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Photoshop CS5 One-on-One: Mastery

Warping art onto the surface of an image


From:

Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Warping art onto the surface of an image

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.
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  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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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Warping art onto the surface of an image

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.

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


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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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