Lessons

Lesson Info

Warp, Bend, Liquify in Adobe Photoshop

Let's turn our attention to methods we can use in Photoshop to bend or liquefy an image. So if you just never needed to be pliable, you wanted to bend around the surface, uh you wanted to wave with like a flag waving in the wind. Whatever it happens to be, uh you'll know how to be able to move things in a more fluid man. So here goes, we'll start off with something simple. What I'd like to do here is put this book onto a book cover. So I'm gonna come here and start off by taking the layers that make up this graphic and I'm gonna convert them to a smart object. That way the entire contents of this document, if I have all the layers uh currently selected will become one layer. So it'll be easy to manipulate and we'll do that with this. Then I'm gonna drag this over to another document where I have a picture of a book sitting there. I happened to construct that book from scratch many years ago, but we'll use it here. I'm gonna transform this by typing command T and then I can't see the tr...

ansformation handles because they're outside the edges of my screen. So I'll type command zero to zoom out until I can see them. And let's just scale this down until it is easy to see. And since it is a smart object, it doesn't matter how small I make it right now. If I scale it up later, it will retain the original quality because it's always gonna look back to the full size image it was created from then to get it to conform to the cover of this book. All you need to do is choose edit transform distort. When you use distort, you will have handles on your image and it you can grab each corner independently of the others. And so I'm gonna get one handle to get right down to that corner, another one down to this corner and get these others lining up just right. And usually I would zoom up to get this perfect when it comes to the positioning, you know, I could come up here and really fine tune this until it is right on the exact corner. I might not spend that time right now because I think you get the gist of the idea that uh all you need to do is go to the edit menu and to choose distort. And that's what allows you to control the four corners separately. And when you're done, just press return or enter what's nice about this is once you do have it set up where you started with a smart object that was made out of multiple layers and then you transformed it to fit something you can go in and modify the contents. Uh For instance, let me hide this version and go to the original one that was here. Uh It was made the same way and this is a smart object. Well, I'm gonna double click within my layers panel on the thumbnail image for that layer. And when I do, you'll see what I started with, which is a straight version of the book. So I could modify this, put a different book cover in or in my case, I'll change the photograph that's there. Then I just close this to save and I'll save it right back into that smart object and it remembers the transformation that was applied. And so it simply updates and therefore I can keep this mockup of a book and change out the cover and spine uh with various different designs. And the only difference is there's a separate layer right here for the spine, it's gone through the exact same process. So if I double click on it, you can see the straight version of that spine. Now, what we've done so far would not work in this instance because the book that we had previously, the cover was perfectly flat, but now this one has a slight curvature to the page. So if I wanted to replace what was on this page. I would have to use a different feature uh to show you that though. I'm gonna be working on a different picture. But this is just an example uh to let you know that sometimes you, you need to use something different. In this case, we're gonna wrap a picture around this mug. In fact, I think I'm gonna wrap uh a little sign that I found. Imagine you saw this sign. I have no idea what it says because I don't speak the language that's used here, but I'm gonna open that and whatever it is, I doubt you'd wanna drink a mug that had that warning on it. So in here, I'm going to drag this over to the other image. So just drag it up to that tab, drag it down here. I'm sure it's way too big. But before I scale it, I'm gonna convert it into a smart object. And therefore any scaling that I do will always be calculated from the original. And therefore it doesn't matter if I scale it down and scale it back up large. Again, it will still be of high quality. So layer smart objects convert to smart object. All right, then I'll type command T and scale this down to approximately the size that I think I might need and position it nearby something about like that. Then let's zoom out and in order to bend this to conform to the mug, what I need to do is go to the edit menu, choose transform and we want to use a choice called warp. Now, when you use warp, you can either do a custom warp, which is what I would usually use or up here, you have presets, these presets I find uh aren't usually helpful when I'm trying to line this up with an actual photograph. I mean, there is a choice right here called cylinder, which would think about a shape like this. The problem is when I choose cylinder, it thinks that the photo that I'm trying to align this with uh I was perfectly lined up with in that the verticals on the sides here uh are perfectly vertical in this. This doesn't give me an option to modify that. If I grab this, I can change its width. If I grab that, I can also modify the width, I can bring the top up to change kind of the angle this is going at. But what I can't do is make this vertical line here or this vertical line here no longer be vertical. So I'm gonna hit escape. And that's because if you look at the mug that is there and you just look at this perfectly vertical edge here, the edge of the mug is not perfectly vertical, it's going inward as you make it towards the bottom. And so because of that, we can't use that choice uh and get a good result. So I'm gonna come in here once again and choose warp. And this time I'm gonna leave it on custom. When you leave it on custom. Now, you're gonna have four handles. The handles are on the corners of this graphic and I'm gonna place those handles where I think they should be. So let's imagine that we want the um, label that's here to be about this far down from the top rim. Well, then I need to move this handle to where that would be about that far down from the rim. So let's put it maybe over here, probably about like that. Uh Then you see these little handles coming out, they determine what direction this edge will start traveling in the moment it leaves that handle. And when it comes to this area here, I need it to be close to vertical. I need this angle to really match the angle of the mug. I can't see the angle of the mug though. So I might push this over just so I can see what the angle is and then try to get this to be close to that. I think we'd be around there. Then I'm gonna move this corner and I'm gonna move it. And so you see this amount of space that is here, I'm gonna go for the same or a little bit more space uh down here. And so let's see you right about I'm guessing right about there. And then I need this handle which determines what direction is this gonna start heading in to be at the same angle as the edge of the mug. Again, I can't see the edge but I can move over and kind of guesstimate. Uh what