On 1/24/2015 5:53 AM, Chuck Norcutt wrote:
Repeat your test. Set the hardness at 100% and make a black circle which will be exactly the diameter of the cursor.
Now set the hardness at 25%. Align the cursor edge with the edge of the black circle you just created. Now clone
repeatedly 4 or 5 times in the same spot and watch the "overspray" get larger and larger and merge into the black
spot. The point is that one cannot precisely control where the paint goes unless using 100% hardness. But 100%
hardness and "feathering" an edge are not compatible. I consider it distinctly not useful. I also don't see the use
of layers as a very useful fix to the problem since that only allows fixing what shouldn't have happened in the first
place. One can also constrain the paint by cloning into a selection but that's tedious for working on hundreds of
small areas when a simple real-time view of where the paint is going (inside the cursor circle) is all you need.
I don't disagree. OTOH, perhaps you should be making this point to Adobe, not
us? :-)
I encounter the same behavior. Sometimes I like it, other times not. In most cases where I use it, the feathering is
useful for blending the cloned material in. 100% hardness does tend to leave visible tracks, as the source is almost
never exactly the same color/brightness as the are being cloned. I'm with Paul about doing the work on a new layer, then
mask painting can sometimes smooth things out.
Possibly the best solution would be two circles, one each for the inner and
outer limits of feathering?
Over sprayed Moose
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