How to Reshape Images using the Puppet Warp in Photoshop
Hi there it is puppet warp time where we're going to get the monster to dance. We're going to get him to scratch his belly, will distort text to fit other shapes. Then we'll take our new skills and we'll cut out this vine, we'll bend it around into a new shape so that we can add a background and some type and then get the type to interact with the vine. Thank you puppet warp tool. Let's learn your magic. Let's get started with opening up the Puppet Warp 1, 2 and three. We'll start with papa walk one. Now, what I've done in this one is that this is on a PNG. So this has a transparent background. Everything up until now has been a jpeg which is forced to be a white background. The nice thing about this is basically it's already masked out and this would be true if you say drew this an illustrator or got it from a stock library site. If you haven't, you're going to have to mask it out to get started. We'll do that in one of the other examples, but at the moment, just know that it's on a t...
ransparent background. We're just gonna make it super easy. All we need to do is go to edit and come down to public warp. All we need to do now is we need to pin the monster here in a few different places. You need at least two. So one in his hand, one in his armpit, do both armpits, both hands, both feet. Any other joints. He's got some hips there. I'm gonna get him once in the hands. That'll be it for the moment. This mesh here is kind of useful and turn it off because I want to do this 123. Oh, scratching his bum. Cool. Huh? It means that you can draw your characters in a kind of a starfish shape and then kind of readjust them depending on what you want to do. You can get him to dance. Yes, we can. And if you find that, say you're moving this around and let's say we move this one and the kind of the middle of them is moving and you know, so it's not doing what you exactly want. You can add pins later on one of them knows so that I've got a bit more kind of control. So I want to bow tie there. So the more pins you have, the kind of the more you kind of force it to stay in different parts. Now, let's say we want him scratching his belly with that pin selected by clicking on it. There is an option up here called pin depth. So I want to bring that up to the front or send it backwards. I'll bring this one to the front of. The other thing we might do is look at the rotation. So I click on this. I can rotate it around by holding down the option key on a MAC or a pc. So I'm gonna zoom in so you can see holding down my option key on my Mac old counter pc. I can rotate that one around, tippy tap. This monster is a lover of country and western. You can tell this is how, you know, my dad likes the song, he doesn't dance. This is it typically tap. Alright, You'll notice some weird stuff going on. Don't worry. It's you kind of like stuck in this middle ground of like public war. You can't do other things. Can you see it's all grayed out when you're finished, you have to enter on your keyboard or click this little tick up here and then it goes and redraws it properly. Okay, so don't worry if things are a little artifact, we have a little look when it's finished. Now, the weird thing about this is not the weird thing, but the thing to note is that that is fused there forever. There's no way of pulling that off now. So if I was going to be doing this properly, I would make sure I've got a duplicate copy of this. Okay, so I've got two of them. You can get all these different dance moves. All right, let's look at another use for the puppet warp tool. Let's say we've got this hard here and we want to put some text in it. So I'm gonna grab the type tool and click here. I Yes, yeah, I'm going to select at all. I'm going to put in. Not going to worry too much about it. I'm going to get roughly the size I need it because unfortunately what it does is that just to kind of get it in here. But now what I want to do is actually get a little bit more with the leading, dragging all those icons and get smaller. Okay, so we're close now. I want to kind of force it into the corners like you saw at the beginning, let's go to if I go to edit and go to puppet warp it says I can't deal with type. No way. Sorry. We have to rast arise type which means it's going to turn into pixels and we can't edit it later unless I had canceled. Right click it and say you are a smart object please sir. And then you can do it. Go to Papua how many pins we're gonna need? Probably a lot trying to click and drag them. They tend to kind of move around. We're gonna start with these ones at the top here. Anyway, so this one here, I'm going to click and drag to go in there once you're up there at another pin. I wanted to kind of bend around. You can do some fun stuff with type. I think I'm liking this. This example less. It seemed like a good idea and I was playing around with it before and it seemed to come out. Okay. You get what I mean though right? This is what we're doing, rotation comes in handy, member holding down the option key on a Mac or a pc. I'm probably gonna have to spend a lot more time forcing this in here where I probably want to go to edit transform and then there's one in there called what? That'll probably do better. We learned that in the essentials of course, but we're doing advanced stuff now so we can use the puppet warp. You get what I mean when you're finished, click OK. And now you my friend may also have some interesting looking type. The good thing about it is because it's a smart object, you can turn the smart filter off and on, you can scale it up and down. It's going to temporarily turn it off, scale it up and return. It's going to play it back on. One thing you can't do is you