Test yourself - hints
1: Use the Repeat Transform feature of Free Transform to rotate the wheel section about its bottom point. Easier if you duplicate the layer first
2: Not a difficult task using the Replace Color dialog. But there’s a yellow tint to the dry grass, which really should stay that way.
3: Blending Options, of course. Adjust This Layer to remove the black from the firework, and Underlying Layer to place it behind the trees.
4: The Curves adjustment is the key to this one. The hand on the right is too yellow – but in RGB, there’s no yellow channel. So which two primary colors do you need to adjust instead?
5: You can’t just copy the whole front wheel as there’s too much in the way. Try building it out of a quarter section of wheel instead. It should appear behind the mudguard and frame, but in front of the chain guard.
6: Making a Layer Mask is the best solution. But does the snake go in front of, or behind, the rear steps?
7: You could use a Layer Mask – but it might be easier to copy the box front to a new layer instead. The cigars will need to be rotated and scaled down to fit in the box, of course.
8: Layer Masks again. But sand doesn’t behave in the same way as grass! Try painting with a soft brush set to Dissolve mode on the mask for a good sandy effect.
9: The Lasso is probably the best tool to use here: it will allow you to select both the straight lines of the window and the wiggly brickwork.
10: The trick here is to get the man walking the right size for the door, then make the man in the wheelchair the right size to match him.
11: Not a difficult job, if you distort the box in perspective. But how are you going to move that keyhole? And how many legs will it need?
12: If you’re using Photoshop CS2, then this is an obvious candidate for the Perspective Viewpoint filter. Don’t forget the pink sign sticks out.
13: You’ll need to break the shadow down into several parts to make it wrap around that bench. Do this before blurring it! And remember that on a vertical wall, the shadow is vertical.
14: Remember that glass casts a translucent shadow – apples don’t. Perhaps two separate shadows might be required here?
15: Don’t overdo the shine on this one – it’s an indoor view, so there won’t be any bright light. But I think you can assume the facing wall looks almost the same as this one…
16: You won’t have the luxury of painting a scraggy unshaven beard on this one. A more subtle approach is needed here.
17: The mirror will need to reflect the view behind the man, as well as his face. Remember that glass has a surface – and that in an antique mirror such as this one, it’s likely there would have been an oval bevel as well.
18: When you desaturate this duck, there’ll be almost no texture left. Up the contrast before applying curves, and don’t forget a little blur.
19: It’s not just embossing, of course: the perspective of the lettering has to fit the tombstone as well.
20: Yes, the lid needs to be blown off, obviously. But what would happen to those dials? And do you think that plate on the front would remain in place?
21: We’re talking about Lighting Effects, here. You’ll need to copy the artwork to a new channel – and don’t forget to blur it to avoid jagged edges!
22: His mouth’s open, which makes it easier to fit a gag in. But when you tie him up, remember that the clothing will pucker round the ropes…
23: Opening the doors is only the first part of this job. What does the room inside look like? And would it perhaps be night time when the doors are opened? And would we be able to see through the glass as well?
PIOTRAS197