Photoshop CS5 One-on-One: Advanced
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Warp, Twirl, Pucker, and Bloat


Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Warp, Twirl, Pucker, and Bloat

All right, I'm still working inside the image called Head tilted.jpg, and I've gone ahead and chosen the Liquify command from the Filter menu. Here we are inside of the Filter window. We're going to be looking at a few of the most useful tools that are available to us here inside Liquify, starting with the very first tool, which is the best of the bunch. It's called the Forward Warp tool. There really isn't such a thing as backward warping. It's just the Warp tool, and is if to acknowledge that, we've got a keyboard shortcut of W. That is the one keyboard shortcut I definitely want you to remember, because you're going to be spending most of your time with this tool.
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  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
    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

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Watch the Online Video Course Photoshop CS5 One-on-One: Advanced
26h 24m Intermediate Aug 13, 2010 Updated Aug 31, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Warp, Twirl, Pucker, and Bloat

All right, I'm still working inside the image called Head tilted.jpg, and I've gone ahead and chosen the Liquify command from the Filter menu. Here we are inside of the Filter window. We're going to be looking at a few of the most useful tools that are available to us here inside Liquify, starting with the very first tool, which is the best of the bunch. It's called the Forward Warp tool. There really isn't such a thing as backward warping. It's just the Warp tool, and is if to acknowledge that, we've got a keyboard shortcut of W. That is the one keyboard shortcut I definitely want you to remember, because you're going to be spending most of your time with this tool.

It's great to be able to come back to it just by pressing W. Now, what the Warp tool does is it allows you to move details inside of the image by painting them. So, you're actually painting in full scale distortions, as you're about to see, but the first thing I need to do here before I start using this tool is increase the size of my brush, because if I paint with this little guy, then I'm going to paint little teeny weird distortions like that, which are of no use to me whatsoever. So, I'm going to press Ctrl+Z, Command+ Z on the Mac to undo that modification, and to increase the size of the brush cursor, you can of course change the Brush Size value over here on the right side of the dialog box, but an easier way to work is to press and hold the Right Bracket key.

So notice that increases the size of the cursor. If you press and hold the Left Bracket key, that reduces the size of the cursor. If you want to increase or decrease the size more quickly, then press Shift along with one of those bracket keys. So, this is the effect of pressing Shift+Right Bracket. This is the effect of pressing Shift+Left Bracket. All right, so I'm going to go pretty big with a tool like so, and you can press and hold Shift along with one of the bracket keys. I'm going to also zoom in on my image and scroll up using the scroll wheel. I want to paint her head sort of upright here for starters.

I'm not really trying to get beautiful effects at this point. I'm just trying to give you a sense of how the tool works. So notice I'm able to very quickly paint in these big distortions. Now notice that I'm not dragging all over the place with the tool. These are very short drags that I'm performing along with this tool, so short brushstrokes are the way to go when you're working inside the Liquify dialog box, because otherwise, you end up getting this kind of effect here, and not only is it unbecoming, you're not going to get the results that you want, but it also ends up smearing the pixels all over the place.

You get this sort of stretched pixel effect, or you might think of it as being digital stretch marks, which is not something we want under any condition. We want our nips and tucks to look beautiful. Anyway, I'm going to press Ctrl+Z, Command+Z on the Mac. To undo that modification, you do have multiple undos inside Liquify. So, Ctrl+Z, it works just like inside Photoshop proper. Ctrl+Z or Command+Z will redo or undo the effects of a brushstroke. If you want to go back farther, if you want to backstep, then you press Ctrl+Alt+Z or Command+Option+Z on the Mac.

Anyway, I want to go back forward here, so I'll press Ctrl+Shift+Z or Command+Shift+Z on the Mac in order to get to this place right there, and then I could drag some more if I want to in order to make her eyes bigger, like so, and again I'm not really trying to get a really great effect here. I'm trying to just demonstrate what the tools can do and how much fun you can have with them. When you're first learning to use Liquify, I suggest you do it in the spirit of not trying to get anything done, just play with the various tools, see how they work.

Then once you get a feel for what's going on, then try to actually do something with this command. Anyway, we've got some other tools that we can work with. We've got the Reconstruct tool. The idea there is you can paint in undos. So, if I were to select the Reconstruct tool and then I were to click and hold, like so, then I will go ahead and incrementally undo the effects of my brushstroke. You can see that we're returning her head to its tilted position, its original tilted position. That's definitely not something I want, however, so I'll press Ctrl+Z or Command+Z on the Mac.

