- [Instructor] Alright, I don't know if you remember
this drawing from chapter 25 of the advanced course,
it doesn't really matter if you do.
It is an ink drawing, I believe from the 60's,
that as created on a big piece of drawing board
as we're seeing right here.
Problem was we have this really crappy scanner,
here at the studio, and so I had to scan it in two passes.
This guy right here, and then this one,
which is obviously upside-down.
And these are completely unmodified files, by the way.
And so what we need to do is stitch these scans together
using the Auto-Align and Auto-Blend commands
here under the Edit menu.
Step one is to right-click inside this upside-down image
using the rectangular marquee tool,
and then choose Duplicate Layer.
And then I'll go ahead and change the document
to Fort Bragg-1, and I'll click OK.
Alright, now I'll go and switch back to that file.
And you can see we now have two items here,
both of which are currently named Background.
I'll go ahead and double-click on the actual background,
and I'll change its name to simply L
because it's the left side of the scan.
And I'll rename this guy R, for the right side.
Alright, now what you wanna do
is select both of the layers,
so I'll just go ahead and click on one,
and Shift + Click on the other.
And then go up to the Edit menu,
and choose Auto-Align Layers.
So you have to have the layer selected
in order to choose this command.
And then I'll just leave Auto selected,
we don't need any lens correction
because these are scanned images.
And so I'll just go ahead and click OK,
and notice that PhotoShop is smart enough
to rotate the upside-down image,
which I think is quite remarkable.
Alright, the next step is to go up to the Edit menu
and choose Auto-Blend Layers.
Now you might naturally figure
that you should change the Blend Method to Stack Images,
because, after all, they're stacked on top of each other.
Of course we want Seamless Tones and Colors
because we want the images to blend together.
We don't need any Content Aware Fill, however.
So just go ahead and click OK,
and we'll see what happens, which is badness.
We end up getting this very stained section
where the two images overlap,
and then we get this weird blur going here
at the ends of the letters, which is not what we want.
So I'll just go ahead and backstep
by pressing Control + Alt + C,
or Command + Option + C on a Mac a couple of times.
And then I'll return to the Edit menu,
once again choose Auto-Blend Layers.
And this time, I'll stick with Panorama.
Because after all, the two layers
are placed next to each other
much like photographs in an actual panorama.
So I'll just go ahead and select that option, and click OK.
And then a moment later we see that sure enough,
things are much better.
Now you wanna go ahead and test
that everything's the way you want it to be,
by going over here to the Layers panel
and pressing the Control key, or the Command key on the Mac,
and clicking on the layer mask for the top layer.
So that you can see where the divide actually occurs.
So obviously we've got a big problem
where the horizontal element of this frame is concerned.
But the masking of the words is remarkable.
Notice that it tends to cut through the space
between the words, which I find to be
a remarkable work of artificial intelligence.
Now we do have a little bit of problem on the cheese
right there, and down here as well, it's even worse.
But the letters are absolutely in great shape.
It really delights me that things are working out this well.
But again, we have a problem where the frame is concerned.
So what I decided to do,
just to see if we can get better results,
is backup by going to the Window menu
and choose the History command.
And I'm gonna go back to this state right here, Name Change,
which is gonna restore the two layers,
one called R, and the other called L.
After which point, I'll hide the History panel.
And this time around, I'll offer PhotoShop an assist
by making sure the R layer is selected.
And then going up to the Edit menu,
and choosing Free Transform, or you can press Control + T,
or Command + T on the Mac.
And then I'll right-click inside the image window,
and choose Rotate 180 degrees.
After which point I'll press the Enter key,
or the Return key on the Mac to accept that change.
Now you might figure this can't possibly make any difference
because PhotoShop already figured out
it had to do that on its own.
But here's the thing.
PhotoShop performs its transformations and distortions
in one fell swoop.
And so often times,
if you perform an obvious transformation in advance,
you're gonna help things out.
Alright, so I'll go ahead and Shift + Click on the L layer
to select it as well, and then I'll return to the Edit menu
and choose Auto-Align Layers.
