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Warping

Lesson 95 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

95. Warping

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

Warping

in this session, we're gonna talk about bending warping in liquefying layers and Photoshopped. So if there's any time that you don't need just a straightened ordinary image, you're gonna learn how to bend it right now let's start off with a feature known as warping, and I just want to start off by letting you know that I always convert my image into a smart object before doing this. A smart object is something where it's the equivalent to putting your image inside of a protective bubble where the original contents of the layers preserved in any changes you make to that layer afterwards are just settings attached to the layer that you could easily modify afterwards. So let me show you what it looks like if I don't use a smart object first, and I'm just gonna do something simple, I'm going to come over here and choose edit and let's see, I will use free transform its great out right now because I'm working on the background layer. The background layer has little lock symbol on it. I'm go...

nna unlock it. Then I'll come over here to free transform. And if I were to scale this image down and let's say would rotate it and scale. It's amore press returner entered. Indicate I'm done may move it back up here. If I return to free transform again in the future, it's not going to know that this layer has ever been transformed. Its going to think it originally started out at this angle, and therefore, when I choose free transform instead of having the rotation handles sitting on the corners of this rectangular object instead, it's going to be straight where it just thinks if it is a rectangular image in. So for me to be able to get this back to its original angle, I'm just eyeballing it. And if I try to get this back to its original size again, I'm just eyeballing it here because it's not doing anything to help me. And as I scale this up, the quality is going down because it's scaling up the number of pixels that we had just a few moments ago. It does not have access to the original number of pixels that the image is made out of, so that when I'm done, if I were to zoom up really close on this and compare it to the original. This would be blurry. So here I'll choose Revert to show you the original. And just remember how jagged and blurry these stars were. When I choose Revert, you see how crisp the originals work. Well, if, on the other hand, before attempting to transform my image, I went to the layer menu, I chose smart objects and I said, Convert to smart object. Now it's taking the original contents of that layer in protecting it so that everything I do to this image from now on will be calculated from the size of the original image. So if I go to the edit menu and I choose free transform and I make this a lot smaller and I rotate it in a press return or enter if I come back to do that again, first off what I choose free transform. It remembers that I've transformed it, and it keeps the handles that usually appear in their original position. So if you look at them all, zoom up, you see that they are rotated along with the flag. It knows that it's been rotated in the past, and it knows about how much it appeared actually tells me that it's been rotated 59 degrees and it's been scaled down to 24% of its original size. So fired a type in 100 here in type in zero for the degrees. This thing would be back to its original set up. And now the quality. If I zoom up, it will be exactly the same as the original, because when you have a smart object, it protected the original. In the things that I've done to it, we're just settings attached to the layer. If those settings are reset to their original settings, the picture looks exactly like it did when I started. But that becomes more important when you start using features like warping. So in this case, I'm gonna make this image slightly smaller by typing command T Command T or Control T and Windows is the same as choosing free transform from the menu, which is what I used a few moments ago. And then I'm gonna come up here and choose to warp this. Now when you warp something, you end up with a little control point on each corner of your picture, and you could grab each corner in, reposition it and you'll be bending in the image. So if you want it to look like the the corner of a page overturned, this is one way you could do that. Or if you left that straight, I'll choose. Undo. So it's more straight. There are handles coming out of each corner. It's kind of hard to tell where they're coming from. But here's the corner in this handle. This little dot is coming out of that corner. You might notice it more. If I drag it up. You can see the handle going up or I drag it down. And that's determining what angled is. The image go out right when it leaves that corner point in the saying that right the moment it leaves, it travels in this direction, whereas if this is pointing up, it's traveling in that direction When it first leaves the point and you have two handles for each corner point. There's also one point down here which could control that edge. So if I wanted to bend this flag, let's say I could come in there and adjust those corner points, maybe bring one up and bring the other one down try to get a bit of a rippled on this flag, but with newer versions of federal shop, you have much more control. If you come up here, you can split the image into a vertical or horizontal, uh, sections. And so if I click on that icon, I just did, which is a vertical line that's in there. And then I move on top of my image. I can choose exactly where I split it vertically, and then I can control that portion. I can click and drag here. I can grab the endpoints that air there and drag up and down all sorts of things I could dio if I click that icon once again, I can come out here and ADM. Or of those. So if I wanted to look a ziff, this flag is flapping. If I had divided up with enough spaces vertically, then I should be able to grab. You can actually grab more than one of these points at once. If I click on the bottom point on one of these vertical lines have added hold shift, I should be able to get the top point as well, and then I can go toe another one. Hold shift and click on it. And so right now I have four of those points selected. Then I could move them together like this, and I'm just shift clicking on the various points to say I'd like to work on more than one at a time and we could do all sorts of little stretching here. However, you'd like this to be distorted. You don't have to grab the actual handles. You can click in an open area between them to move more than one at a time. You're gonna move all the points that are in between where your mouse is, like surrounding your mouse. So now if I do that and then I press returner entered, indicate I'm done. Had I not used a smart object, Then if I go back to choose warping again, it would start off fresh, as if you've never made a change to the image before. And you'd end up with only those corner points again. And it would be difficult to bring this back to the way it used to be. But now that we have a smart object, if I come back here to edit, transform, warp it remembers all the handles in. So it's a Ziff. I never left, and it's very easy for me to then come in here and make further changes to the end result. In here, I'm grabbing the line itself and dragon it a bit to get a little more curvature. So remembered. Convert to a smart object before you start warping things. Because then if you ever press return or enter in later on go Oh man, I wish that was just a little bit different. You'll be able to go in and make those changes afterwards. Then there are certain things that, if you attempt to warp them, won't warp the way you expect. In this case, I just have a square that has a pattern applied. The way the pattern was applied is I just had a solid colored square sitting there, and if you look in my layers panel, you'll see it says pattern overlay directly below that layer. Well, the way that was applied is with that layer active, I went to the bottom of the layers panel. I clicked on the letters F X and I chose pattern overlay. When you choose pattern overlay, there's just a little pop up right here. A little preview where you could apply various patterns and so I could apply little dots. I could apply all sorts of different looks to them. I'm gonna click Cancel, cause I like the one I had. But now if I apply warping, its gonna warp the general contents of this layer. But it's not gonna warp any effects that were applied to it. Meaning it's not gonna warp that pattern over light. So let's try it. You notice it's warping the shape, but the patterns just sitting still. And that's because it is. The pattern is a setting that's just attached to the layer, and it's not affected by warping. So how can I get it to warp settings that are just attached to the layer? Well, I can, by going to the layer menu, choosing smart objects in choosing convert to smart object. When I do that, watch what happens in my layers panel. Specifically, look at the pattern, overlay and notice. It looked like it went away. It didn't actually go away. It got inside of this thing called a smart object. Instead of being attached to the outside of it because it's now inside of the smart object. When I choose warping, it's going to warp not only the shape that is in that layer, but also the pattern that's attached to it. And it's not just true of patterns. It could be many other things that you have maybe clipped to that layer so that maybe you have some text that you're gonna warp and you've put a photograph inside of the text. But the photo is a separate layer. I showed you how to do that in the layers session. Well, then, on Lee, the text would be distorted. The photo would not unless you selected both layers and to turn it into a smart object first.

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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