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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Warping legs, arms, and fabric


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Warping legs, arms, and fabric

In this movie, we'll take on the model's legs, as well as the patterns of the fabric of her shorts. Now, you'll see that I went ahead, and created a new layer, by the way, and applied my changes to that layer, which is a step I neglected in the previous movie. I'm going to go ahead and turn off that layer to reveal the original photograph. And then I'll click on the background and press Ctrl+Alt+J or Cmd+Opt+J on a Mac and I'll call this new layer legs and fabric and click OK. Then I'll press Ctrl+Shift+X or Cmd+Shift+X on a Mac to bring up the liquefied dialogue box.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. 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 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    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. 57m 13s
    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 paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. 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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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Warping legs, arms, and fabric

In this movie, we'll take on the model's legs, as well as the patterns of the fabric of her shorts. Now, you'll see that I went ahead, and created a new layer, by the way, and applied my changes to that layer, which is a step I neglected in the previous movie. I'm going to go ahead and turn off that layer to reveal the original photograph. And then I'll click on the background and press Ctrl+Alt+J or Cmd+Opt+J on a Mac and I'll call this new layer legs and fabric and click OK. Then I'll press Ctrl+Shift+X or Cmd+Shift+X on a Mac to bring up the liquefied dialogue box.

And I'll click load last mesh in order to start up where I last left off. Then I'm going to zoom in on the model's legs as you can see here. And I'm going to zoom all the way to 100% and let's start things off with a pucker tool. I'm going to increase the size of my cursor by pressing the "}" a few times and then I'm just going to click on those legs in order to taper them. And I don't want to go too far with my modifications, but I do want to give her back some ankles here. And I might also narrow the foot just a little bit. And then I'll press "W", switch back to the warp tool.

And I'll reduce the size of my cursor, and I might kind of give her an ankle by dragging out a little bit. And I might add some definition to the foot as well by dragging up on it so she's just got a little more of a taper going on. And the degree to which you want to do that kind of stuff is totally up to you. But obviously you don't want to make it look inauthentic or ridiculous. The liquify filter is notoriously used to make models who are already very thin look tragically skinny. But we do want to give her legs some form and definition.

Now I'll switch back to the pucker tool. going to increase the size of my cursor and then click on this ankle to make it a little narrower. Click on the calves as well, and I'm trying to click for less and less time as I kind of go up the leg there. And, about here looks pretty darn good to me. I'm gonan scrol up, and I'm doing that with the scroll wheel. And I might at this point, switch to let's say the blow tool. And try to see how that works o the calf up above because we might be able to add a little curvature up there. And possibly some on this left hand calf, as well.

Alright, now let's take a look at the fabric in her jeans. And again, I'm looking at this detail at 200%, so we're getting a jagged preview. I'm going to press the W key to switch back to the board tool. I'll reduce the size of my brush, here, and I'll just drag over a little bit, like so. And the thing is this fabric is extremely unforgiving, because it's essentially serving as a kind of grid of the changes we've made. So if it starts slumping inward at a point that doesn't make any sense, then that's going to be a little suspicious. Now here I think we can get away with it, because after all, this would be the hem.

But I'm not so sure about these details over here, this is where we start really running into problems because her leg's not going to be shaped kind of like this. I mean where's this lump coming from. So I'll increase the size of my cursor so it can take in a fair amount of these details here. And then I'll drag down like so from both of these points. I might reduce the size of the cursor and take that down as well. And this may do us pretty well. We've got a little bit of an issue goin' right there, and I'm kind of wondering if we want to reconstruct that detail.

I misread this when I was trying to edit the hand. She's got this little bit of a sash or belt that's wrapping around her hand, and that's a detail that should probably be left in. However, I can't let the arm do that, so I'll press Crtl+Z, or Cmd+ Z on the Mac to undo that change. Lets go back and get the forward warp tool and try to scoot this detail in a little bit so that she has a normally shaped arm. Again this scalloping here is just something we're seeing at the 200% zoom level, it doesn't really exist. When I try to flatten this a little bit to, drag down here and see how that looks by zooming out to 100%.

Looks like we still have some non straighten and this is going to be totally up to you how seriously you take this stuff because it is not pleasant to try to deal with. And there's really no great solution that I can pass along to you. Except to do incremental warps and just be patient as humanly possible. This area stretch is something we're going to have to tolerate, it's the price of lifting these details when we didn't have much to work with in the first place. Now her arm to me is looking a little bit, sort of lumpy, so I'm going to warp that side in just slightly, and I'm going to side in as well.

Maybe taper this section of the arm too, and then let's try taking this little bit of forearm up, so she has a little more definition associated with that. Alright, let's go ahead and save this mesh off as well. I'll click the save mesh button And then go ahead and create a new one called phase 2.msh and I should say something. It might seem like I'm going nuts with saving these msh files, but you'll never go wrong by saving every single step especially in a complicated project like this one. Meanwhile, these files are way smaller than they used to be.

With Photoshop CS five, every one of these files took up about 24 megabytes. Now they take up about 1 2 megabytes, so my guess is Photoshop has added some compression to these files which is great. I'll go ahead and click the save button, in order to save off that file then I'll click OK in order to leave Liquify, and now let's see what we were able to do. I'll go ahead and scroll down to the legs. If I press Ctrl+Z or Cmd+Z on the mac, that's the original version of the legs, and the patterns inside the pants and if I press Ctrl+Z or Cmd+Z again, that's what she looks like now.

In the next movie, we will take on the tilted head, join me.

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