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Displacement Map

Lesson 98 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

98. Displacement Map

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Displacement Map

then there's another way of bending things in. This is where we convention things based on the brightness of a picture. If you look at the brightness of a three dimensional object, oftentimes it gives you clues as to its dimensionality, just from the shadows in the highlights. If you look at this particular photograph and you look at one side of my face, you'll notice that the areas their furthest away on the side of my face or darker in as my face gets closer and closer to camera. It's getting brighter and brighter in the very tip of my nose is the brightest on the other side of the face. It's a little different, and that is getting brighter as you go further away. That's because there was a light source over on that side, But still you see this thing where it might be getting darker as it gets closer to camera, because getting further away from the light source will. There's a way to use the brightness of your picture as what you might call a depth map, something that just defines ah...

, three dimensional character of a two dimensional photograph. And if you want to use that to bend something. Then we can do so using something called a displacement map. So let me give you a brief idea of how to think about displacement maps. We can use that flag image because there you can tell if it's been bent. So I'm gonna grab the flag. Image will use my move tool I'll click within the flag image will drag up to the other tab on the drag down into this documents. We put it in here, closed the original flag, zoom out, and I probably want to scale the flag down. But before I scale it down, I think I'm gonna turn it into a smart object. Therefore, everything will be calculated on the original size flag, all type command T that's free. Transform control team windows and I'm gonna scale this down. I'm gonna bend that flag around my face, even get some stars and things in there. But I'm gonna do it based on the brightness of my face. So first I'm going to start off with the base image that's here in what I need to do is simplify it to simplify, just so I don't mess up the original I'll duplicate this layer. It's not that essential that you duplicate the layer where you could do, in fact, is just duplicate the document that be easier. So image duplicate will give you a brand new file so you don't mess up the original and I'm gonna call this the map and then I'll throw away the flag because it's a duplicate document and I just want to simplify what's here. The first thing I'm gonna do to simplify things is take all the color out, an image adjustments. De saturate should do that for me. The next thing I want to dio is get rid of the really fine detail. If you look at the fine detail, what's going to happen is areas that are bright are gonna be thought of as being close to you in areas that are dark. They're going to be thought of being further away. And what that means is where the pores are in my face. It's going to think their little role, little drill holes that they're lower than the rest of my face, and I don't want it to distort the flag with that much detail. I wanted to think about the overall shape of my face, not every little whisker and poor. So what I'm going to do next is blur the image using a filter called Ghazi Ambler. And I'm just gonna blurt enough that the fine detail goes away like the pores on my face. And then I just see the overall brightness of the image, the overall tone, ality and shading. Probably somewhere right around there, All the really fine details, whiskers, pores, all that go away. Then I'm going to save this on my hard drive just to save as put it right on my desktop. And I can use Photoshopped file format. Now we can close that file now. I'm gonna work on the layer that it's on top. That's when it has to fly again. It turn its little eyeball back on, and I wanna bend the flag based on that simplified document that saved on my hard drive. So to accomplish that, I'm gonna choose filter, distort, displace. This comes up and it wants me to type in a number. That number tells you how mountainous theon result will be. If you type in a low number, imagine you're seeing a three dimensional object from the side. You'll get a very slight raised to the image. If you type in a high number, you're going to see a very tall raised to the image. And you don't really know what number to use because it's really based on how high resolution your picture is and how much contrast is in that file. We're going to feed it. How close to white is the bright area? How close to black is the dark? And so I'm really just gonna guess here. And if I don't like my in results, I'll just choose, undo, and I'll try again. Type in either ah, higher or lower number. I always type in the same number for horizontal and vertical, and then we have some options down here, and this really is saying, What should it do? If the image we saved on our hard drive was a different size than this document, it's needs to be the same size, and so to make it the same size if it was smaller, should it stretch it to fit? Or should it Thailand repeat it? Well, that's not gonna matter. It's exactly the same size as this document and then what should it do with the undefined areas? Should it wrap around to the other side will repeat the eggs pickles. We're not going to need to worry about that. All I'm going to do is click OK, and when I do, it's gonna ask me for a file. It's a file that it's just gonna look at the brightness of, and it's gonna think of bright things that's being close to you. And dark things is being far away in white Click open. It should bend our flag. There it is. So if you look at where the edge of my, um, Chin would be and not my when he called this part my jaw line, I can see it's been bent. I can also see it's been bent on the other side. There was some vertical line there. If I were to hide this, I could tell what it is. But what I'm gonna do now just to make it easier to tell how that is conforming to my face is I'm gonna print it on my face like a tattoo, and I could do that by changing the menu at the top of the layers panel known as the blending Mode menu. I'm gonna choose a choice called Multiply, and when I do now, you might be able to see that where my eye is. You can see it's bending down into my eye socket and right here where my skin bulges out to have my cheek, you can see it bending to conform with that. The only other thing I might want to do then is mask it so that it only applies to where my faces and doesn't go beyond. And I might want to mask it so it doesn't print on my eyeball. Uh, otherwise it wouldn't quite be inaccurate Tattoo. Now, what I could do, though, is choose undo with Command Z. And let's say I wanted to bend Mawr. I was using the number of 20. I'm gonna type Command Z one more time so it's no longer applied. Or since I used a smart object, I don't even you do that right here. It says, displaced. Just double click on that. You'd be able to change it when you double click, it will ask you for the settings I was using. 20. Let's try each time you click. OK, though it's gonna ask you for that other file, so make sure you don't throw it away until you're sure that you like the settings. But now we have more of an extreme or mountainous bend. If I said it to multiply, it might be more appropriate. It all depends on the image. But what? This is how you could grab a tube of toothpaste that had no label on it whatsoever. You can put a new label on top of it into a displacement map, because the highlights and shadows that would define the kind of wrinkly character of ah tube of toothpaste could be used to bend the label to make it look like it fits. Or you have a T shirt. He and the T shirt has wrinkles in it. You want to show a design on the T shirt that conforms to those wrinkles, displacement maps, how you do it, where you have the door of a car and you need to put a police logo for a police car design on it. Well, if it has any shading to that door, the card, it's usually going to give it some sense for the dimension and using that to bend Ah, logo that would be printed on the door will usually make it look appropriate. Then you use multiply mode to actually make it look like it's printed on it. And then you can mask it to make sure here, if I add a layer mask that maybe in this case would all do is use the quick selection tool to try to select my sky. I also got a little about my hat in their lips, don't want to take away hat, and then maybe I select inverse to get the opposite. And actually, I don't need inverse. There's already a mask here. All right, I'm gonna fill that part of my mask with black, get it off the background, and I'm gonna come up here in paint with black. Just grab my paintbrush, gotta paint with black, get it off my eyeball, uh, and get it off my hat. But there's all sorts of uses for that. Any time you see those T shirts that have designs that have never been printed on a T shirt before, but they're previewing it, they're using displacement maps to do so. The key is you have a blurry black and white photograph saved on your hard drive that you feed the displaced filter

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

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