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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 96 of 118


Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

96. Liquify


  Class Trailer
Now Playing
2 Bridge vs. Lightroom Duration:06:39
3 Tour of Photoshop Interface Duration:18:21
4 Overview of Bridge Workspace Duration:07:42
9 Developing Raw Images Duration:30:33
11 How to Save Images Duration:03:37
12 Using the Transform Tool Duration:04:48
14 Selection Tools Duration:05:55
15 Combining Selection Tools Duration:07:37
17 Quick Mask Mode Duration:05:07
18 Select Menu Essentials Duration:21:28
20 Align Active Layers Duration:07:29
21 Creating a New Layer Duration:06:15
22 Creating a Clipping Mask Duration:03:02
23 Using Effects on Layers Duration:11:24
24 Using Adjustment Layers Duration:16:44
25 Using the Shape Tool Duration:04:39
30 Adding Texture to Images Duration:09:11
35 Understanding Curves Duration:06:18
36 Editing an Image Using Curves Duration:18:41
39 Editing with Blending Modes Duration:08:04
40 Color Theory Duration:05:59
41 Curves for Color Duration:16:52
42 Hue and Saturation Adjustments Duration:08:59
44 Match Colors Using Numbers Duration:16:59
45 Adjusting Skin Tones Duration:05:25
52 Clone Between Documents Duration:13:19
53 Crop Tool Duration:10:07
54 Frame Tool Duration:02:59
56 Paint Brush Tools Duration:13:33
57 History Brush Tool Duration:06:27
58 Eraser and Gradient Tools Duration:03:06
60 Blur and Shape Tools Duration:11:06
61 Dissolve Mode Duration:09:24
62 Multiply Mode Duration:15:29
63 Screen Mode Duration:14:08
64 Hard Light Mode Duration:14:54
66 Smart Filters Duration:11:32
67 High Pass Filter Duration:13:40
68 Blur Filter Duration:05:59
69 Filter Gallery Duration:07:42
70 Adaptive Wide Angle Filter Duration:04:43
71 Combing Filters and Features Duration:04:45
72 Select and Mask Duration:20:04
73 Manually Select and Mask Duration:08:08
74 Creating a Clean Background Duration:21:19
75 Changing the Background Duration:13:34
76 Smart Object Overview Duration:08:37
77 Nested Smart Objects Duration:09:55
78 Scale and Warp Smart Objects Duration:09:08
79 Replace Contents Duration:06:55
80 Raw Smart Objects Duration:10:20
83 Panoramas Duration:13:15
84 HDR Duration:11:20
85 Focus Stacking Duration:04:02
86 Time-lapse Duration:11:18
87 Light Painting Composite Duration:08:05
88 Remove Moire Patterns Duration:06:11
89 Remove Similar Objects At Once Duration:09:52
91 Replace a Repeating Pattern Duration:06:50
95 Warping Duration:11:03
96 Liquify Duration:14:02
97 Puppet Warp Duration:12:52
98 Displacement Map Duration:10:36
99 Polar Coordinates Duration:07:19
100 Organize Your Layers Duration:11:02
101 Layer Styles: Bevel and Emboss Duration:02:59
102 Layer Style: Knockout Deep Duration:12:34
103 Blending Options: Blend if Duration:13:18
105 Layer Comps Duration:08:30
106 Black-Only Shadows Duration:06:07
109 Create an Antique Color Action Duration:13:52
110 Create a Contour Map Action Duration:10:20
111 Faux Sunset Action Duration:07:20
112 Photo Credit Action Duration:05:54
113 Create Sharable Actions Duration:07:31
117 Scratch Disk Is Full Duration:06:02
118 Preview Thumbnail Duration:02:10

Lesson Info


then let's look at ways of distorting a face. And as always, I'm going to convert this to a smart object first so that whatever I do to it will not be permanent, and I can easily make changes later. Then I'm gonna go to the filter menu, and I'm gonna find a choice in there called liquefy. If I choose liquefy, I could expand this out to make it kind of take over my screen. And on the right side of my screen are a bunch of settings, and you can collapse each section down. The section I want to start with is one called face aware liquefy. If I expand that, then we have sub sections in here for the eyes. The nose knows the mouse house, the mouth in the overall shape of the face. Well, if I come in here now, it will automatically recognize various features in here, and you'll find that oftentimes, when people get their photos taken one, I look slightly bigger than the other. And so here we have a choice called I size, and if I move a slider, you'll see that it is able to figure out where my...

