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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 97 of 118

Puppet Warp

Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

97. Puppet Warp

Lessons

  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

Puppet Warp

right then there's a different way of distortion, and it's something known as puppet warping. And this is where if you ever have somebody that has their arms extended and you need to adjust their arms or fingers, I find that this will be much more effective than doing liquefy. The main thing you need to do is usually get the subject that you want to change onto its own layer and whatever is behind the subject. You'll need to have that on a separate layer, and you'll need to retouch the subject out of it. So let's do that. Before we get into this thing called puppet warping, I'm going to make a selection. In this case, I'll use the quick selection tool, and I'm just gonna paint in here and hope we get a acceptable selection after painting all Type a letter Q, which will go to quick mask mode, although I see some area needed touch up first when I type the letter Q. The area in red is what's not selected. The area looks normal, is selected, and therefore I can look around the edge and see...

where it's inaccurate. Aiken Type letter Q to turn off quick mask and then come in here and modify it. If you need to take away from a selection, hold on the option key Alton Windows. And so if I need to remove this top area trying to add the arm back in, you don't have to hold down any key at all to add when it comes to this particular tool. And I'm just trying to get this so I have a relatively accurate selection in any portion that this tool isn't able to handle. I might do manually, so I typed letter. Q. I zoom up and I'm just going to grab my paintbrush tool in touch up a few areas because whatever it is we have selected is going to be on its own layer. And when we do puppet warping, that's the only thing that will be able to change. And I want to make sure that I'm not going to be warping some of the background or missing some of my subject. And so I'm just gonna try to make sure this selection is relatively accurate. Pete, with black up here, unfortunately, my glasses on so I can't see this as well. I do usually need glasses for working on the computer. So you see me do an entire multiday class without it's kind of funny. It's my excuse for being able to be a little bit sloppy. All right, I'm gonna call that good enough for now. I'll type letter cute or turn off quick mask, and I want to get Karen on her own layer and so to do that many different ways of doing it. But I usually type command J control JM Windows, which means jump that to its own layer. And if you have a selection active on, Lee does it, too. The area selected so command. Jay, if you look at my layers panel now, if I hide layer that's underneath, that's what's on the top layer. And now what I need to do is turn off that top layer in, remove Karen from the layer that's underneath. The reason I need to remove her is when we puppet warp. I'm going to be repositioning her legs and arms and everything, and if I move her leg up in her original leg is in the layer that's underneath, it's going to end up having two copies of it So here I'll use my well, I have an accurate selection right up here. Here's a trick. You can select the contents of a layer where it selects everything that doesn't look like a checkerboard. The way you do it is you move your mouse onto the thumbnail image for a layer one where you can see the checkerboard. In there, You hold on the command key control on windows and you click on it and that selected the entire contents of the layer. But not the empty part, not the checkerboard. So I got our selection back. I'm going to make that selection just a little bit larger by choosing expand, Maybe I don't know, about three pixels larger. And then I'm gonna tell Photoshopped to retouch out what's there by choosing Phil and using the setting called Content Aware. And if it messes up manually, retouch parts of it. What did pretty darn good job. The only thing I might do is grab the, uh, spot healing brush, touch out little pieces. Be nice to get rid of that shadow, but I think I do it afterwards. Once I know her, her body position will be. Then it the easier to determine where things should go. Let's go to the layer that's on top. Let's turn it back on in. Let's turn it into a smart object, so whatever we do is not permanent. And now let's start puppet warping to Puppet Warp. You go to the edit menu, and there you'll find the choice of puppet work. Usually when you turn it on, you're going to see a mesh on top of your image. But I used this particular feature in our advanced retouching lesson, and I turned off a check box at the top right here called show mesh. But by default, that would be on so it would look like this. It's not all that useful to look at that mesh. I mean, if you zoom up, you're welcome to inspect it. But eso at the top of my screen, I'll turn off the show mesh check box in Now. Imagine that the layer we're working on is made out of clay or something that I could mold and just grab with my fingers and change. What I usually want to do is I want to click wherever a person would have a joint so here. She hasn't me. And so I would click there. That means that's going to become a pivot point, something that could be moved. And if other things air moved, that point will stay put. And so I come down here to her ankle. Me and I could go to the tip of her foot in that out, go to the bottom of her leg, maybe her toe, go to her knee, go right in here. And also adding these points makes it so if I don't make changes to certain things, these areas won't move without me manually clicking on them to reposition those areas. But one of the top of her head and I probably need one in here. Maybe at the end of her are all right now, I've anchored in the areas where I'm thinking I don't want these areas to move without