Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson 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
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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!!!