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The Warp and Reconstruct tools


Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: The Warp and Reconstruct tools

In this movie, I'll introduce you to the Liquify filter, and I'll also show you how to use its most important tools Warp and Reconstruct. Nowadays, you can apply Liquify as a dynamic Smart Filter. So the first thing you want to do is convert this flat image to an independent layer, by double-clicking on the background here inside the Layers panel. And I'll go ahead and call this layer Model and click OK. And incidentally, the reason I created an independent layer before converting the background to a Smart Object, is that way you can assign the Smart Object a name.
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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

The Warp and Reconstruct tools

In this movie, I'll introduce you to the Liquify filter, and I'll also show you how to use its most important tools Warp and Reconstruct. Nowadays, you can apply Liquify as a dynamic Smart Filter. So the first thing you want to do is convert this flat image to an independent layer, by double-clicking on the background here inside the Layers panel. And I'll go ahead and call this layer Model and click OK. And incidentally, the reason I created an independent layer before converting the background to a Smart Object, is that way you can assign the Smart Object a name.

Next, armed with the Rectangular Marquee tool, right-click inside the image window and choose Convert to Smart Object. Now, you can apply Liquify as an editable Smart Filter, by going up to the Filter menu and choosing the Liquify command. Which brings up a kind of independent utility that just happens to run inside Photoshop. Just so that you and I are on the same page, press the Alt key or the Option key on the Mac, which changes the Cancel button to a Reset button, and then click on it. And what that does is not only reset the image, which we don't really need to do, but it resets the numerical values as well.

Now I'll zoom in on the image by pressing Ctrl+Plus or Cmd+Plus on the Mac. And all the other navigational features work the same too. So, for example, if I wanted to scroll the image, I would press the Spacebar key. But you have to take care on the PC, because notice my Cancel button is active. Which means if I press the Spacebar, it's just like clicking the Cancel button and I'll leave the dialog box, which of course is highly irritating. Anyway, I'll go back to the filter by once again choosing Liquify from the Filter menu. If that happens to you, if you have an active button at any point here on the PC, then just go ahead and click inside a numerical value.

And then, when I zoom in, I could now press the Spacebar in order to drag the image to a new location. You can also zoom by the way, by pressing the Ctrl key or the Cmd key on the Mac. You don't have to press the Spacebar as well, and then click. To zoom out, you press the Ctrl and Alt keys, again without the Spacebar, or the Cmd and Option keys on a Mac and click. Anyway, I'm going to go ahead and scroll the image over a little bit. Notice in the upper left corner, we have a series of tools, starting with the so called Forward Warp tool.

I say so called because it's the only Warp tool. There is no top secret hidden Backward Warp tool. You only warp in one direction when working with the Liquify filter. Which is why I just call this the Warp tool, and so most folks at Adobe, because its keyboard shortcut is W for warp. And that's worth remembering, because this is the most useful tool in Liquify's arsenal. I'm going to go ahead and brush in the left side of this woman's face. And if your working along with me, take special care to work in very small brush strokes.

You don't want to do one of these numbers, certainly not something like this. But not even something along these lines. Because if you do, you're going to end up with the equivalent of digital stretch marks. Notice how obviously stretched that hair in the background is, and how obviously squished the side of her face is now. So, I'll go ahead and press Ctrl+Z or Cmd+Z on the Mac in order to undo that change. And by the way, the whole undo structure works just as it does inside Photoshop. So if I press Ctrl+Z or Cmd+Z again, I redo the brush stroke.

If I want to back-step incrementally, I press Ctrl+Alt+Z or Cmd+Option+Z on the Mac. If I want to step forward, I press Ctrl+Shift+Z, or Cmd+Shift+Z on the Mac. In my case, I want to undo that last brushstroke. So I'll press Ctrl+Shift+Z, or Cmd+Shift+Z on the Mac. And I'll go ahead and step out a little bit so I can see more of what I'm doing. I want her to have a little bit of a cheekbone, so I'm going to tuck the sides of her jaw in ever so slightly. And I can't stress this enough. You want to work as incrementally as possible inside the Liquify filter.

Patience really counts. Now that said, you can work with any size brush you want, and you can change the size of the brush stroke using the square bracket keys, next to the P as in Poll key on an American keyboard. I'll press the right bracket key a couple of times in order to increase the brush size, and you can see over here on the right hand side of the screen that I've raised it 250 pixels. And now I'll go ahead and brush inward on the forehead, just a little bit to tuck that hair down. Now let's say I make a mess of something and brush in across the eye let's say, and I end up shoving it too far.

Then you can switch to the next tool down, which is the Reconstruct tool. It has a keyboard shortcut of R. And rather than undoing your last brush stroke, it allows you to incrementally paint it away. So the more that you paint, the more you're going to reconstruct that area. Now press the W key to switch back to the Warp tool, and I'll press the left bracket key a couple of times in order to reduce the size of my brush. And I'll go ahead and tuck in this right jaw as you see me doing here.

And I might go ahead and tuck in the right-hand side of the face with the intention of creating more of a cheek bone effect there as well. Now let's say, I decide I've tucked the chin upward too much. Another way to access the Reconstruct tool is to press the Alt or Option key when you're working with the Warp tool. And then as you paint, you'll reconstruct like so. To return to the Warp tool, you just release the Alt or Option key. Another way to reconstruct is turn on this advanced mode check box, and that'll expose this Reconstruct button.

Click on it to bring up this dialog box, and notice that it allows you to incrementally undo everything that you've done. So, if you crank the amount value down to zero, then you'll restore your original image. If you take it up to 100%, you'll restore all of your changes. And then anything in between will give you partial reconstruction. For my part, I'll set it to 70 and then click OK. Yet another way to reconstruct, is to click on this Restore All button, which will go ahead and undo all of your changes like so.

And the difference between that and Alt or Option+Clicking on the Cancel button is that clicking on Restore All does not reset any of the numerical values. Fortunately, Restore All is undo-able, just by pressing Ctrl+Z, or Cmd+Z on a Mac. Once you feel like you've done enough to the image, then you can just go ahead and click the OK button in order to apply your changes. And because we're applying Liquify to a Smart Object, we can always revisit the dialog box at anytime just by double-clicking on the word liquefy here inside the Layers panel.

And that's how you work with the Liquify filter, including the Warp and Reconstruct tools here inside Photoshop.

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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