Perspective on concentric rings in a plane

In the screenshot you see these concentric rings..they're for use in a graphic showing orbits of planets about the sun.
While the rings appear to lie in a plane, the perspective is lousy...the space between the paths in the foreground should be wider as they approach the observer. Now, I could manually scootch them around until they achieve what I want, but is there a better way to beat this into shape that's not so tedious? I have no problem doing it old-school; simply looking for another path to take if that produces what I want with greater ease of editing.
I started with 2 circles, one inside the other, made a blend, vertically scaled it, released the blend, and tried using a mesh to warp, but it's at the heinous and sad state you see..open to ideas.
Thank you!

wkjeiwoi,
It just occurred to me that you may also just use the Free Distort Tool as follows:
Select the set of rings, then switch to the Free Distort Tool and ClickDrag one of the upper Bounding Box corners downwards (right after starting) holding Ctrl+Alt+Shift/Cmd+Option+Shift.
All proportions change so you may need to adjust the size.

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import java.awt.*;
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2. Symbols cannot be directly swapped without using the workaround of swapping symbols in the symbols palette.
3. Objects cannot be "extracted" from perspective, once they've been warped.
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Hello Ray,
Although you say you're new to CS5, I find most of your observations are correct.
1. Blends do not warp into perspective when on the grid.
NO. Blends do get projected in perspective. Can you share (screenshot or something) what exactly you are doing so that we can help?
2. Symbols cannot be directly swapped without using the workaround of swapping symbols in the symbols palette.
CORRECT
3. Objects cannot be "extracted" from perspective, once they've been warped.
CORRECT. You don't get the original shape back. This is where you should use symbols if you require frequent editing of the object in its original form.
4. Patterns are not distorted.
CORRECT. Workaround is to expand fill.
5. Moving objects perpendicular to current plane requires 4 mouse clicks and typing in a measurement.
NO
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-It requires a double-click by the Perspective Selection Tool on the corresponding plane control widget to invoke the plane positioning dialog.
6. Grouped objects cannot be moved perpendicular to plane when they do not share the same plane.
CORRECT. They cannot be moved together perpendicular to their individual planes. Only the object you click on is moved.

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Hi CSPQ,
I had a problem similar to yours with Skype 4.5. Reverting to this more reliable older Skype 4.0.0.22082 version, resolved the problem for many of us with smart-phones. Others, usually with tablets, reported that Skype 3.2.0.6673, better suited their needs. If you have a smart-phone, tap the link of the former Skype, or the latter if you have a tablet. If your first choice does not meet your needs, the other would be worth trying.
Before tapping the downloaded apk file to install the selected Skype, uninstall the current Skype, disable the Play Store “Auto-update apps” option, and enable the Android Settings (from) “Unknown sources” option. Once installed, disable the “Unknown sources” option. Be sure to try any future Skype release, indicated by a change of release date on the Google Play Store Skype “UPDATE” page. If the new Skype is unsatisfactory, revert to the older Skype using the saved apk file.
You can choose an even earlier Skype version if you feel that this would be beneficial. To date. I have not experienced any security problems with any of the above web links. Please be sure to post another reply to let me know how you go with the installation. I should be able to help you if you encounter difficulties.
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How do I create a pond ripple effect?

Hey guys, I'm designing a wrap for a hummer. My client wants it to look like the hummer has a force field and show a few bullets hitting the truck and causing a ripple. I googled this and found out that the "zig zag" filter under "distort" does this. Only problem is, this option is greyed out on my comp. It could be that my project file is half a gigabite (required for the size of printing on the truck). Could someone please help me figure out how to use this option or even suggest another program I can use to do this? I can't think of any other way.
This is the design I want the effect on
This is the effect I want.

