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Envelope-style warps

From: Photoshop CS4 One-on-One: Advanced

Video: Envelope-style warps

All right. In this exercise we're going to take a look at the final Free Transform option, which goes by the name Warp. We saw Warp as it applies to type; actually as it doesn't apply to type, because we had to convert the type to Shape Outlines, as you may recall, back in the previous chapter. In this exercise we're going to see how we might apply Warp to pixel-based layers, and it works a little differently. All right. I've gone ahead and restored the original Blue boy.psd image. I'm going to go ahead and Click on the hands group and Shift+Click on the Face group, so that we've selected the entire clock, just like in the previous exercise.

Envelope-style warps

All right. In this exercise we're going to take a look at the final Free Transform option, which goes by the name Warp. We saw Warp as it applies to type; actually as it doesn't apply to type, because we had to convert the type to Shape Outlines, as you may recall, back in the previous chapter. In this exercise we're going to see how we might apply Warp to pixel-based layers, and it works a little differently. All right. I've gone ahead and restored the original Blue boy.psd image. I'm going to go ahead and Click on the hands group and Shift+Click on the Face group, so that we've selected the entire clock, just like in the previous exercise.

Then I want you to go to the Edit menu, choose Transform, and notice that the Warp command is dimmed. The reason being, you cannot apply Warp to multiple layers at a time. It works on one layer and one layer only. So what are we to do? Well, I'll tell you, what we're going to do is scoot over a couple of elements to the Layer menu, and then choose Merge Layers, by pressing Ctrl+E or Command+E on the Mac. Photoshop has gone ahead and rendered out. Notice that there is no Layer Effects anymore. They've all been rendered out as pixels. Your image should look identical to the way it looks before.

Photoshop should do a brilliant job of rendering everything out. But you don't have access to any of those parametric controls anymore, because you just have this one flat item here. Now, if you're at all concerned about that, you want to retain those layers just in case you want to do something with them later, for example, then try out this keyboard shortcut. First, press Ctrl+Z or Command+Z on the Mac to undo the emerging of those layers, and press Ctrl+Alt+E or Command+Option+E on the Mac, and now you have hands merged and the original layers are still intact. Go ahead and turn them off, because we want to hide them for now.

Then let's go ahead and rename hands ( merged), because it's not hands, it's a clock. So let's just go ahead and name it clock, and you could keep that merged if you want to, just so that you remember that it came from these layers below. All right. Now, we're ready to apply Warp. There is a few different ways to do it. Here we go. You can go to the Edit menu, you can choose Transform, you can choose the Warp command. If you loaded Deke Keys, you can press Ctrl+Shift+R or Command+Shift+R on the Mac, or you can go ahead and choose the Free Transform command, or press Ctrl+T to enter the Free Transform Mode. Then you go up to the Options Bar and you've got this little guy there. Click on it.

That goes ahead and switches you into the Warp Mode, and now you have a variety of different Warp options to choose from over here. So notice, if you go to this drop- down menu, this pop-up menu here, you can choose from those predefined Warp functions that we saw back in the previous chapter, and you can use them as jumping-off points for a custom distortion. For example, let's say I apply a Flag Distortion, like so, which does give me a pretty darn warpy clock right now. If I wanted to, I could calm down the Bend value a little bit, let's say take it down to 30%. Then if I decide, gosh, I want custom control over this, then I switch to Custom, and now I have my control handles and points and everything else I need.

Now, you're thinking, control handles and points and everything else you need, Deke, what in world are you talking about? Well, let me show you. Let's go ahead and unwarp this image by switching to None, and then I'll go ahead and switch to Custom, so that I can get my points and handles back. So here's how things work. I should tell you that this is Photoshop's attempt at an Envelope Style Distortion function. So if you're familiar with Envelope Distortions inside of another application, such as Adobe Illustrator has it, CorelDRAW had it years and years ago, there is a lot of different applications that offer it, Photoshop's attempt is about halfway there frankly. It's very interesting, but it's not quite a full-fledged Envelope style Distortion feature, but we do have unique controls that we don't have anywhere else in the software.

Now, you can see that the image is divided into three rows and three columns. So we've got nine different sort of squared areas here, which become semi-important in a moment. You also have four, what I'll call, corner points, just so that we can distinguish them from the other handles, so four corner points. If you drag one of these points around, then you are going to begin to bend the selected image or that is the selected layer. The other points remain stationary. But instead of moving this top segment here, that is the top of the bounding box, instead of just moving it down so that it remains straight, as it would if we were applying a four point distortion in the Free Transform Mode, we're bending this top segment, this top end of the bounding box, and we're really bending this left end as you can see.

