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Stretching curved segments

From: Photoshop CS5 One-on-One: Mastery

Video: Stretching curved segments

I am still working along inside Four- point template.psd found inside the 27_pen_tool folder and, I am busy at work adjusting the curvature of the segments associated with this former ellipse, so that they match the contour zigzagged boundary in fact of this water droplet. So I am going to drag this control handle here upward, so it matches the red control handle and I should get a cyan result as I am seeing there. Bear in mind that we are dragging the gray points and handles we are not dragging the red ones. Now here is something else you can do.

Stretching curved segments

I am still working along inside Four- point template.psd found inside the 27_pen_tool folder and, I am busy at work adjusting the curvature of the segments associated with this former ellipse, so that they match the contour zigzagged boundary in fact of this water droplet. So I am going to drag this control handle here upward, so it matches the red control handle and I should get a cyan result as I am seeing there. Bear in mind that we are dragging the gray points and handles we are not dragging the red ones. Now here is something else you can do.

In addition to dragging around points and dragging handles as well you can drag a segment directly. So notice I can go ahead and drag that segment and adjust its curvature directly. Now this only works I should say with curving segments. If you have a straight segment you are not going to be able to drag it and add curvature to it. But the interesting thing here is, notice if I go ahead and drag too far, that I am going to once again cross the control handles and I am going to end up with a very pointy result, so I will undo that.

I also want you to notice as you are dragging the segment that you are moving both control handles associated with that segment at the same time and they remain locked into their previous alignment. However these levers were aligned, and let me make it clear what my terminology is here. This square thing is the anchor point, this round thing at the end is the control handle, and the straight line between the two is the lever. Notice that these levers have a specific angle associated with them right now, whatever that angle is.

When I am dragging the segment those levers remain locked into their angles, so they might grow very short or they might grow very long relative to each other but the angle of the levers remains fixed. So that's something to bear in mind when you are working with curved segments when you are dragging them around. Something that can go wrong is if you drag the segment in wrong the location like so. So if I drag that segment up and release I am in for a world full of hurt at this point because, now these control handles are locked into this weird alignment right on top of each other.

So one's piggybacking onto the other and if I try to move this handle away what frequently happens is that they both go down with each other like so and I have this pinch at this location, and this is never something I would want. I don't want this kind of smooth point. It's a very unfortunate occurrence. These kinds of points can happen in Photoshop when Photoshop creates the points for you as well. So remember with the light bulb example when we were adding various shapes inside of a single vector mask and then we combined them together using the Combine button, why you can end up experiencing these kinds of points.

If you find them, the way to release them is to either get rid of them of course, you could just delete this point and add a new one, or you can drag the segment. If you drag the segment, because the angle of those lines is locked, you can easily draw that wayward control handle out of that mess. Anyway that's what I have gone ahead and done, so I have got a good system going once again, I have got a good smooth point and I will go ahead and drag the control handle directly in order to move it into alignment with the template. Here is another thing you can do, while you are working away with your control handles.

If you drag, notice this guy right now is, or was, before I started messing with it, an absolutely horizontal lever. If you want to go ahead and preserve a perpendicular lever then you press the Shift key as you drag and that's actually going to constrain you to the nearest 45 degrees. So you could switch to a diagonal lever or a vertical lever as well. I am going to take it back down to absolutely horizontal. Although I don't want it to stay that way actually because absolutely horizontal doesn't have that much to do with his droplet. So I am going to move this anchor point into position like so and I am going to drag this control handle to this location and this guy over to this location and we end up with this effect, as soon as I release anyway, we end up with is this effect here.

All right let's check our work, let's make sure we are happy with what we have and I am going to do that by turning off this darn template here, the points & handles template, so I can see better what I am doing, and I am going to zoom in on my droplet and I may even try turning on the background droplet for a second and turning off single drop, in order to see where that edge is and it's hard to know because we are taking a vector path and using it to trace the real world and the real world has some lumps and bumps in it. So notice that this isn't exactly a smooth edge here.

The water droplet either bends down a little bit and then conforms differently to a different portion of the leaf texture or we are seeing some sort of light refracting differently inside of the droplet, or it maybe a shading issue, who knows. I want to keep it nice and smooth, so I am going to have to make a decision about where I want to cut it off. I will go ahead and bring back that single drop layer and the vector mask seems to be selected by default so that's nice. I will go ahead and select that segment there and I could drag it back just a little bit like so.

So drag directly on the segment in order to reign it in, but then I am going to miss this edge there and I have to bear in mind that I am going to have the shading layer underneath, and if I have any softness built into that shading layer, the one that has the amorphous layer mask, you may recall that one, then I am going to expose this edge and that might not look good. So I just have to be as careful as possible is what it comes down to. Anyway, I think I am going to cut that guy off, I think that's what I will do. And I can always change my mind later so it's not the biggest deal there. This looks pretty good.

I might take this down just ever so slightly there. Of course when you take one control handle down you are taking the opposite side up. That's a function of working with a smooth point, so just bear that in mind. Even if you are not seeing the control handle, its happening, and we are not seeing the control handle because the anchor point isn't selected. In this case I only have the segment selected so I am just seeing the two control handles associated with that segment. If I want to see the opposite control handle, I have to click on the anchor point and there it is. But even when you can't see it, it's still working away on the path outline.

So this must be why I raised this to this degree, so I have got to get that control handle over there on the opposite side down. This looks pretty good so I am shaving off a little bit of an edge there, I could kind of work with that if I wanted to, but you know every action where the smooth points are concerned has an equal and opposite reaction. So I am cutting off the bottom of this side of the droplet. It may be I need to move my points to a different location, so that might end up helping too. But then you are going to have to adjust the positioning of your control handles some more.

Anyway, I am going to take this guy up a little bit, so I clicked on this segment to make the control handles visible and then I am dragging up this edge. That looks pretty good to me actually. So now I am going to zoom out, and to check my work, to see if I have got a water droplet that's worthy of my attention so far, I am going to bring up the Masks panel, I am going to restore the Density to a 100% like so. Hide the Masks panel, hide that droplets layer, so I can see the layer rendered against white, and hide the mask as well and this is my mask outlined so far and I will tell you what.

Not quite right, I am going to go ahead and click on it one more time to select it and I am going to nudge that anchor point up ever so slightly by pressing the up arrow key and I might nudge this guy a little bit too. So I nudged it up in over to the right. That looks to me like a slightly better match. Anyway there you have it. That's one way to work. To take a basic shape outline, something like an ellipse, and modify it using the White Arrow tool until it conforms to your image. You can always add points if you wanted to, subtract points as well using the Pen tool, so those options are still available to you.

In the next exercise, as opposed to modifying an ellipse, we are going to draw the path from scratch using the Pen tool.

Show transcript

This video is part of

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

192 video lessons · 43744 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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