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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
In this exercise we're going to transform and distort the tattoo in order to map it on this guys arm. And as we do, we'll see that things can go a little bit aery when we're applying the new CS5 Puppet Warp function to imported Illustrator graphics. I've save my progress as Placed AI graphic.psd. Here is my Smart Object layer and it's selected by the way. I'm going to change its name to tiger tattoo just so that I know what it is. And now we're going to go ahead and apply the free transform command. Now, when we place this graphic in a first place, we went ahead and scaled it, and now we're going to further scale and rotate it.
If this were an image layer such as the Background layer and we apply two separate phases of scaling, or rotating, or any transformation, then we would incrementally destroy the image. Those would be destructive modifications. However, because we're working with the Smart Object that is not a problem. it's doubly not a problem because this is a vector-based file. So you can transform either Smart Objects or vector objects as much as you want inside of Photoshop without harming the graphic.
They are ultimately nondestructive modifications. So I'm going to go up to the Edit menu, and choose the Free Transform command, or press Ctrl+T, Command+T on the Mac. And then I'll go ahead and drag this guy in the place a little bit. I'll drag outside the boundary in order to rotate it. I'll scale the graphic by Shift+dragging one of the corner handle, scale it down a little bit. I also want to drag one of the side handle because he'd probably be a little stretched at this angle. We would be seeing them a little taller than he is wide because the tattoo is wrapping around the arm.
Make him a little shorter maybe something along those lines and then press the Enter key or the Return key on a Mac in order to accept that modification. Now, obviously he is not terribly realistic so far. Most tattoos don't extend beyond the edge of somebody's body unless they're fake tattoos and they're starting to peel away. We'll take care of that shortly. The next thing I want to do is I want to warp the graphic onto the guys arm. Now, as I was telling you the standard warp options are not available to me, which is okay because they wouldn't really do the trick anyway. We need to scale him, and sort of rotate it around the arm a little bit and for that, we need a more powerful distortion commands such as Puppet Warp.
By the way, it ain't going to be liquify just in case you were thinking hey! I would go with a Liquify filter. No you wouldn't because Liquify is only applicable to pixel-based layers. It's always destructive. It is not applicable either to Smart Objects or to vectors inside a Photoshop. So two counts against it. So our only option really and it's a new option inside of CS5. We used to have no options before this. Our only option is to choose Puppet Warp. So I'll go ahead and choose the Puppet Warp command and, of course, nothing happens initially.
We have to lay down points to quickly demonstrate what's going to go wrong here. I'll lay down to point over here on the tiger's kind of temple right there. And immediately, and quite bizarrely I have to say, but quite reliably, it happens every time I do this, I loose the left-hand flame. Gosh! Where did that go. I don't know. It never comes back by the way. If we start distorting the tiger, that flame is lost to us. I'll set another pin at this location because, theoretically, we would need this kind of control maybe down here at the forehead as well.
And on the outside edges, but let's say I haven't even notice that the other flame disappeared. Maybe I would notice now that when I clicked on this flame, the other pins went gray on me. In other words this flame is independent. So if I drag it to a different location, it's out there on it's own, being a little kind of weird looking pony or something. All right. So I got problems right here man. So I'm going to press the Escape key before things get worse and that brings back my other flame which is good. Possibly what's happening is that Photoshop is recognizing that we have separate paths.
For example, we have the big compound path that's filled with black and then we have the two other paths off to the sides that are filled with the red gradients. So maybe if we made them all one compound path, because that's the way letters work. Remember back in the advanced portion of this series when we're discussing Puppet Warp in a first place, and we were distorting those letters jump puppet, each letter distorted independently, but the P and it's hole went ahead and distorted together. And that hole is the separate subpath that P is formed as a compound path, that's how it's actually defined.
And so Photoshop was smart enough to go ahead and distort the entire compound path together. So maybe that's what we need to do here. So what I would do, because, what we don't want to do, by the way, is switch back to Illustrator and modify this graphic right here. Because I was telling you this graphic Tiger tattoo.ai is an independent item. It's an independent file on disk. It is not linked in anyway shape or form to the Photoshop composition that we're working on. So if you want to change the tiger tattoo that's associated with our Photoshop composition, you need to switch back to Photoshop and then go ahead and double-click on this thumbnail right there.
And what I'll happen is you'll get this alert message which is fairly complicated in terms of what it's trying to tell you to do, but essentially it's telling you to use the Save command under the File menu to commit your changes back to Photoshop. Do not use the Save As command. And if the Save As dialog box appears, then you're in trouble because that means you're going to break the link and you're not going to update this file here inside the composition. So if I were you, I would say Don't show again because you'll learn how Smart Objects work over the course of this chapter and this is the fairly irritating message to see over and over again.
I'm not going to say Don't show again because I want to explain what it means each and every time we see it. Anyway, I'm going to click OK. And that goes ahead and automatically opens the graphic inside of Illustrator. If Illustrator had not been running, then Photoshop would launch Illustrator and then the graphic would open inside the program. For me it's called Vector Smart Object1.ai. So this is the temporary file that is now saved on disk just long enough for us to be able to make our changes. I'm going to go ahead and zoom in on the graphic and I'm going to press Ctrl+A, Command+A on the Mac to select the entire graphic like so because I want to combine the entire thing into one compound path.
Let's go ahead and twirl open the Layers panel here. We can see that we have two independent paths; the gradient flames and then the big black compound path in the background. All right, so I'll go up to the object menu, this is how you make a compound path inside Illustrator, one of the ways. Go up to the Object menu, choose Compound Path, and choose Make or you can press Ctrl+8 or Command+8 on the Mac because it's the ultimate compound path. And eight has two holes cut out of it. So there is three subpaths altogether the one of the outside and the two holes on the inside. You choose that command you get one compound path wunderbar! That's awesome.
And then I would just go ahead and click on the Close box and Illustrator is going to ask me hey! Do you want to save your changes? Well it really shouldn't say save your changes because that implies we're saving the file to disk, which we're not. We are updating the graphic back inside of Photoshop. So we're handing this information back to Photoshop. It won't be saved until inside Photoshop you choose the Save command. So bear that in mind. I'll click Yes and then I'll switch back to Photoshop in order to see those changes occur. And sure enough the entire dragon tattoo has turned black which is going to happen because you can only have one group of fills and strokes per compound path inside Illustrator.
So here we are back in Photoshop. Now, I would think, because it's all one big compound path, that we can apply Puppet Warp without any problem. So I'll go up to the Edit menu, and choose Puppet Warp, and I will click somewhere inside the graphic let's click on this flame this time. The other flame disappears. It's awesome. And so apparently things are not going to go as well as I planned. I'll click on this guy again to make him active, drag him to the totally different location. Again, we have that same problem we had before. We just lost the color of the flames this time. So what in the world is the solution? Well the first thing to do is press the Escape key once again to get the heck out of that Puppet Warp mode before you apply any of those bad changes, and the next thing to do is stay with me for the next exercise as I show you the solution.
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