you would use with the normal Clone Stamp tool.
As you can see, Photoshop interpreted the planes fairly well. Some fine-tuning and clean-up are definitely necessary if we want a believable image; but overall, the result is extremely impressive, given the lack of work required.
As you undertake a cloning project, the quality of the result is directly proportional to the amount of time you put into it. Cloning photographic details can be incredibly tedious work.
The world has become well acquainted with Photoshop magic, so never assume that no one will notice your blunders. Keeping the original image on a hidden layer gives you the flexibility to revert any part of an image to its original state. Each cloning tool has its strengths and weaknesses, as outlined above. Never arbitrarily grab a tool and stick with it for the duration of a project. On large projects, no single tool creates believable results on its own. Use two or more tools in synergy to achieve a realistic result.
This is especially true of areas that should look fairly organic, like the grass above. Instead of appearing natural, an obvious pattern emerges when you use the same section of an image over and over. To avoid this, make heavy use of the Clone Source palette. Cloning in Photoshop is a difficult task that requires significant time, studious attention to detail and an in-depth knowledge of several tools and commands.
Experiment with all of the options for each tool to get a better feel for where you can excel. Your email.