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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.
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