Hi again.
Let's start at the beginning. Perspective. Shock waves propogate in concentric circles from the point of impact. Viewed at a 90 degree angle to the plane being struck, the shock waves will appear exactly as that, concentric circles, not ellipses. The side of the Hummer is vertical, so the viewing angle of a typical observer will be about 90 degrees. Creating concentic ellipses will make it appear as though the shockwaves are out of plane with the side of the Hummer.
My first post was a demonstration of principle. How to create the basic skeleton. What happens next depends on what you think the shock wave should look like. I wouldn't think it would look exactly like a high energy impact on a force field. A drop falling into a pond is not exactly high energy. They will both have concentric rings, but the distribution and profile of the waves would be different, I would expect. A physicist could properly inform us.
Anyway, I repeated a slight variation on the process on a 732mb file. As you note, the Zig Zag filter was not available. I didn't spend time perfecting the wave frequency and such.
1. Make a circular selection where you want the shockwave. (Make it elliptical if you're still not convinced about that.)
2. Copy the selection to a new layer. Ctrl+J is the easiest way.
3. Ctrl+Click on the layer thumb to create a transparency selection.
4. Convert the selection into a Layer Mask. Layer>Layer Mask>Reveal Selection.
5. Select the Mask thumb. Ctrl+Click on the Mask thumb. You should get a circular selection.
6. Apply the gradient (radial) to the selection from the center. (You're painting the gradient onto the layer mask.) It will look like nothing happened.
7. Apply Bevel/Emboss to taste. Now you will be able to see the rings. I used the Ring-Double gloss contour to tart it up.
8. The Ripple effect is available at this file size. I applied it to to taste.
The number and spacing of the rings is determined by the number and spacing of the alternating 0 and 100 percent transparency pairs on the gradient applied to the mask. It's endlessly adjustable. If you want, you could double down with another layer, as in the tutuorial. The actual appearance of the rings can be modified for days just in the effects pallet. When you add Ripple or other effects to the rings, I would think you could get just about anything you want. Without too much trouble. It all depends on what you think a projectile striking a force field should look like. You can paint on the layer mask to lighten or darken portions.
But I just had another thought. With the Marqee Tool set to rectangular, select a work area surrounding where you want the shock wave. Copy it to a new layer. Create a new document and paste the new layer into it. Then you should be able to use the Zig Zag effect as in the tutorial. Then paste or drag the layers back into the original document and align to the original work layer. Delete both work layers. I just tried it and it worked for me in my 732mb file. But using the Zig Zag pond ripple seems to offer less flexiblity than the layer mask method. If assigned this task I would use a mask.
FWIW.
Lee

Neat infographic and how do you make lines like this?

Here is the infographic:
http://www.stevey.com/wp-content/uploads/2009/01/50-years-exploration-huge.jpg
I can't figure out if these lines rendered by hand or done with some application -- anybody suggest an approach?

I can't figure out if these lines rendered by hand or done with some application
Probably both.
You utilize whatever geometric automation is made available in the feature set of the drawing program you are using, and complete the rest with other features and/or manual path-specific manipulations.
In general-purpose drawing programs like Illustrator, you could, for example, use features like Offset Path or the Polar Grid tool to draw the concentric ring portions of the paths, and use Blends or the Reshape Tool to draw the converging portions of the paths.
If drawn in Corel Draw, for example, its Contour Tool might have been used for the concentric portions.
Often, several different approaches can accomplish the final art (some more efficient than others).
The general process is:
Study the geometry needed for aspects that suggest they might be automated or at least semi-automated.
Determine which aspects need to be numerically accurate (as opposed to merely aesthetically pleasing).
Consider the automated features of the program you are using (requires, of course, proficiency in the program.)
Based on that knowledge (of the requirements and the capabilities of the program), devise a procedure that meets the requirements, adding manual path drawing where you have to.
On the other hand, it's entirely possible that the orbits are drawn entirely automatically by a program that interprets numerical data as curves. For example, a CAE program might have modeled the paths from numerical data and exported them as 2D paths that were then imported into an ordinary drawing program for artistic treatment and embellishment (in much the same way you might take a mathematically-correct 2D perspective drawing exported from a modeling program and then "make it pretty" it in a drawing program).
Some ordinary drawing programs (Canvas, for example) include features that can plot curves from algebraic curve functions. Some ordinary drawing programs (Illustrator, Corel Draw, Canvas) can be scripted to draw paths from numerical data (although unlikely for the whole paths shown in your example, since the geometry would have to be tediously converted to control coordinates for Bezier curves).
So there are several ways to skin the cat; but you first have to know which cat has to be skinned (i.e.; what the real requirements are). Are the orbits actually accurate flight paths, or are they just "artist conception" interpretations? That's not clear from just looking at your example.
JET

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Hi Trevor
Thanks for your reply. I did what you suggested and created 2 masked adjustment layers which are basically concentric rings with differing levels of magenta reduction and I then feathered the edges. I have attached 2 images below to show the before and after effect. I’m working on getting this more accurate and I’m also going to look into the technique posted by Normfb. Big thanks to you Trevor for suggesting this – this is all quite new to me and it was very useful to play around with these adjustments layers, masks etc.
Jacques

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I've deleted my Podcasts folder/playlist how do I get it back.

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Perspective on concentric rings in a plane

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