eyes are located, and Aiken separately. Adjust the one that's on the left side of the photograph from the one that is on the right. And if there was an eye that was just the slightest bit smaller than the other, this is where I'd be able to adjust that we also have I height. If I bring that, you'll find the eye gets taller before not a stall. And that's good if somebody is squinting, if they're squinting and you need them to open up their eyes, bringing up the I hide a little bit has the potential of doing that. We also have the I with so we could widen it or make it skinnier if that happened to need to be adjusted. And we can also do a tilt where it's going to rotate the I one direction or the other. So any time you need to find Tune, thanks for eyes. This is one way to do it. There is a choice called I distance, and that's going to put the eyes further apart or closer together, depending on what direction you go. Of course, it's easy to make somebody look really weird by moving the sliders dramatically in different directions. All right, then we come down here and we have the nose in here. We can adjust the height of the nose either making it shorter or extending it, and we can also make the nose a bit wider or skinnier. I find that if I end up shooting with a wide angle lens, people's faces end up being distorted in that on occasion, I might need to bring the nose with in a little bit because the nose is something that will be closest to the camera, it will usually be the most distorted and so on occasion. Bringing that in a little bit if it was shot with a wide angle lens can make the image look nicer for mouth. We can attempt to put a smile in, or it's better for exaggerating and smile. That's already existing where you could put a slight frown. You can adjust the upper lip height separately from the lower lip because sometimes people have them a little bit tensed and they one might look smaller than the other. We also could do the width wider or skinnier, and then the overall height. Finally, we have face shape in here. I can control the forehead, but since I have a hat on here, it's not gonna quite be appropriate. We can also just chin height up or down, and then the jawline. How wide is it and the overall face with? So that's face aware, liquefied. Now, if you happen to have a photograph that has more than one person in it and you got a filter liquefy, then you'll find that there's little pop up menu at the top, and you can switch between various faces that air in here in a just one separate from the other. So here, if I go to face number one, I might want Teoh here, adjust the forehead, bring it down a little bit and then select separately on face number two. Maybe it's the mouth that needs some adjustment. That upper lip is a little tensed, so it might bring it up a little. And the mouth height. We might be able to try toe open a little, although it looks like we could get him to talk a little, maybe get him just a little more smiley. But the main thing is you are able to switch between the two, then if I close that well and actually we can work on this one, this one, I should have converted to a smart object first, but I did not. If I do it at this point, then whatever changes I've had will will be more or less permanent. But I would have usually done this first go back to liquefy and liquefied, then also has manual tools. We don't have to use this face aware liquefy. We just have brush tool options here, and we have a set of brushes found on the left side of the screen. Let's take a look at what a few of them do. The top most tool will allow you to his push things around. And so if there is an area that needs to be adjusted, like here, his outfit is a little bit sticking out. A little too much might be able to bring it a little closer to the body, but then, when I do that, the area here is a little too distorted, so the next tool down, if you hover over it, will tell you what it's called. It's the reconstruct tool it allows you to bring areas back to the way they used to look. And so if I paint here, I might be able to try to get the curvature of his suit to not be distorted as much. The more I paint on this, the closer it gets to the original version of the picture. And so therefore, it wont be distorted quite as much. We also have twirled tools. If you need to manually come in here an attempt to put, let's say, a smile on somebody's face. Well, you might need to decide exactly what portion of the face needs to be rotated in order to accomplish that. In this case, I'm just going to click and hold down just to see what direction it's going. It's rotating clockwise, so it might be this portion I need. Rotate clockwise so I can just click. Let go a few times here to see if I can rotate that a bit. I'm not gonna go overboard, though, and if you just click, it's gonna go clockwise. If you hold down the option key, it will go the opposite direction, and so therefore, I could attempt to rotate the edges a little bit. Then I could grab that top tool, which is just gonna move things in general and see about moving his mouth down just a little bit. Could grab the center of his upper lip and try to push it up just a little bit just to get a different look. We have other tools in here. This one here is the pucker tool, which will pull things in like that. And it could be that in some areas, maybe his forehead. I just need to pull it in a teeny bet to make it look a little too far there or below that we have the bloat tool, which is going to push things outward in itself. Somebody's squinting their eyes. One I squinted more than the other, and those tools on the right