We've also got this Twirl Clockwise tool. In order to demonstrate that guy, I'm going to make her mouth a little wider. I'm actually going to go with a smaller brush, by pressing Shift+Left Bracket a few times. I'll go ahead and widen her mouth like so, and give it a little bit of a twist right there. Then using the Twirl Clockwise tool, I can paint in the sort of grimace like that on one side of her lip, and then if I want to twirl the other direction, because this tool, true to its name, twirls clockwise.

If you want to twirl counterclockwise, then you press the Alt or Option key as you click with the tool. That succeeded in stretching her nostril, and nothing more. Let's see if we can do a better job here. Alt+Click or Option+Click with the tool. Hmm. That's interesting! One of things about the Twirl tool is that it's going to work best-- Notice if I go down here to the hands, and increase the size of the brush a little bit. It's going to work best if you're painting in an area that hasn't been heavily molested. For example, her hands hadn't been modified at all, so they twirl just like we thought they might.

If I Alt+Click or Option+Click, then they'll twirl back the other direction. However, this area has been heavily modified, making the Twirl tool a little more difficult to predict. Now, we can very easily predict the next two tools, Pucker and Bloat. I consider it to be second in utility only to the Warp tool. So, I use these guys a fair amount. You can use the Pucker tool in order to slim areas inside of an image. You can use the Bloat tool in order to fortify areas. Let me show you how those work.

I'll go ahead and grab that Pucker tool right there. Then notice I could click and hold in order to reduce basically the size of her central features right there. It goes ahead and pinches the image as you can see. Then you can switch to the Bloat tool, if you want to make areas bigger, like let's go ahead and zoom out to click here. I'll go ahead and grab that Bloat tool. Switch to a much larger cursor, like so. Then let's click in this pelvic area, and that makes her look like she's sort of slumping backward and she has these enormous hands, which I think is a very becoming effect.

I'll go ahead and drag this area up a little bit using the Warp tool, like so. So this is looking, I think, quite good and very dandy. Finally, let's drop down to these feet here and let's say we want to go ahead and pucker those. I would select the Pucker tool, of course, and click and hold. Now notice I'm not dragging with either the Bloat or the Pucker tool. You're going to get the best results if you just click and hold at various locations, sometimes for just a moment at a time. Now, notice one of the things that can happen here. Notice we're basically peeling up the entire image, as if it's bit of drapery, and we're revealing some transparency in the background.

If you don't want that, if you don't want to pucker the image as a whole, then go ahead and press the W key to switch back to that Warp tool and then just drag this area down a little bit in order to cover up that detail there. We're starting to get some very interesting results, I think. Now, one of things about Pucker and Bloat is that you can just stick with one tool or the other if you want to. For example, if you select the Pucker tool, you can of course-- I'll go ahead and press and hold Shift+Left Bracket to reduce the size of that brush cursor a little bit. You can of course do this number where we're just clicking and holding inside of the arm in order to make that area slimmer.

I could also drag. Notice dragging performs a big effect very quickly. So that's why I don't tend to do it. I'll go ahead and undo that modification right there, and click and hold in this region just to make the arm quite a bit thinner. Then if I decide I like those very skinny upper arms, but I want to give her sort of Popeye forearms, then I'll go ahead and increase the size of my brush cursor a little bit. In order to bloat the forearms, I would press and hold the Alt key or the Option key on the Mac, as I click inside of these details.

So, the idea is that you can reverse the behavior of either the Pucker tool or the Bloat tool by pressing the Alt key or the Option key on the Mac, as you click or drag with that tool. So anyway, we're getting some pretty interesting results right here. Go ahead and reduce the size of my cursor. As I say, I think it's a really good idea to play with this tool. It amuses me. It amuses you. It might not amuse this model. She might not be as impressed by what I'm doing here. But it does give you a chance to explore the program and get a sense of how it works before you really venture in there and try to get some work done.

She really needs some big bug eyes, don't you think? She needs doll eyes, I think. That sort of gives her a little bit of an alien appearance. I think that's nice. In the next exercise, we will move on from these terribly useful tools. These are the practical ones folks, to the very impractical whimsical tool, starting with this guy right there, Push Left, and moving our way down to Turbulence, which is just plain wacky.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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