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By Steve Caplin (Auth.)

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This gives the outlines more of a pastel feel. I’ve also nudged the whole fill layer down by 10 pixels, which makes a looser fit and looks better. 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.

Hold *! and click anywhere while using the Pen tool to stop one path, in order to then draw a new one. ● In step 7 we could have changed the color of the Shapes layer swatch. But that would have made coloring difficult in step 8; this solution presents us with far fewer problems later. clicking on its thumbnail in the Layers palette, and set its mode to Multiply. Make a new layer beneath it, and fill with a flesh color: we’ll be able to see through the Shapes layer to this color beneath. -D).

This is called ‘one point’ perspective, for the clear reason that all the lines in the image that are leading away from us tend to a single point. This kind of perspective is easy to see in exterior shots, where the horizon itself is on view in the picture. Few background images are as obliging as this one, though. When we move the action from the outside to the inside, in particular, we face a different problem; with the horizon no longer visible, we need to work out its position. In so doing, we can find the location of the vanishing point, which will give us the key to the perspective of the whole image.

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