All right. So you can go ahead and sort of drag these guys around as much as you want. I'm going to zoom out, just so that I have a little more room to work here. I'm going to drag this guy down. Now notice that we're now staring to see the control handles, and there are eight control handles, and they're round, and they're at the end of these levers, and these levers allow you to stretch the image out or smoosh it back inward. So the handles, they're not actually on the outline of the bounding box, they instead have this sort of magnetic attraction-repel sort of function associated with them. So if you pull away, you're attracting the pixels, and if you move inward, you're repelling the pixels, you're moving them inward as well.

Ultimately though, you're bending the outline of the bounding box, and the image is going to bend with that outline. All right. So I could move this here. I could bend this control handle upward. I could bend this control handle upward as well. I'll tuck these guys up. Now, in doing so, I'm stretching out the clock and I'm getting what I want, which by the way is sort of a Salvador Dali meets the High Renaissance sort of effect here. But in doing so I'm compressing the bottom of my frame and stretching the top of my frame, and I don't want that. So how in the world do I take care of that? Well, I can't address that problem by dragging either the points or the control handles, what I need to do instead is just drag inside the image. That tends to be a pretty intuitive way to work.

For example, if I want this clock hands to move upward, I drag them upward, like so. So now you can just start dragging inside of -- they have quadrants, but inside of these nine regions. It really doesn't matter, you can drag right on an edge if you want to, so you can drag anywhere you want inside of the image in order to Warp this stuff as much as you like, so just Warp the heck out of that clock. Now, let's say at this point you're thinking, well, things are getting a little big, I'm clipping at the top. I don't want that. I might want to rotate this; it's almost a shield now, I might want to rotate it a little bit, I might want to scale it. How in the world do I do it now that I'm trapped in the Warp Mode? Well, you're not trapped in the Warp Mode, all you have to do is Click on this icon to go back out to the standard, more familiar Free Transform Mode, and now you could go ahead and rotate, for example, if you want, or you could drag this side handle down in order to scale this shield, as I'll call it now, a little bit, so that it fits inside of the canvas.

Well, what if you now want to adjust your Warp settings again? Go up there and Click that icon again. You're back in the Warp Mode, with all of your Warp settings intact, which is pretty amazing. All right. I'm going to zoom out of here. I've got this one stray control handle that's sort of going off in its own weird direction there. Its better that the control handles are just bending the segment a little bit outward like that, or a lot, it's okay if they're bending a lot, but it's pretty twisted if your control handle is going like completely in the opposite direction of the point. Notice it's pretty harmful to the image. You can see that we're doing some really weird stuff to the image now. So you don't want that. We'll move that back. If you really want to stretch it downward, grab that point and drag it downward, like so.

You can also sort of drag inside. The downside of dragging inside of the image, even though as I say it's more intuitive, you can get weird effects. You can get these handles that are going off in weird directions. So you just need to keep an eye on that. I'm going to drag this upward as well, so we just get a little more height there, little more of a nice arc. By the way, if you loaded my Deke Keys, another way to switch back and forth between the modes is to press Ctrl+T to go to Free Transform, Command+T on the Mac, and then to go back to Warp, Ctrl+Shift+R or Command+Shift+R on the Mac. Now, you may be asking me, all this toing and froming between Wrap and Free Transform and Wrap and Free Transform, surely Deke, we are harming the image at this point. These are destructive modifications, because we keep going back and forth. The answer is no, not really. Because we haven't left the Free Transform Mode yet. Everything is going to be concatenated. Now, that word, when you hear it, don't run screaming from the room. All it means is that Photoshop is aggregating all of the mathematics and applying it all at once. So that it's applying one overarching transformation. Now, that may be semi-destructive, but it's not going to be continuously destructive.

All right. So I'm going to zoom in here, make sure I like what I see. I do. Great! If I'm done, which I am, I'm going to press the Enter key here on the PC in order to apply my modification. You can see things now render out more smoothly, and that would be the Return key on the Mac. Then we might as well just go ahead and fill the screen with this image, it's so beautiful. I'm going to zoom the image to 84% and press Shift+F to go to the big old Full Screen Mode here. That is Warp and that is the end of our discussion of Free Transform my friends.

In the next exercise we're just going to run through a handful of distortions; they can be kind of fun, they can be kind of weird, that are available to you from the Filter menu.

Show transcript

This video is part of

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

218 video lessons · 24020 viewers

Deke McClelland

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  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
    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
    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
    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
    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

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