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Lifting and slimming details


Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Lifting and slimming details

Over the course of this and the next two movies, we'll take on a more complicated project, so you can get a feel for the sort of whole scale modifications you can make using the Liquify filter. I'll also be working dangerously by applying Liquify as a static effect. If you're working along with me, feel free to apply Liquify as a dynamic Smart filter. I just want to give you a sense for the static workflow. So, in the case of this image, we have a good looking young woman, and yet, it couldn't be a much frumpier pose. She's kind of poofing her tummy out, her ams look like they're different lengths or something.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 1h 1m
    1. The best of Photoshop automation
    2. Content-Aware Fill and Color Adaptation (CC 2014)
      7m 44s
    3. Combining two layers with a layer mask (CC 2014)
      5m 37s
    4. Content-aware healing (CC 2014)
      10m 17s
    5. Introducing the Patch tool
      3m 43s
    6. Using Content-Aware Patch
      7m 17s
    7. Retouching with Content-Aware Patch
      3m 45s
    8. Using the Content-Aware Move tool
      7m 41s
    9. Using Content-Aware Extend
      2m 4s
    10. The Content-Aware Scale command
      6m 35s
    11. Scaling in multiple passes
      2m 22s
    12. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 12m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      8m 8s
    3. Font and type style tricks
      7m 58s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 9s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 50s
    8. Setting text inside a custom path
      5m 34s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 1h 9m
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting and modifying path outlines (CC 2014)
      6m 5s
    6. Isolating selected layers (CC 2014)
      6m 39s
    7. Combining simple shapes to make complex ones
      6m 31s
    8. Cropping, adjusting, and merging shapes
      8m 49s
    9. Creating a soft, synthetic sparkle
      6m 22s
    10. Saving a resolution-independent PDF file
      6m 42s
    11. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Watch the Online Video Course Photoshop CC One-on-One: Intermediate
10h 37m Intermediate Aug 19, 2013 Updated Sep 18, 2014

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Design Photography
Deke McClelland

Lifting and slimming details

Over the course of this and the next two movies, we'll take on a more complicated project, so you can get a feel for the sort of whole scale modifications you can make using the Liquify filter. I'll also be working dangerously by applying Liquify as a static effect. If you're working along with me, feel free to apply Liquify as a dynamic Smart filter. I just want to give you a sense for the static workflow. So, in the case of this image, we have a good looking young woman, and yet, it couldn't be a much frumpier pose. She's kind of poofing her tummy out, her ams look like they're different lengths or something.

She's got really long forearms. And then one shoulder's higher than the other, so she's kind of slouching over to the left. And her bottom is kind of hanging around this narrow stool. And then she could use some ankles as well. So, I ended up coming up with this modification here, where her legs are slimmer, her hips are slimmer as well. Her arms are a little slimmer, tucked up a little bit too, so they don't look so ultra long. She's not slouching anymore and her head is upright. So, let's see how we might go about taking on a project like this.

I'll go ahead and restore the original version of the image, and then I'll go up to the Filter menu and choose the Liquify command. And by the way, even though liquify is not a first command at the top of the Filter menu, I do not recommend your press Ctrl+Alt+F, or Cmd+Option+F on the Mac, in order to repeat the filter. Because if you have the Alt or Option key down when you bring up Liquify, you turn off the graphics acceleration, and Liquify is going to work a lot more slowly. So, go ahead and choose the standard command, and that will as usual bring up this Liquify window here.

And I'm going to go ahead and zoom in on her arms. And I'll press the right bracket key a few times in order to increase the size of my brush. Notice by the way, that I've got the Warp tool selected, and I'm going to begin by dragging up on her elbows like so, in order to move them to roughly the same height. Because right now, it's like she's got gorilla arms or something, so I want to mitigate that a little bit. I'm also going to bring this shoulder down a little bit, so that it matches the shoulder on the other side. And notice along the way here, I have managed of course to introduce new problems into the image.

For example, her arm is now all sort of wiggly. So, I'll go ahead and zoom into 100%, try to take care of that by dragging up on the arm with the Warp tool. And I might take up some of the details at her hips as well, so that we can raise the arm that much more. If you wanted to slim the arms by the way, great tool for this purpose is the Push tool. So, I'll go ahead and select that tool, and then I'm going to change the brush pressure to ten. And I'll reduce the size of my cursor a little bit. And I'll click right about there.

And then shift-click down here, and what that does is it draws a straight line between the click and the shift-click points. And I'll do it again in order to make that arm increasingly slim like so. And then let's go ahead and replay the same thing over here on the right-hand side. This time, I'll click at the bottom and shift-click at the top in order to scoot the arm in. And so that way I don't have to take advantage of the Alt key trick, and I might do that a few times in order to straighten things out. And now I'm going to do the same thing with the forearm. I'll click here and shift click here in order to taper it up.

I might click right about there and then shift click at this location in order to take the bottom of the arm up a little bit as well. And now, it looks like I've made this area a little bit too thin, that is her wrist is now too thin. So, I'll grab the Warp tool, go ahead and scroll down a little bit, reduce the size of my cursor and maybe take these details out just a little bit, so that I'm widening her wrist, and I'm not getting anywhere and that's because the brush pressure is so low. So, I'll go ahead and reinstate that value to 100%. And now I'll drag down here. I'm going to zoom farther in.

