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Setting and manipulating pins

From: Photoshop CS5 One-on-One: Advanced

Video: Setting and manipulating pins

I have saved my progress as Baby's first puppet.psd, found inside the 23_distort folder. And I want to pass along a small anecdote here. I was just saving this file, as you might imagine, and I was doing so by pressing Ctrl+Shift+S or Cmd+ Shift+S, but I hit the wrong key, I accidentally hit Ctrl+Shift+D or Cmd+Shift+D on the Mac, and what to my wondering eyes did I see, but the last selection outline actually came back, the Reselect command worked. And this has been my experience with this command.

Setting and manipulating pins

I have saved my progress as Baby's first puppet.psd, found inside the 23_distort folder. And I want to pass along a small anecdote here. I was just saving this file, as you might imagine, and I was doing so by pressing Ctrl+Shift+S or Cmd+ Shift+S, but I hit the wrong key, I accidentally hit Ctrl+Shift+D or Cmd+Shift+D on the Mac, and what to my wondering eyes did I see, but the last selection outline actually came back, the Reselect command worked. And this has been my experience with this command.

It has been inside the software forever. It only works when I accidentally press the keyboard shortcut, when I am actually going for Save As, and I have no desire to retrieve the last selection outline. So let that be a tip to you. If you're trying to save an image and all of a sudden, you see a selection outline. It's because you hit the wrong keyboard shortcut. Anyway, in this exercise, I'm going to show you how to re-invoke Puppet Warp, so we bring back those last three pins that I just assigned, and you can do so in a couple of different ways. Thanks to the fact that we were smart enough to go ahead and put this image inside of a Smart Object, we can go ahead and retrieve those last settings, either by double-clicking on Puppet Warp here inside the Layers panel, or you can double-click on the slider icon too.

If this were a true smart filter, that would bring up the Blending options. But in this case, and notice it says it's going to be Blending options, but if you double-click, you're actually getting back into the Puppet Warp mode, and there are our pins ready and waiting for us. The other way to work, I'll go ahead and Escape out, is the one that might seem more obvious, but usually doesn't work quite this way inside of Adobe applications. Normally, if you were to go up to the Edit menu and choose Puppet Warp, you would apply yet another heaping helping of Puppet Warp. You would apply another Puppet Warp item here inside the Layers panel.

And that's the way it works with actual smart filters in the software, as we'll see in the Mastery portion of this series, but with Puppet Warp, when you choose the command, you just go back into the Puppet Warp mode. And now, we have access to those pins we laid down earlier. Well, let's say I add a couple of more pins, like so, on his elbows, just by clicking, and I want to get rid of them. I decide I don't want them. Well, you can delete the most recently added pin or the active one, that is to say, just by pressing the Backspace key or the Delete key on the Mac.

And not only does that delete the pin, it resets the position of that unpinned element. So it removes any distortion that was associated with that pin. If you want to delete any deselected pins, then you press and hold the Alt key or the Option key on the Mac, and notice then when you hover your cursor over the pin, it becomes a little pair of scissors. Alt+click or Option+click on that pin to get rid of it. And now let's say you hate everything you've done so far, you've just been messing around inside the image, the way I have, and you want to get rid of all the pins and reset the image, then right-click some place in the Image window and choose Remove All Pins, and then they'll all go away and he will be back to his original unmodified self.

And we're still working - notice this, we're still working inside the Puppet Warp mode - so I can still lay down new pins if I want to just by clicking. All right, so when you're laying down pins, how do you do it? And bear in mind that what I am looking to do is I want to stretch this guy's arms, and I want to stretch his legs, and I might want to sort of monkey around with the arms, meaning, move them up and down a little bit, same with the legs. So you need to not only pin the element you want to move, like let's say I know I want to move this elbow, but you also want to pin down the elements that you don't want to move, that you want to more or less lock in place, because every single one of the pins becomes a kind of pivot point.

So you're adding hinges to the image. So I'll click on his shoulder to set another point, and that's more or less a lock down point. I might move around a little bit. And then I'll set another pin at his other shoulder, set one at his other elbow right there, and I am trying to keep these things as centered as possible. If you put a pin at the wrong location, just go ahead and Alt+click on it or Option+click and try setting it down again, because if you drag it, you're going to not only move the pin. You're also going to move the pin to element, because they move as one.

Anyway, I am going to click once again to create a pin at that location. It's also going to help to pin his head, because notice, if I just start dragging his arm, it's very possible that his head is going to move around, and it's probable his head is going to move around if I start dragging his shoulder, notice that. So if you want to lock down some very pivotal element inside the image, then go ahead and either pin him, like right there in the forehead, for example, but that's still going to allow his face to really stretch there, like so.

And if you don't want any face stretching, which probably for purposes of this image we don't, then you might want to set down some pins sort of at the base of his neck right there, to lock down his jaw, and that way - it doesn't give him locked jaw, notice that, - what it does is it prevents the portion of his head inside of this wonderful triangle you've created from bending. So we're going to have some bending right at this area. You're going to see that bend around a little bit, because we're performing a really big stretch here.

But between the lock down points is protected, unless you start of course dragging those points around. Anyway, I am going to go ahead and put this shoulder more or less back where it was, and notice the part of the image that is not protected here, which would be from his torso on down, is getting modified like crazy; his legs are just swinging all over the place. So we need to lock those guys down as well or else he is going to get some sort of hip injury going here. But this becomes important, not only quite funny when you are using the tool.

I actually think this is just a hilarious tool to use, and especially to show to your friends, my gosh, the fun you'll have. But it also becomes important, because if I drag something like this elbow point right there, notice that the hand is going to move with the elbow. So basically everything from this pin out is going to remain fixed. Now, that's not say the angle won't change, because the angle will change fairly dramatically, as you can see right there, but if I end up bending, like applying a terrific bend here, his arm is still okay.

That is, his forearm and fingers, such as they are, are still okay, the damage, any damage that's going to happen is going to happen between the pin points, like so, and a little just around the pin points as well, and obviously any unpinned elements are going to be effected. But here's where we've really managed to break his arm at this point, is right in between the pins. So if you want to protect, another way to protect areas is to not pin him, is to just keep him on the other side of the pin that you're dragging, like so.

All right, so that at least gives you a kind of primitive idea of how the function works. I do want to show you one more thing before we close this exercise. If you Shift+click on a point, then you'll add that point to the selection, so you can't select multiple points if you want to. So, for example, if we wanted to stretch his neck somehow without affecting the rest of his body, then I could go ahead and Shift+click on the two shoulder points, along with those two elbow points, and then try my hand at dragging down here and just see how much stretching the neck will take.

Now, in this case, he didn't have much of a neck to begin with, so we're not really able to stretch it. However, it does give you a sense of what happens when you start dragging multiple points around inside of the Puppet Warp mode here. All right, I'll go ahead and put that back, because it's alarmingly disturbing. In the next exercise, we'll take a look at how you rotate points and how you change modes.

Show transcript

This video is part of

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

247 video lessons · 32797 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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