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The envelope-style Warp function

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: The envelope-style Warp function

Now if you have been following along with me, go ahead and undo that last modification in order to restore the original version of the Chair Up Clock here inside the chairupclock.psd file that's found inside the 16 Warp Liquify folder. And this time around we are going to see Photoshop's Warp function which allows you to apply an Envelope Style Distortion, in case you have ever heard of Envelope Style Distortions, that gives you a sense of what's coming. If you have never heard of that, don't worry about it, you will learn everything you need to know in just a few minutes here.

The envelope-style Warp function

Now if you have been following along with me, go ahead and undo that last modification in order to restore the original version of the Chair Up Clock here inside the chairupclock.psd file that's found inside the 16 Warp Liquify folder. And this time around we are going to see Photoshop's Warp function which allows you to apply an Envelope Style Distortion, in case you have ever heard of Envelope Style Distortions, that gives you a sense of what's coming. If you have never heard of that, don't worry about it, you will learn everything you need to know in just a few minutes here.

Now I still have selected several layers, everything from the face group up through and included the hands groups, so all of the layers that represent the clock, but when you have multiple layer selected even though you can go ahead and apply the Free Transform function, you can't access the Warp function. Very unfortunate in my opinion, but when multiple layers are selected, the Warp command here underneath the Transform sub menu is dimmed. Notice I should tell you that I have given you a special keyboard shortcut for the Warp function which is Ctrl+Shift+R, Command-Shift-R in the Mac assuming that you when had it loaded my D keys keyboard shortcut but it's not going to do you any good at this point, because we as I say have multiple layers selected.

So we need to go ahead and flatten those layers, merge them into a single layer. And go ahead do that now by going to the Layer menu and choosing the Merge Layers command or you can press Ctrl+E, Command-E on the Mac in order to merge those guys together and notice that all the layer styles go away they basically get mushed into this Merge layer. So the drop shadows that were formally assigned to the image now become actual real static pixels inside this new layer which is called Hands, no reason to call it that, why don't you go ahead and rename the layer Clock at this point.

Alright, now you can go to the Edit menu, you can choose Transform and you can choose the Warp command or you can take advantage of that keyboard shortcut, I was just telling you about, if you loaded my D Keys. Or there is another way to work and it gets you to the exact same place. You can go to the Free Transform command by pressing Ctrl+T or Command-T on the Mac and then you can go up to the Options bar, see this little icon right there that's next to the "no can't do cancel ghost busters" icon. This guy right here if you hover over it tells you that it allows you to switch between the Free Transform and Warp mode.

So go ahead and give it a click in order to turn on the Warp function and you get this Envelope Style Distortion boundary in which the transformation box is now divided into nine pieces, nine even pieces as you can see here. Now there is a couple of different ways to work. One way to work is you can choose the kind of Warp a preset that you want to apply for example you may say gosh I want to go ahead and arch this image. And as soon as you that Arch command it goes ahead and applies a predefined a preset arch function which you can then modify using these numerical values if you like.

So I will go ahead and select the bend value and I will reduce it by pressing Shift+down arrow to reduce that bend value in increments of 1% at a time, that's a function once again of pressing Shift+down arrow. You also have the option to increase, I will go ahead and scrub in this case just to make things happen little faster. I will go ahead and increase the horizontal dimensions of this distortion so that the image appears becoming toward us on the right hand side.

You can do something similar with the vertical distortion here. If I make the value bigger, I will make the bottom of the arch bigger, if I make the vertical value, the V value smaller I will make the top of the arch bigger, so it appears to becoming toward me at the top. Now that's one way to work as I say, another way to work is just to switch to this custom function right here. And I am going to clear things out by clicking on None actually in order to clear out my Warp function. And then I will change it to Custom, so that I can modify my Warp exactly the way I want to modify it or by the way you can start from something you can start from let's say an arch, I will go ahead and choose that this time, and this is pretty bent actually, but that's okay I kind of like it.

This is a good amount of bending at this point and I will use that as a starting point then choose Custom and now you have the option of modifying this envelop distortion on the fly by dragging either a corner handle like so, notice the effect that that has. Or I will go ahead and drag this corner handle out a little bit as well. You can drag one of these control handles, notice these little guys are kind of like levers that allow you to tug at the curvature of this boundary right here in order to bend it upward or bend it downward.

And then finally and you have got two of those, by the way you have got two of those control handles associated with each one of the four corner points or best of all you can just drag inside the image just drag directly inside the image in order to move that point around. So I am going to go ahead and drag the central portion of the clock upward both at the top and the bottom and I am going to drag the sides downward like so in order to create a fairly precipitous free form arch. Now at this point, let's say I want to rotate this clock a little bit.

Well all I have to do is switch out of Warp mode into the Standard Free Transform mode and I will do that by just clicking on this little icon here in order to switch out. The other thing you can do provided that you loaded my D Key shortcuts is you can press Ctrl+Shift+R in order to enter the Warp mode and then press Ctrl+T to exit that Warp mode and go back to the Free Transform mode. But the nice thing about this is Photoshop goes ahead and remembers your Warp settings and your Free Transform settings, at the same time it's keeping track of both these sets of settings as long as you stay inside of the larger Free Transform mode.

So in other words, you don't actually apply your destructive modification until you click this check mark or press the Enter or Return key. Alright now I am going to go ahead and drag outside of the transform boundary in order to rotate this clock into sort of a different angle right here and that gives a sort of a droopy clock appearance sort of that Salvador dolly look that we are going for with our high renaissance art. And now that I have rotated the image in the place, I am going to reenter the Warp mode and I am going to do that by pressing Ctrl+Shift+R, Command-Shift-R in the Mac because I have my D keys loaded but you could just as easily click on this little icon up here in the Options bar.

And I am going to move things around just a little bit more to make sure that everything is inside of the canvas, so that we can see this clock nicely here and it's turning it also into a kind of shield as well, notice that which I think is kind of nifty. And then once I am done, once I have applied the Warp to my liking, I will go ahead and press the Enter key on the PC here or the Return key on the Mac in order to instruct Photoshop to recalculate those pixels. So this is the modified version of the image I am going to tab away my palettes and switch to the Full Screen mode here, zoom in just a little bit so that we can see the modified version of the image.

This is the original version of the clock and this is the modified version of the clock. Thanks to the envelope style warp function here inside Photoshop.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39074 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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