And one of the things you're going to notice, when you zoom in on an image past 100%. At least I'm noticing it in this build, is that we are not seeing smooth results. We're seeing all these jagged results all over the place. Those aren't really there. If you zoom back out to 100%, you'll see those weird transitions disappear. Just function of being zoomed in past 100%. And this is actually a new phenomenon, and I haven't seen this in Liquify before, but just something to be aware of.

I'm now going to grab that Push tool. Let me see if I click here and Shift+Click here. Ope! Nope, going the wrong direction. And besides, I've got the brush pressure set too high. Alright. Now I'll click there and Shift+Click there in order to nudge that wrist farther outward. We don't want her arm to look too emaciated. And that's starting to look pretty darn good, I think. I might go ahead and grab my Warp tool again, and increase the size of the cursor a little bit and shove that shoulder out, once again, after reinstated a brush pressure of 100.

And that way I can go ahead a give her more more of a shoulder. And by the way, this image is pretty forgiving, because its set against a white background. And that means, we can stretch the white background into the image. Into her shoulder for example, without stretching any of the background, because there really is no background, it's just white. Alright. And now I'll reduce the size of my cursor and slide down like so on the sleeve so that we're straightening the sleeve a little bit, so it doesn't look so bunched up. Alright. Now let's take on her hips. And I'm going to increase the size of my cursor quite a bit here and then just go ahead and lift those hips upward.

Maybe reduce the size of the cursor, lift that as well, tuck this side in. Again, you don't want to go too far with it. She should still have hips after we're done, but we just don't want that appearance like she's hanging off the edge of the stool. Because that's not going to be a particularly attractive shot for anybody. I don't think any of our bottoms are going to survive that. Anyway, I'll go ahead and tuck this up some more. And you can see that it's just amazing. The, this, this would take you months of work in a gym in order to achieve these kinds of results. And even though it does take a little bit of work inside the Liquify filter, it's nowhere near as much effort as actually exercising.

So, alright. Now what I want to do is tuck in her tummy, and I think the best approach here is going to be to mask those arms. Because if I just start working on her stomach, I'll show you I'll go ahead and grab the Pucker tool, which is pretty great for this purpose, and I'll increase the heck out of the size of my cursor, and I'll just kind of click there. And you notice we're you know, taking off pounds in just a few seconds, but I'm also running a risk of harming the arm, and let me see if I did. I did, yeah. I kind of did a number on this left-hand arm.

Which might you know, not be the biggest problem on earth, but the more work I do on the torso here, the more it's going to come at the expense of the arms. So you can mask them, I'll go ahead and back step by pressing Ctrl+Alt+Z or Cmd+ Option+Z a couple of times. By grabbing this Freeze Mask tool, that means you're masking areas away. And then I would reduce the size of my cursor like so and paint over the arms. Paint into the upper arms as well. Looks like I added a little bit of auto-scroll there, but that's okay. And I'll paint over the hands to make sure they're protected.

Notice that I'm going a little bit beyond the hands. Because otherwise, the flesh tones there are going to get stretched into the area that I'm trying to pucker. That is the torso area. So you want to mask too much as opposed to too little. And then go ahead and grab that Pucker tool again, and let's see if we can do some fairly low impact modifications here. I don't want to click and hold as long as I was before, that was just to demonstrate a point. I just want to be able to slim things a little bit here and there.

Now at this point, I make sure that you don't have any arm creeping in to the torso area, because that's what can happen. Then when you get to a point that you are comfortable, then go ahead and click the None button in order to turn that mask off. And now we need to use the Warp tool with a smaller cursor, in order to tuck these details up. And I'll just drag along the arm, so that I can move the fabric of the pants into the arm region like so. And that's going to help create the impression that she's got a little less of a tummy and there's more pant action going on.

And now I need to zoom in to this jagged 200% zoom ratio here and adjust these details a little bit more. Maybe take this up the arm again. The unfortunate thing is that, I'm kind of, messing up the flower pattern in her shirt. But hopefully we can make up for that over time. And I'll go ahead and adjust this edge in as well. Maybe reduce the size of my cursor and try dragging up a little bit here and see what I end up getting. Alright. Now let's zoom out and see what we've managed to do. Looks like I've got a pretty big mush right there in that detail.

Fabric can be very unforgiving by the way, especially patterns and fabric. So, it's the kind of stuff you got to watch out for. And it's also the kind of stuff that may take some effort in terms of you going back and forth with the Warp tool and so forth. Alright. I think this arm could use a little additional warping back this direction, so that we're kind of smoothing it out. And that looks pretty good for now. So, I'm going to go ahead and save off the mesh, by clicking on the Save Mesh button, and I will call this Phase 1. And then I'll click the Save button in order to save off that file.

And finally, I'll click OK in order to apply my change. So, just to give you a sense of what we've done here, I'll press Ctrl+Z or Cmd+Z on a Mac. That's the before version of the image. And now if I press Ctrl or Cmd+Z again, that's the after version. Much slimmer hips, raised arms, things are looking pretty good. In the next movie, we'll make some additional modifications to the fabric, and we'll also take on the model's legs.

Find answers to the most frequently asked questions about Photoshop CC One-on-One: Intermediate .

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Q: This course was updated on 09/18/2014. What changed?
A: Deke updated the course to reflect changes in the 2014 version of Photoshop CC. The updates are concentrated in "The Content-Aware Collection" and "Creating and Formatting Text" chapters, but there are new movies sprinkled throughout the course as well.
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