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Changing the Density setting

From: Photoshop CS5 One-on-One: Advanced

Video: Changing the Density setting

In this exercise I am going to show you how to change the density option when you're working along inside the Puppet Warp mode. Now it's an easy option to modify, and it's pretty obvious that you will want to a modify it as well, because you'll keep getting this one error message over and over again as you work inside the Puppet Warp mode. Problem is the suggested solution doesn't really do you all the much good, because you'll still get the error message after that point and changing the density of the Mesh can have undesirable repercussions. So when you can avoid it, you should, is basically what it comes down to.

Changing the Density setting

In this exercise I am going to show you how to change the density option when you're working along inside the Puppet Warp mode. Now it's an easy option to modify, and it's pretty obvious that you will want to a modify it as well, because you'll keep getting this one error message over and over again as you work inside the Puppet Warp mode. Problem is the suggested solution doesn't really do you all the much good, because you'll still get the error message after that point and changing the density of the Mesh can have undesirable repercussions. So when you can avoid it, you should, is basically what it comes down to.

I'll show you what I mean. I've saved my changes as Freakishly happy.psd, found inside the 23_distort folder. You may recall the end of the previous exercise, I was working along inside Puppet Warp as I am right now, and I clicked on the inside of this left-hand cheek, and I got this error message that says, hey, you can't add a pin at that location. It's too close to the existing ones. You need to increase the number of available points, that is, Mesh intersections, by choosing Density > More Points. Which is this guy right there, there is the Density option in the options bar. You need to change it from Normal to More Points.

Is what it's telling you. Well, you do not want to say don't show again, because in truth even if you take this recommendation and choose More Points, you're still going to get this error message in the future. You want to see it, because otherwise you would click and Photoshop would just ignore you, which I don't think is what you want at all. Anyway, so I am going to leave Don't show again off. Click OK, and I'm going to ignore Photoshop's suggestion for moment. We'll comeback to it, shortly. But the better thing to do is to click at a different location. For example, I'll click on the outside of left cheek, and then sure enough I've got the control I want.

Now if I start dragging this point outward like so, it might not produce the effect I am looking for. So I might delete that point by Alt+ Clicking or and Option+Clicking and then go ahead and set point a little higher, for example, in alignment with the eye so that I have a little bit of symmetry going on here. Then I'll drag it over just a little bit, like so. That's still pretty darn ugly. But hey, if I drag this pin to a different location, I've got a better looking effect. Now then if at any point in time you want to hide those pins so that you can see your distortion a little better, you don't press Ctrl+H or Cmd+H, because that brings back the Mesh.

So we will press Ctrl+H or Cmd +H again to get rid of the Mesh. You press and hold the H Key. Now the interesting thing here is I have the H key down. As soon as you release H, then the pins come back up. But while you have the H key down you can actually drag the pins to different locations. Even though they're invisible, just look for that little arrowhead cursor right there and then drag a pin as long as you are dragging you'll see all the pins like so, but as soon as you release, assuming you still have the H Key down as I do, then the pins go away.

Then when you want to see the pins again, you release the H key. So kind of a mysterious keyboard shortcut, but it is there and available to you. Let's go ahead and see the effect of that Density option on the hand. So I am going to set points at each one of the digits, like so the tips of the digits that is to say, and then I'm going to drag those points to different locations, so that we have the stretchy fingertips, and you might every once in a while see the screen redraw in a strange fashion, just wait for it to do so. Now I'm dragging all these points with respect to each other and with respect to the base of the palm.

Maybe that's not exactly where I want this point. I would go ahead and Alt+Click or Option +Click to delete the point and then set a new pin down here at the base of the palm, like so. Then drag it down a little bit. Now I might also decide I need a pin at the base of the thumb so that I can stretch the thumb that much more and drag the palm inward. Create a point right there at the base of the index finger, another point of the base of the ring finger like so, and then finally I decide I need a point right there at the base of the third finger.

As soon as I go for it, I am told, hey, you don't have enough density going on inside of your Mesh. And you say, okay, well, I guess I need to add some more density. That's what Photoshop is telling me. So you click Ok, and I just want you to see what's going on here on the right side of the window. I will go ahead and press Shift+Tab in order to hide those right side panels, so I can see his face and hand at the same time, and I am going to turn on Show Mesh for a moment so that we can see that the Mesh is made up of a bunch of triangles that meet each other at points.

That's what's meant by this Density option here. You can go with fewer points, which By the way, is going to wipe out a bunch of pins that you've set down. So if I choose fewer points notice that we will get bigger triangles and therefore fewer points at the intersections of those triangles, but I also wiped out a few of my pins and my fingers are really suffering for it. The ring finger and the pinky are in horrible shape as a result. The solution of course is to immediately go, oh my gosh, I've made a horrible mistake and then you press Ctrl+Z or Cmd+Z on the Mac to undo that mistake and reset the Density of the Mesh, because Normal is really your best Density setting under most circumstances.

Sometimes you will want to go higher; rarely will you want to go lower. You only want to go lower if you want to set fewer pins in the first place and get more work done with them. Anyway, I am going switch this Density setting from Normal to More Points, like so, and I'm just going to hope I don't lose any pins, because you can lose pins when you increase the density as well. Notice, by the way, that I've gone ahead and added a bunch of triangles. So there are more points at the intersection of those various triangles. I've also changed the nature of the entire distortion, once again. So just to give you the sense of what's happened here, I'll press Ctrl+H or Cmd+H on the Mac in order to hide the Mesh in, and this is the before normal version of the Mesh.

Look at his face for a moment here and notice how jolly he is, and this is the higher density version of the Mesh. Notice he has this sort of simpering expression going. I don't like it at all. We also have these pins that are way beyond the ends of the digits, that is to say. So this isn't really the effect I'm looking for. I'll probably come up with new pin locations. I would have to set up a pin at the end of the fingers as opposed to off the ends. So I would have the delete the existing pin, establish a new one. But really what I am going for is the opportunity to create yet another pin.

I want to create a pin at the base of the third finger between the index finger and the fourth finger there. So now it should be able to do so, right? So I will click. And no, denied. It's still not an option, still not available to me. The reason is if I click OK in order to accept that error message there. If press Ctrl+H or Cmd+H on the Mac and zoom in, notice that adding a point did not create new points between these two pins. So what I really need is I need two points between the locations of the pins.

A point there and hopefully a point right at this location, something along those lines. That would give me enough room to add a pin, but if I don't have points then I don't have pin opportunities, and I just don't in this case. You can't go any higher than a Density setting of More Points. So what I would recommend in the case of this image right here is that if I have the option to do, so I'd press Ctrl+Z or Cmd+Z on a Mac in order to restore my previous pin locations and Density setting.

That is not available to me, so I press Ctrl+Z or Cmd+Z, and that didn't do anything, because, well, redo and undo don't do anything in this case. How curious is that? So what I have to do instead, I'll turn off Show Mesh here, and I'll just go ahead and manually change Density from More Points to Normal, cross my fingers, hope for the best, and sure enough he is happy again. He not simpering, and the fingers are looking a little better. So I just want to give you a sense of what's available to you there you might find density useful, I as I say routinely do not.

In the next exercise I will show you what I do consider to be a very useful and practical feature that's this guy right there, Pin Depth. Stay tuned!

Show transcript

This video is part of

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

247 video lessons · 32918 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    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 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.