side didn't work here. I can click a few times, get that groups a little too far. With that last click right now, his teeth look like they're sticking out of it. I could, uh, Parker them, meaning pull them inward. But there's all sorts of adjustments we can do there in the If I remember correctly, both the pucker in the bloat tools. If you hold on the option key. You get the opposite meaning it's liquid into switching between those two tools. Then we have a tool that pushes things to the left is what it's called the push left tool. If I come in here and I dragged vertically and I've drink up, do you see how it's pushing to the left? Choose undo. If I dragged down, though, it's gonna push the other direction. So on occasion, if you have somebody where they're sticking out a little too much, you could just dragged downward the tiniest bit to push it towards the right or drag upward. If I'm on this side, push it in a little, just be subtle about it. Don't move too much, and we could come in here and try to re sculpt areas. And if you need to push up or down, then instead, what you need to do is drag left and right instead of up and down here. If I were to drag left, I'm gonna pull up. I'm sorry, this reading left to right. If I go, the opposite direction will push down. Then below that, we have freeze in fall tools freeze and thaw allow you to prevent an area from changing. So let's just say that in here I did not want to change his mouth, and therefore I grabbed the freeze tool in I paint. I get a red overlay over an area that's gonna be frozen, and that's going to mean I cannot change that area because maybe it was that I was going to work on his nose and I was worried about if I was pushing his nose downward. Let's say that I might get into his mouth area, so then I could come in and use any tool. I don't know what I need to do it to its nose, but I'm gonna pull it down a little bit. And when I dio, this is preventing the mouth from changing because it's frozen. When you're done with that, you can go to the tool below, and that's the thought tool, and I go over here and get rid of that red over light. So the red is an area that will not be changed. That's where if you have like a somebody's in a bathroom and behind them is a tile wall. And if you move to tile wall at all would be obvious. So you go in there and freeze the entire wall. So if you happen to start pushing and pulling on things, that tile in the background does not end up getting distorted. And then we have a face tool in the face tool allows you to do the same adjustments that we were using earlier where we had our face aware liquefy. But it allows you to do it by moving your mouse over the image. And so if I move the mouse over the overall face, then I could click within it once a I get near the edge and I can change its with or I can come up to the eye and I could make it larger, smaller. But in the end, all I'm doing is changing the settings that we're usually found under face aware liquefy, and I'm just choosing a tool on the left side of my screen called the Face Tool in allows Metamor Inter actively work with that. Then there is a choice up here to what we haven't used. It's the 3rd 1 from the top. It's called the Smooth Tool, and if you've ever done anything to the image. Maybe you pushed on one area and pulled on another area in the result just looks like an abrupt transition. You can paint with this tool and it will smooth out any relic. Can't even say that word irregularity to it. So if you had an abrupt kind of non smooth edge, it will make it feel much more smooth. Then each one of these tools over on the right side of your screen will have options. There you can change the size, the density, Which is kind of think of it as how hard you pushing with If it was your finger to move things around, um, and how quick changes are happening now, also in here, you're going to find choices like mask options. This has to do with the freezing and fine. You could mask all that'll put red everywhere, and then you could come in and choose the thaw option to say I only want to work on this part. So now nothing can change in the picture except for that area. Uh, that was by hitting the mass call button. There's an invert all button which would change where you know what is frozen, and you can also choose none to get rid of it. We also have options for viewing. If you want to show guides and other things, you can look at that. They're relatively self explanatory. And also there is a mesh option you could load. You can save and load a mesh, meaning if you want to make the same change to a different picture. Maybe I have five pictures of these guys taken one right after the other, and they're all need the same choice or change. You'll be able to do that and then let's see. Yeah, I think that's most all the tools, so I'll click OK here and liquefy could be great. I would turn things into a smart object first, because then, if you return to the liquefy filter, you can go back in and still reconstruct things by painting with the second brush that's from the top. Ah, and so all the changes, they're not permanent. If it is on a smart object,

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.


  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly


Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

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  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.


Adobe Photoshop 2020 (V21)


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!

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!!!


The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it