Start learning with our library of video tutorials taught by experts. Get started
Viewed by members. in countries. members currently watching.
Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.
At the end of the previous exercise I promised that we are going to take a look at the Push tool and the Mirror tool and the Turbulence tool. Even though I have to tell you something upfront. They are worthless. They really are. You're never ever going to use those tools. Now I could be wrong. Maybe once every decade you are going to use one of those tools. But I would be surprised if you find practical uses for them. But they are pretty interesting, so I want you to see how they work. Before we do that, however, I want to pass along a much more practical piece of knowledge here.
That's the Mesh. It goes to the nature of loading meshes and saving meshes in a whole number. Very, very important stuff. Now I have been fooling around inside of this image a little more during our break, between the videos here. I imagine that you have too, because it's pretty fun, frankly. Now let's see you get to a point where you like what you have done. You like it enough that you are ready to leave the Liquify dialog box. So you are just about poised to click on the OK button. Don't do it, and definitely don't click Cancel.
If you cancel, you just going to lose everything you have done, which is a big deal, because you end up spending like 10, 15, 20 minutes inside of this window. Whereas if you click OK, you will apply your modifications to the image, but let's say you change your mind. You decide, "Gosh, I think I'll massage this effect little more." So you undo the effect. You choose Liquify again, expecting to arrive at the point at which you left off, but instead you're met with the original version of the image, which we can see if you click on Restore All.
So that's what you would see when you come back into Liquify dialog box. Everything is wiped out. When you might say, "Gosh, Deke, that was a heck of a thing to do, because you just got rid of everything you did right in front of us." Actually you can undo. Restore All. You just go ahead and press Ctrl+Z or Command+Z on the Mac. So phew! It's just like undoing a revert inside Photoshop. But here is a deal. If you want to come back to your changes and you think you want to modify them in the future-- and you always will. I'm telling you, every single time I do anything inside this dialog box, I change my mind inside Photoshop.
I decide I want to paint in a few additional modifications and if I save my changes, I am in good shape. And if I don't save my changes, I am back to square one. Well, you want to make sure that you save your changes. You save your changes as this thing called a mesh. Now if you want to get a sense of what's going on with the mesh, you turn on the Show Mesh check box down here in the lower right portion of the window. You will see that this is the thing that you've been creating using the Warp tool, the Pucker tool, the Bloat tool, the rest of them. Basically, Liquify is just taking this image and it's mapping it onto this mesh surface and this is what it's coming up with.
So, if you want to be able to save your settings, this is the thing you save. You don't care about your numerical settings. You don't care about what tools you used. All you care about is the mesh. I am going to go ahead and turn it back off so that we can see the image underneath. The mesh is just typically just useful for getting a sense of what's going on. Here is how you save your settings up here. You either save the mesh in order to save out your settings so you can load it later, or you load the mesh in order to return to your last applied settings. So I would go ahead, after creating some settings that I like, I would go ahead and click on the Save Mesh button.
I invite you to do the same. Then I put my settings right there. I went ahead and called these settings Bobble head. So I've already saved them in advance, here inside the 23_distort folder. You can save your settings any which way you like. They need to end with the extension msh. These are pretty big files. I should tell you. So they tend to be several megabytes. These aren't the dinky little settings files. These are big huge pixel for pixel mesh files. So they are essentially full-size images. Anyway, I am going to cancel out of here because I've already saved my settings in advance.
But this is very important. Before you click the OK button, always go ahead and save your mesh. I don't care how little stuff you have done. If you just made a very slight modification to your image, fine. Go ahead and save it off. If you have made big changes to your image, fine. Go ahead and save them off before you click OK, because this is the reason why. Once you click the OK button and then you go ahead and apply your modifications to the image, like so, and then you start sort of inspecting the image and trying to decide, gosh, was this a good edit or was this a bad edit? In my case, of course, I'd go, "you know, what was I thinking? Why in the world did I want her to look like this? This is just tragic." Then I would go ahead and press Ctrl+Z or the Command+Z on the Mac, and assuming that I wanted to work from those last changes I applied, which of course I do, the Bobble head is a great start, then I'll go back up to the Filter menu, choose a Liquify command once again, or I press Ctrl+Shift+X, Command+Shift+X on the Mac.
Sure enough, I land inside the Liquify dialog box. It has no knowledge of what my last applied settings were. The only way to give it that knowledge is to click on this Load Mesh button and then select Bobble head.msh here inside 23_distort folder or whatever is the name of your settings. Click on the Open button, and then you are right back where you left off and you can make some additional modifications to your heart's content. Then if you just want to tweak the settings a little bit, you would go ahead and tweak them of course.
Just to make some slight modifications, whatever. Then you'd click on Save Mesh and then go ahead and save over your previous settings, if you like. Totally up to you how you work, or you could save new settings if you prefer. Anyway, just remember that. If I do nothing more during this entire Liquify discussion than get you in the habit of clicking Save Mesh before you click OK, then you are going to thank me later. It's really great habit to get into. In the next exercise, we will check out those wacky tools over here starting with Push left and working our way down to Turbulence.
Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced.
Here are the FAQs that matched your search "":
Sorry, there are no matches for your search ""—to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.