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Applying Puppet Warp to vectors

From: Photoshop CS5 One-on-One: Mastery

Video: Applying Puppet Warp to vectors

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.

Applying Puppet Warp to vectors

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.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43819 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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