I'm not gonna change any settings,
I'll leave Projection set to Auto.
And then I'll click OK, and a moment later it does its work.
Alright, now I'll just go ahead and zoom out
by pressing Control + 0, or Command + 0 on the Mac.
I'll return to the Edit menu, and choose Auto-Blend Layers.
And I'll stick with Panorama of course,
I want Seamless Tones and Colors.
That's it, I'll click OK.
And now let's check things out again by Control + clicking,
or Command + clicking on the layer mask for the R layer.
And now I will zoom in, and notice how much better
that horizontal element of the frame is.
Alright, so it's in good shape.
We don't really need to do anything with it.
And so I'll just go ahead and scroll down here
through the wonderfully masked letters.
Now here's a case where PhotoShop
decided to mask through a letter, this M right here.
And you can see whether you like it
just by pressing Control + H, or Command + H on the Mac,
to hide that selection, and sure enough it looks great.
So I'll just press Control + H, or Command + H on the Mac
to bring this selection back.
And I'll scroll down to the cheese
which is the only problem.
Notice that we have a break in this line,
so we'll come back to that in just a moment.
And then I'll continue to scroll down
to the bottom of the frame, which looks great.
And so I'll just go ahead and press Control + D,
or Command + D on the Mac in order to deselect the image.
And then I'll scroll back up to the gouda here.
And what I wanna be able to do
is edit this layer mask slightly,
but notice if I were to turn the R layer off,
that the L layer is masked as well.
Which really doesn't serve us any purpose.
So I'm just gonna go ahead and Shift + click
on that layer mask to turn it off.
No sense in throwing it away, 'cause you never know.
Might want it in the future.
And then I'll turn the R layer back on,
but I do want you to see what's happening here.
Toward the edges of each scan, we are getting blur.
And that's because this side of the drawing board
was lifted slightly away from the glass.
And so I've gotta be careful,
I don't wanna integrate too much of this bad detail here.
And so I'll go ahead and turn the R layer back on,
select its layer mask, and rather than painting
with a brush tool, I'm gonna select the pencil tool
which gives you jagged edges,
which is actually what we want for this purpose.
Because after all, we're already starting
with a jagged edged mask, and I can confirm that's the case
by Alt or Option + clicking on a layer mask thumbnail
for that R layer, and you can see it's very jagged indeed.
Alright so I'll once again Alt,
or Option + click on that layer mask.
And I'll increase the size of my brush
so it's about seven pixels I guess, that should work.
And then you wanna tap the D key, followed by the X key
to insure that your foreground color is black
so that you're painting this line away.
Then just go ahead and paint along it like so.
Now you need to be very careful that you don't
run into the neighboring line right there.
So just paint in this line,
along with its natural anti-aliasing.
And if all goes right,
you'll lend up with this seamless result.
Alright, and that's it.
I'll just go ahead and press Control + 0,
or Command + 0 on the Mac to zoom out.
Alright, and from here all I did was
some of the stuff we saw back in chapter 25
of the advanced course.
One difference is instead of just converting the red channel
to grayscale, I applied a channel mixer adjustment layer.
And you can create such a layer by going to the Layer menu,
choosing New Adjustment Layer,
and then choosing Channel Mixer.
And then you can see, if I double-click on the thumbnail
for the layer, I've turned on the Monochrome checkbox
so that we're just seeing a grayscale version of the image.
That comprises 100 percent red,
so we're just seeing the red channel, no green,
and no blue, and that is it.
So it's a pretty simple effect.
And then we've got that levels adjustment layer.
And we saw how that worked back in chapter 25.
And then we still have a few details
that need to be whited out,
essentially, as you can see here,
which is why I have this layer of handpainting.
Alright, I'll just go ahead and press Shift + F
in order to switch to the fullscreen mode,
and I'll center my zoom as well.
And that is how you automatically stitch together
multiple scans, it doesn't have to be two,
it can be three or four scans,
in order to create a seamless piece of artwork
here inside PhotoShop.