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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.
I've saved my changes as Rotated tattoo.psd found inside the 29_smart_objects folder. Notice that it's called Rotated tattoo, not warped tattoo because we haven't successfully applied any warping so far. What we need to do is we need some method for letting Puppet Warp know that every single stinking bit of this graphic here is one big graphic that needs to be modified uniformly. And I'm going to do that by placing the tiger against the white background. So let me show you how that works.
I'll go ahead and double-click on the tiger tattoo thumbnail there in order to once again produce this alert message. I'll click OK in order to skip it. Here we are with the file opened inside of Illustrator and I'm zoomed out so that I can barely see the outside edges of this pasteboard. I'm going to go ahead and grab my Rectangle tool which is located here and you get that tool by pressing the M key, just like the Rectangular Marquee inside of Photoshop. So I'll go ahead and grab that tool and then I will drag from corner-to-corner around this pasteboard to surround the entire thing.
By default, at least for me, it comes in with a white fill and a black stroke. I don't want the stroke. So I'll make sure the Stroke is active which it is up here in a Color panel. So I moving pretty quickly through this for those of you who haven't used Illustrator before, but I don't want to turn this into a 17 exercise lesson on how you change fill and stroke inside of Illustrator. So I'm going to continue to move along. Color panel, you can get to it from the Window menu. It is right there. It's got a keyboard shortcut of F6 just as in Photoshop. Make sure this guy, the big thick black thing is selected, that indicates the Stroke and click on None down here in the bottom left corner of the Color panel.
Now, we've got this fairly obvious problem I think where the white rectangle is in front of everybody else. So right-click inside of the Illustration window, then choose Arrange and then choose Send to Back which has this keyboard shortcut. But I don't expect you to memorize that right now. So just go ahead and choose Send to Back. We've now gone ahead and glued together all parts of the tiger tattoo using this white background. I'll go ahead and click in the Close box up here in the title tab. And Illustrator will ask me if I want to save the changes. I'll click on Yes.
I'll switch back to Photoshop like so, and we should, in a moment, see the illustration update inside of the Photoshop composition. Now, I have invited an obvious problem at this point which is we can no longer see through the dragon tattoo to the guys arm we are now covering it up. That's actually okay because we were going to have to apply a Blend mode anyway. Now here is a little bit of a quiz based on the 26 exercises that you just finished up hopefully associate with Blending inside of Photoshop, in the previous chapter I'm hoping you have a sense of what that Blend mode should be.
And I even mention when I was describing how the Blend mode works that it creates a tattooing effect. So we want to drop out the whites, we want to keep the blacks, we want to merge in the reds with this guy is flesh because it wouldn't make sense for the Reds to be totally opaque. Everything is got to darken up as it's applied to the canvas on his flesh because this is as if we are printing on colored paper here. The color of the flesh is going to inform the rest of graphic. So because we need to uniformly darken this dragon tattoo, I'm going to go to the Blend mode menu and I'm going to change the blend mode to Multiply.
So you can apply Blend modes and all the other blending options to your hearts content to smart objects inside of Photoshop. And as soon as I choose Multiply, it goes ahead and drops away that white background. It keeps all the blackness. It keeps the Reds that are now mixed in with a guys flesh and so on. And I would guess quite frankly that the tattoo would be a little faded on the guy skin as well. It wouldn't be jet-black like this absorbing every single bit of light possible. So I'd reduce the Opacity value or the Fill value. I'm going to reduce the Fill value because we know it to be more flexible.
In the future we might end up applying a layer effect or something like that and we'd want to control its opacity independently. So I'm going to take the Fill value down to 80% like so just so that we have a little bit of lightning associated with that tattoo. All right, now I'm going to zoom in on the tattoo so that we can take it in and all of its detail. And let's see how the Puppet Warp command behaves now. I'll go out to the Edit menu, I will choose Puppet Warp. And I'll began laying down those pins here. I'll put one guy there.
The other flame didn't disappear for once. Let's actually set a pin to celebrate to that flame. Then I'll click here and here sort of around the tiger's temples in order to create some pins there. And we need a handful of other pins. I might put a couple around his mouth, like so. We might need some independent control down here in his chin. So I'll lay down some pins there, and maybe around his nose. I'm not sure, so far, where I need pins and where I don't. It's basically what it comes down to. So I'm laying pins at symmetrical points inside of the tattoo.
And that should do for now I think. And I'll just go ahead and try dragging one of these and see what happens. So I'll click on this guy and Shift+click on this one and then I'll drag them down like so and the entire image is moving here. So because we have that white in the background, Photoshop is aware that this is one large uniform illustration. There are no gaps in any point because even though, we can't see the white, it is most certainly there as witnessed here inside the thumbnail in the Layers panel.
And so we can modify this graphic with a much higher degree of control. And it's more likely to behave the way that we wanted to, subject of course to the wacky behavior inherent in the Puppet Warp mode. In the next exercise, we're going to Puppet Warp this tiger around this guy's arm.
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