can't go and edit the type and it takes the form correctly. Um mainly because it was really specific shapes. Remember we did this if I do different ticks, it's not going to quite work the same way. Watch this. I double click to go inside of. I love you, let's say it's now I hate you, it's all over, I'm going to save this and close it, you'll notice that it doesn't, those things don't match up, so you're gonna have to redo it. The puppet pins are still there, you can go and edit it go to puppet pin tool, you can see it's just it's created the mesh based on the words love, so hate kind of doesn't really fit in there anymore. Alright, escape undo until it was looking half decent. And let's go into this third example here where we're gonna kind of rearrange real life. You start at the beginning where we got it to grow through type, but you can do it for like fabric that's flowing in the wind, you want to really reshape it or here, that's just kind of pointing in the wrong directions. So this is going to be a longer one and we're going to reuse the puppet tool features that we've already learned. So if you came here for the puppet warp tool, you can leave now, but if you want to hang around, we'll do a little project together. First thing is is that this is kind of fused onto the background. So I need to mask it out and looking at it. All my masking tricks, I'm thinking a channel mask is going to be it. How do I know? Because before this video, I kind of looked at it for a little bit longer and when it's not gonna work, it's not gonna work, it's not gonna work. And that's the trouble, I guess when you've got this kind of new tools and new masking tools knowing which one to pick is really comes down to experience. So if you knew you might end up wasting a bit of time trying color range but color range is not going to work because there's such a different color between this, the stork these leaves here. So let's do a channel mask which we've done in a previous video. So red, green and blue, blue has the really clear black versus white. So I'm going to duplicate that layer. If you can't remember a channel mask, you might have to jump back and test that one. I'm going to go to image adjustments and levels. I'm not using the one in the adjustments panel because we're in this kind of like weird little channels world, we have to use the old school levels panel. What I'm looking to do is just make the blacks a little bit more black, you can see that it's getting a pretty good mask already. There's these bits here. If I try and get these bits though, I'm going to go too far and these are potentially going to go way to black and wreck my mask. I'm going to come back a little bit which we get the whites. I don't really need to. Its click OK so it's nearly there. There's a few parts though that I still see through. You could just use your black paint brush like we did earlier. But another cool little trick is if I zoom in and my black paint brush gets me part of the way there. So if I grab the paint brush, make sure black is my foreground color in terms of the brush size something This is about 90. I'm gonna have my capacity at and I'm going to paint out these veins right because I don't want those to be see through. But let's say we get close to the edge here and you're like oh you can get a really small brush and just work your way into the corners. But the cool trick is using the same brush tool but use this one called overlay as the brush mode and watch this. I can get this kind of paint over the edge here, it turns kind of mid tones or graze into black, leaving the white. So it means you can get really close to the edge and what I tend to do is just lower the opacity so it's not like vicious, you can see, I just kind of painted a couple of times around the edges here, I want them to be a little see through this around the edges but not loads, you can see here, I can just keep painting these in and I don't have to worry too much about getting close to the sides. Can leave a little bit of transparency there until now you might use a slightly fizzy brush slightly harder, you might be here for a while. Alright, I'm going to keep doing this, I'll get the editor to speed it up a bit. Alright, and your back and the one thing I did do is I switch back to normal blend mode just to kind of fill in some of these veins here. Why am I not making it absolutely perfect because you're seeing the final example a little bit of see through this and it leaves is actually kind of nice. So we're going to load it as a selection, go back to RGB, go to layers and if I add a layer mask it's going to be the wrong way around. So before I do that I'm going to go to select inverse and now I'm going to add a layer mask. Cool. Huh? I love channel masks. None of the automatic features work. Remember select color range, focus area subject you have to revert back to the good old channel mask. Next thing I'll do is I'll just double check the mask against black just to see how bad my selection was on black. It's not too bad. And if it wasn't so good and I wasn't happy with it, I'd go around using this brush tool here, the refined brush tool and just kind of work the edges on any parts that need to kind of fixing. Just working that one. You might play with shift edge again, decontaminate colors. I'm happy with actually how it is. I'm going to cancel because what I want to do is I'm going to put a background color in. So a new layer. what color I'm going to use the gradient tool, I'm going to use radial gradient. I'm going to use this first one here which is the mixture of foreground and background. So my foreground color here is going to be a I want to kind of a warm brown, it's gonna be kind of light ish and in the background color which I