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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've gone ahead and applied my Puppet Warp thus far and saved my changes as White background.psd found inside the 29_smart_objects folder. So you can see that I have a Puppet Warp assigned to my Smart Object right there and it is an editable effect, because once again I am working with the Smart Object. I don't want that Filter Mask cluttering up my Layers panel and we'll see how Filter Mask work in the next chapter we discuss Smart Filters. But for now just go ahead and right-click on it and choose Delete Filter Mask, because we don't need it. We're not going to be taking advantage of that and then either double-click on Puppet Warp if you are working along with me or if you're still inside the Puppet Warp mode that's just fine.
You can also once again choose the Puppet Warp command from the Edit menu. Now this is going to be the toughest step to try to get this tiger looking right on the arm and it's very possible you'll never get it exactly right. In fact, I probably won't get it exactly right, because I'm free-forming it here. We don't have any real 3D volumetric form to wrap around. So we're making it up on the fly and we're also using a feature Puppet Warp here that is fairly volatile. So every pin that you drag is going to bend stuff around the other pins as well and what can happen especially with an Illustrator graphic is that you end up creating these sorts of polygons.
So where you're used to have nice fluid curve, you're going to end up with some polygonal transitions and that's just something to bear in mind. Luckily once we started applying the blending options, things are going to look a lot better. So I'm going to go ahead and drag this guy. I'll go ahead and click this pin and drag it in like so and you can see already we've got problems. This area is extending and is starting to become polygonal. We're starting to get some corners. So I'll click up at the top of this flame and drag it over like so and that's affecting all these other flames and slimming that tip down fairly tremendously actually.
So I'll click there to set another pin, drag it out, that's creating some unrealistic bend right there. I'll click to set another pin and drag this area on as well. I might go ahead and drag the temple out a bit and drag this region out, because we need to wrap out and around the guy's biceps. This is a fairly bulky form that we're working with here. Now I'm stretching at the tiger's eye, so I need to set another pin and drag it out. You get the idea. We're going to require quite a few pins in order to make this work. So I'll keep setting pins down and dragging them out as I see fit here.
Again, I'm winging it. I've done this a few times, but how successful I'm going to be as I show this to you is yet to be seen. Very exciting stuff here. Let's go and drag the nose out a little bit, maybe click at the top of the nose and drag it out as well. Maybe click there at the temple and drag up a little bit to stretch that upward to compensate for our modification so far. This area needs to go up and in, because basically we have this kind of contour going and it'd be nice, I have to say for the zillionth time in one of my training series it would be nice if Photoshop would add an actual envelope distortion function, because that would help us out significantly with this kind of work, but we still lack it at this point of time.
Anyway, I'll go ahead and drag the nose upward. Everything's just so free-form inside the program that it would be great if I could have something where I could actually define this bicep. I'm going to go ahead and click and set a pin at that location there, another one right at the top of the eye and drag it up and in. I'm having some interesting bends going on. If I find that one of my pins might be causing me problems and I want to see whether it is or not, I could go ahead and Alt+Click or Option+Click in the pin, like this guy right here. I think we might be better without it and that will delete the pin and we will end up seeing what things look like without it.
I think actually that did help getting rid of that pin. So it's very possible to having too many pins is going to cause us problems. Now I'll go ahead and drag this guy up right there I think. I'll go and create a pin at that location and drag it up and that's having some interesting effects I'm not sure if they're exactly the effects I want or not. Let's go and drag these guys up a little bit as well. This guy might come down and out a little. I'll go and drag this guy up and in because we're starting to come to the portion there that area where the bicep is transitioning into the shoulder.
So it needs to talk in a little bit before probably it bends back out again. So let's see what happens if we start bending these guys out, like so. That looks actually pretty good. That's not too bad. Let's go ahead and select all four of these points by clicking and Shift+Clicking on them and drag them over and inward in order to move them over with the other points a little bit. I might actually, this is going to be a pretty radical change here, but I might actually grab all of these pins right there and drag them over, scoot them over little bit to the right and see what happens when I do that.
So I'll go ahead and grab them like so, select them all and then I'm pressing the Right Arrow key in order to nudge them over to the right just so that we can see how that tiger ends up of faring as a result. Let's go ahead and grab these next pins over. So I probably will press the Right Arrow key about eight times there. I'll press the key about maybe six times this time around. Let's go and take these guys over as well. So you just have to be patient, keep working through with it, see what happens. Be fearless once again. There's no sense in freaking out if something goes wrong.
You can always adjust it later if you need to. You can always get rid of a pin, if it's creating problems like this guy right there. It doesn't seem to be working for me at all. I'll go ahead and Alt+Click or Option+Click to delete it. Let's see if dragging this guy out can help a little bit. The problem is that this region is flattening on me a little bit as I'm working along here. Anyway, let's go ahead and except something along these lines. I'll go and drag this guy up a little more, because I could really, this is another one of these projects where I could be at it for years if I'm not careful.
You know what though, I'm going to zoom out a little bit. I think the tiger might be a tad bit big. So I'm going to press the Enter key or the Return key on the Mac in order to accept the distortion that I've applied so far and just for my own edification here I think I'll press Ctrl+Z or Command+Z on the Mac. That was before the changes I just applied and this is after. So, well, his face is definitely bulging out there, that's for sure. Let's go ahead and transform him a little bit. I want to scale him so he is a little narrower still I think.
So I'll press Ctrl+T or Command+T on the Mac and we're going to get an alert message that tells us, hey, all the Smart Filters applied to your layer will be turned off temporarily while the transform is being previewed. In other words, as we scale this graphic we're not going to be able to see the effects of Puppet Warp. So for just a moment here as I click OK, the Puppet Warp will be gone, which makes life a little bit difficult, frankly. I mean that means I have to use quite a bit of imagination to remember what in the world that thing looked like and how I might go about transforming the tiger.
But I'm going to make it a little narrower like so and then, maybe brace it up a little bit as well. Actually, I might bring it up, like so. I might drag the entire thing up and then press the Enter key or the Return key on the Mac and Photoshop goes ahead and applies the Puppet Warp after that transformation modification that comes up with what you're seeing right now, which is not really what I want. So I'll press Ctrl+T, Command+T on the Mac to once again transform this graphic and this is the kind of thing you can do with Smart Objects. You can apply as many scaling operations as you want.
So I just made the tiger a little wider. I'll press Ctrl+T, Command+T on the Mac in order to accept that once again. I'll drag them over a little bit, like so. Actually, that's not looking bad. That's looking pretty good. We're mapping the tiger onto the guy as concerned. So, you know I might make some additional modifications, but this is going to take care of it for now. We have some obvious changes left to make. We need to map the tiger better onto the skin in terms of luminous levels. So we need to take advantage of some blending options. We need to clip the tattoo so that it's not hanging off the edge of his arm in that strange way and I think ultimately we need to blur the tattoo a little bit so that the ink looks like it's being absorbed into the flesh and we'll be doing all those things starting in the next exercise.
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