me, uh, purposely doing it. And let's start up here where Karen's head is. I'm gonna grab that dot that's on the top of her head. And I'm just going to start doing this and see if we can bend your head down. Now I might need separate control of certain areas. Maybe this part back part of her head. I need to pull upward a little more like that. Maybe I need to grab her chin and get it toe be pointed more downward and then reposition that when I had at the top now to get it to be Yes, right, Maybe here. I wanted Karen's leg to be pointed up. Well, in order to do that here, I have two points that would need to move. I just move one of them. It's gonna stretch like that. So I'm going to select one, hold down the shift key and click on the 2nd 1 and I'm going to move it up like this may be over like that, and then I only need to work on one of them, the one that's for the tip of her foot. So I'll click on it without shift and try to straighten that back out that this is sticking out too far. So I had a dot there and try to pull it in. He added one here to pull it in. I can adjust the position number knee, extend her leg a little bit, but you get the idea. Most of the time. When I'm using this, I'm doing very subtle changes. I'm moving a finger that was sticking out away from the hand. I'm snug in it into the hands like that, taking a thumb that's being pronounced, and I'm just kind of putting the bend to it to make it look better, less less stiff. I'm not usually doing entire leg changes, but on occasion it's possible here. Maybe I'm going to show how not to do a yoga pose, so I end up having this bet too much. Or maybe it's supposed to be not locked out, and so make it look like it's locked out whatever I happen to need to do. But this is also very useful. When you are putting together multiple images where maybe you have a group shot, you have 10 people in the picture. In two people couldn't show up to the photo shoot. You have to add them later. You're trying to add them and make it look like their arms around somebody. But in the photograph you're starting with their hands just off a little bit. And so, with puppet warping, we can move that around the other thing. We could do with puppet warp pain is if we have an object we're trying to match. You have a tube of toothpaste and you're trying to put a new label on it, but we can get the label in there in general. But then, to make the label undulate with the tube of toothpaste, puppet warping could be used for that. When you're done, you compress returner enter and then is long as it was a smart object. You can go back to the edit menu and you can choose Puppet Warp again, and the pin should still be there, and therefore you could come in in fine tune your results. I already read that, and you confined to your results as much as you'd like. And if you ever make a new area, overlap like this'll look absolutely ridiculous. But let's see if I click on one of these pins will actually delete that one by hitting the delete key. You can do things like, uh, this. And then, if that's the case, there is a choice up here at the top of pin depth, and you can move it up or down with these little icons. So if I tell it to move it up. I could get that to be on top where I could get it to be underneath. Not quite natural when it comes to legs. Like what I'm working on here. But you could be working on other content where it would be appropriate. Maybe you're working on a advertisement for noodles and these air littoral noodles you're trying to adjust in a bowl in one goes under another. Well, that's what the pin depth does Now. I use puppet warping a lot when I'm doing retouching. If you this is an example image where I ended up using papa warping. If you look in this window, you see some signs that are worn away. But you see rectangular things that I wanted to retouch out well, in order retouch out those things we need to put in curtains in the curtains. I can't just copy Woods here and move it down. It'll look like a repeat of that exact thing, but I could copy. Let's say this portion right here, move it down and then warp it so it might resemble more of the one that's to the left of it. So it feels like it's folding up against the corner of the window, but just using it straight wouldn't quite look effective or appropriate. So and the same could be true here, where I need certain pieces of these to keep going straight down. But they should look like a randomly change kind of like they do above. And if you saw an exact copy of it, down here wouldn't look appropriate. But with puppet warping, I can bend it around. Teoh conform to whatever idea, like I can even potentially copy from this side, grabbing this nice straight piece because it's easy to warp when it starts straight. Maybe I can put it where it connects on right here, and I just get the angle to be appropriate and then warp it so that it might slowly bend, just like it's slowly bending above to put it in. I'm not going to spend the time to do that here, because we have a separate session on advanced retouching, and that's when I actually used puppet warping in a similar context where I needed to take something similar to Well, it was fabric had a bunch of stripes in it. I needed to use it somewhere else. But it didn't match the surroundings, so I had to use puppet warping to get it to work. Therefore, if you watch that lesson, you would have more of a step by step on how that would be done.

Class Description

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

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • 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

ABOUT BEN’S CLASS:

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.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • 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.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

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!

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!!!

marianne
 

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