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Applying a custom warp

From: Photoshop CS4 One-on-One: Advanced

Video: Applying a custom warp

All right, we are going to take a look at a couple of other warping scenarios because text warping can be so useful and it works so darn well inside of Photoshop. I'm working inside of a document called I heart you.psd. And it comes to us from 3D artist, Evgeny Terentev of istockphoto.com, the actual graphic where to turn to these guys up doesn't have I Love You, Smooshy on it. What I want to do is show you how to make for example this text right here on this metallic sort of nameplate as well as, this text on this sort of balloony heart, so you can choose which way you want to go. It's up to you or you can do both.

Applying a custom warp

All right, we are going to take a look at a couple of other warping scenarios because text warping can be so useful and it works so darn well inside of Photoshop. I'm working inside of a document called I heart you.psd. And it comes to us from 3D artist, Evgeny Terentev of istockphoto.com, the actual graphic where to turn to these guys up doesn't have I Love You, Smooshy on it. What I want to do is show you how to make for example this text right here on this metallic sort of nameplate as well as, this text on this sort of balloony heart, so you can choose which way you want to go. It's up to you or you can do both.

All right, so how do you do anything resembling this, why, I'll show you. We are going to start with the Balloon effect, because it involves a custom warp. So let's turn these guys off. I have got I Love You, Smooshy, this live text just ready and waiting for you and if you want to know what's going on with that, you can Click on it and then let's just go ahead and switch over to the Type tool so that we can see. This is the color of the text. It's just kind of this bland green right here, if I Click on that little swatch there in the Options bar, a very light shade of green at work, a very pale shade of green as well, cancel it out.

The reason that it integrates with the balloony heart so very nicely is because I have the blend mode set to Linear Burn which is just burning that text in there, otherwise, if I was pressing Shift+Alt+N or Shift+Option+N on the Mac to switch to the Normal Mode, it would look like this, not romantic at all. Anyway, Ctrl+Z, Command+Z on a Mac. The first thing you want to do after Clicking on this layer, you want to press Ctrl+J or Command+J on the Mac to jump it so that you can abuse this layer without harming the original, then turn off the original right there. And I want to apply a Custom Warp. None of the predefined warps are going to work for me. The problem is you can't apply Custom Warp to Live Types. So you have the option of going to a smart object, that's one way to work, but we haven't seen smart objects yet, and I don't recommend it for this specific effect here.

You can convert the text to pixels but then you are limited to pixels, aren't you? So you can't upsample or transform the text quite as well, or you can work with vector based path outlines, which is what we want. So we are going to convert this text to a shape. So I'm in fact going to Double-Click on I Love You, Smooshy copy right there and change the layer name to shape. And then I'm going to Right -Click out here in the empty area or Ctrl+Click, if you don't have a right mouse button on the Mac, and then choose Convert to Shape, right there. And now you are going to see shape outlines around your text. You don't want to see those shape outlines. So oh! Look at this, I have got my Type tool active, I can create text on the letters if I wanted to, that would be crazy.

All right, so I'm going to turn off these outlines right there just by Clicking on them. Notice this little vector mask thumbnail, if you Click on it, you bring up the outlines. If you Click on it again, you make them go away. All right, we don't want to see them. And now I'm going to switch back to the Rectangular Marque tool, just so I don't have my confusing I-beam cursor. And then I'm going to go to go up to the Edit menu, I'm going to choose Transform, and I'm going to choose this command right there, Warp, and if you loaded my Dekekeys keyboard shortcuts so long ago. You have a keyboard shortcut of Ctrl+Shift+R or Command+Shift+R on the Mac. And that's going to send you into the Warp Mode.

Now thanks to the fact that you are working with Shape outlines, not editable text, you could choose that command. You can't apply that command to editable text. And then notice, you get this Custom option right here. All right, you have got no way to limit your movements, no constraints when you are working with a custom warp, which is actually a real downer in my opinion, I don't like that. So you have to create your own constraint sort of, because you don't have Snapping but you will create your own visual constraints using Guidelines.

So here is what I'm going to do, go up to the View menu, choose Show and choose Guides. And you will notice that I have created a couple of guides for you in advance above and below this text. I want you to also press Ctrl+R or Command+R on the Mac to bring up your rulers and I want you to position from the vertical ruler here a snapping guideline right there, that gives you the sense that things are going to snap in the future, you know, they are, and you will see. But anyway position one right there, position another here, right there along that vertical line and we have got two more. Put one here and then put one here and as I say they are just going to serve as visual guidelines in just a moment but that's going to help us out.

Now I want you to take this corner and drag it upward like so. So we are just going to do a slight warp here and I tell you there is no snapping happening at this point anymore. Snapping is over but otherwise if we didn't have some guidelines, we won't know what the heck we were doing. We would just be operating two freeform and this is a symmetrical heart shape, so we want to keep our modifications as symmetrical as possible. I'm going to drag this guy down here. I don't think I have to narrate everything I'm doing. I like you can just see what I'm doing and do it, but I'm dragging this guy up and not to the right, just upward and I'm dragging this bottom right handle downwards. So we get this effect right there. Notice that this handle just kind of tugs at Smooshy right now.

I am going to take it downward so that it pretty much runs into the path outline like so and then I'm going to take this one down as well until it looks like it's at the same place as one over there in the right. Because now I don't want to drag it down to the path outline because now that would be too low. So the two just need to look very similar to each other. You are not going to get it exactly right, don't worry about exactness, and then drag this one up a little bit. It's where I recommend. You can go your own way. Oh my goodness, can you go your own way. This is your love note, baby. Instead of dragging each of these handles outward, you can just drag on the text, kind of right there along the Y. Drag out just a little bit like so because you don't want to go too far, and then drag this guy out a little bit like so as well.

That's not quite symmetrical what I have done here. It's just a little bit. I'm sorry. I'm trying to get it just right. We went a little too far but this is a Y, so we are not going to notice that it as much as that I over there, but let's drag this handle back a little bit or do what you want. Definitely I want to make that clear, and then once you are done, press the Enter or Return key in order to apply that modification and then press Ctrl+R or Command+R on the Mac to get rid of the rulers and then press Ctrl+Semicolon or Command+Semicolon to hide those guidelines and there you have it, I Love You, Smooshy. All right, that's how you put text on a balloony heart sort of shape with custom warping.

In the next exercise, the final exercise, in fact of this wondrous chapter, I'm going to show you how to create that text on a nameplate and you are going to love it too. Stay tuned.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 24028 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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