click. Same thing one that's kind of brownie black. I find if you use just a little bit of color just not much. You can go the midnight black or the kind of warm black. It's kind of what I was going for a week against this background. I might right click the background and go light gray just so I can see it a little easier, awesome. So now I've got to kind of cut out, I want to add some type and my type tool, grow the big, select it all fun color, white font size, you can drag the icon, something like that often I just use my command t or controlled tiki just to change the font size. Alright, let's get it in there a little bit smaller. Alright, so now the trick is to get it to weave in and out. So what I'm going to do first is I'm going to duplicate this fella so I've got a backup. If I need to go back to it and I'm going to turn it off. I'm gonna make this thing a smart object to my top one, right, click it smart object so that now when I go use my puppet pin tool or the puppet warp tool, it's an effect that I can turn on and off and adjust. So what I'm going to do now is I'm going to probably run a bunch of them where I feel like the stock goes because I want to reorganize this thing here, the more of these you have the, I guess more control you have, but the less fluid it looks. I had to put one in each of the leaves coming while I'm working some weird stuff going down the bottom there. Weird thing there. I wonder what's going to happen with him. All right. You also look different because it'll be a different mask. So what am I going to do now? I am going to probably leave this first chunk. It's these ones here that I really want to kind of look like it's kind of coming out of that. Oh, I'm gonna miss lift this one up here and you can see now the power of the puppet warp tool. Okay, I'm just trying to like position this in a way that just looks nice with the text. I want that one to look like it's coming out between the w this one here can kind of come out that bit as well. Had another one. Put it up here and maybe these ones here are going to go around this edge here curl around all right, you're coming out there. Remember rotate, let's hold down the option key, grab the corners around Actually I like the way it was hit return when you're finished and now it's kind of the in and out part. How do we do that? The easiest way is to actually have ignored this thing here. This could be confusing, I'd leave it there but I want to make this crystal clear when I'm teaching this, it freaks everyone out and I'm gonna twirl that up there so that it just looks a little nicer. So what you do is you have one copy down here, we're going to name, let's call this one vine It's actually called Vine one. I'm going to duplicate it by dragging it onto here, I'm going to have one above, This is going to be my vine two should be below and above. But anyway, so I've got two of these now the ones behind the text and one is in front of the text. So with this one on top at elam ask just paint this is the bit where it gets a bit weird to add a layer, mask, grab your paintbrush, make sure you switch back to normal mode, make sure black is your foreground color, pick a size, remember I'm holding down the control and option key on my keyboard and dragging left and right and on pc it's hold down the alt key on your keyboard and then use your right mouse button, drag left and right up and down. Alright that's the last time I'm gonna give you that shortcut, write it down. All right I'm gonna go something hardness about 90 and now you're going to paint out say I want it coming in front of this but behind that can you see I can get right to the edge there actually put that vine there let's zoom in a bit. I'm gonna under a few times so watch this. I can be really brutal with it. Can you see I can kind of click over that whole thing and because there's something behind it filling in that gap it looks quite good with this one. I want maybe that stalk going in front there but not this leaf. Mr put it back in so I just remember X. Key, toggles the foreground and background colors. So if I accidentally clipped that bit off and I'm like nope, just put it back in, excuse to bring black back, go on and then just kind of work your way around decide what you want in front and what you want at the back going for a little bit of a zigzag. I mean it's hard to know. Here we go the genie is a little bit of work I can't even read that's a G. X. Key. Want to paint that bit back in. I picked it out. She can't execute again and I'm going to need more of this down here because it's just unreadable. Especially this bit here. Probably. Sorry guys, you'll have to go underneath. Maybe you don't. Oh and that little guy pokes out. Alright, so probably we're going to have to do as well. Is there's a little bit of ghosting around the outside so I'm gonna jump back into select mask and look at contracting the mask a little bit or don't put yourself through the pain and just have a white background with colored text. You don't have to worry about it at all. Alright, I'm gonna cancel. Let's go back, turn that back on. And that my friends is the puppet warp tool if you enjoyed it. It is built into adobe illustrator as well, but it gets really exciting when we're working in something like adobe after effects I got of course on that, you can go check it out, but the real perk is you get to animate it. So where are we going to bend this around? We hit return and it's kind of fused like that after effects allows you to kind of in real time, wiggle it around and have this vine kind of like moving and growing and wriggling if you've done that course. You remember this guy where we made him dance. Alright, that's it for the puppet warp, I will see you in the next video