that angle is now that I've gotten it over far enough, I can get the angle just right. This now is at the same angle as the edge of the mug. And I think the other one is as well. Uh I can then adjust this either moving it up or down to get it just where I want. And now this handle, I need to tell what direction to go in. Well, if I would imagine you were just standing right here on the edge of the mug and you were an ant about to walk around the shape of the mug. What direction would you take your first step in going around here? Well, if you were right about there, your first step would be at an angle about like that, that's what I need this to be pointed in just to tell it what angle to start at. And I'll do something about like that. Now, let's work on the opposite side. I'm gonna move this corner. So it's about this far down from the edge and is however far over I would like this uh label to end. So I'm gonna guesstimate about there. I'm gonna get the down pointing handle to be at approximately the angle of the edge of the mug, which I think is pretty close to straight up and down at that uh side, I'm gonna get this corner to be where I think the corner of the label should be. So I'm looking at this distance from the bottom uh going up and maybe about like that. And then this, I need to get in the angle of the edge of the mug on that side, which I think is close just straight up and down. I might need to fine tune that a little bit and get these handles to be a little bit closer to what is needed. Then this one here determines what direction it will be going out when it leaves this point. Just imagine you're an ant standing on the edge of the mug right below that. What direction would you take your very first step in as you traveled around this way? Well, if I was leaving right here, I think I would travel kind of at this angle. So that's what I'm gonna set this to. Then we can fine tune everything in between by instead of grabbing these handles, click on the line itself. If you click on the line itself and you sometimes it'll beep at you because you won't know exactly where you need to click. That will also adjust the length of those handles and their angles. And I'm gonna see if I can get that now to look close to what I want. And the only thing is it looks to me like this is being compressed in the middle. And that's because the space between here and this line is smaller than the space between here and that line. Well, I can click on that line and drag it and therefore try to control what this looks like. What I want is all the lines within that grid to conform to the shape of the mug. Then when you get to this point, you probably need to fine tune things. These handles might not be at the angle that represents the edge of the mug might need to get them a little better and fine tune the in between parts. But for now, I'm gonna call this close enough, I'll press return or enter. Uh And then if I want it to look like it's printed on the mug instead of just taped onto it, I could change the blending mode to a choice called multiply. Uh So we have that set up. But what's nice is once you have this set up, if you use the smart object to begin with, then if you go back to the edit, then you, you choose transform and you choose warp at any time in the future, then you could come in and you can still fine tune this. If you discover that it looks like it's off a little bit and just press return or enter when you're done the other thing you can do is double click on the smart object and you'll see the original contents and if you would like to put a different label on there. Well, let's see if I have one, I'll open up a logo that I have here and I'm just gonna drag this in to this document and I'm gonna scale it up to fill approximately the same amount of space or at least close to it. And then I'm just gonna hide the layer that's underneath. And then all we have to do is close this document and that'll save it back into the document it came from and it should remember the warping. Uh So let me close that out. So there we go. Now we have a different uh logo warped around the same mug. And so it's not dissimilar to the book project where I can replace the cover with anything else or update it. Uh Same thing is true here. So you could create a template for this if you'd like. Next, let's explore a filter that is known as liquefy to start out. I'm going to as usual convert this into a smart object because if I have a smart object, then whatever filter I apply to it won't be permanent. And if I return, it will look just like it did when I left. And therefore I can modify or even remove some of the changes that I make. So now we'll go up to filter and choose liquefy. When you get into liquify, there are two ways to work. You can either manually adjust the image by working with these tools and clicking and dragging on your image or if you have a face, uh you can move some sliders over here to adjust the image if you plan on working on a face, which is what we're gonna do to begin with you over here where the tools are, choose this one that looks like a face and shoulders and you'll see it says face tool. And therefore you're going to get overlays here on the picture. If you move your mouse on top of the image, these overlays, each one of them ends up corresponding to a slider that would be found uh under these various categories. And so therefore, you can either move your mouse on top of the image or you can move these sliders before we get into that though. Let's come down here to view options and make sure we don't have anything weird set up. First, we have show face overlay and that means if you don't see any overlays, any indication when you're in this tool and your mouse is over a face, then you probably have this turned off. Uh you wanna have show mesh turned off, otherwise you're gonna see a mesh on the image which is going to be distracting here. We have an option called show mask and that doesn't apply when you're doing face uh related liquefying. Uh This has to do with a freezing an area to prevent it from changing. So that's not gonna matter. But this is, here's a choice called show backdrop. What it does is you can see a hint of the original image mixed in with your result. If this is turned on right now, set up so that you would see something else and you would have it blended in at 68%. What that means is if I make an adjustment to one of these settings, and I look, I can see two versions of the eyes in there. It looks as if one is blurred, kind of with another and that's because of the setting. So I wanna turn off show backdrop. If that's turned on, you're gonna get something weird looking uh in your preview. So now that we've got our view options dialed in, let's look at what we have here. Although I do want the face uh overlay turned on. All right. So here goes, we have eye size, height, width and tilt and each one of these has a separate setting for the left eye versus the right eye. And you can link these together with these little link symbols or you can unlink them so you can adjust one eye separate from the other. So for now I'll have them link so so you can see what it looks like. And here we can change the size of the eyes. So if I want of slightly larger or smaller, and oftentimes with models, you make them slightly larger and just make somebody attracted to the eyes more. But if you go overboard with this, it's gonna look distorted and fake. Usually there are subtle changes you're gonna be making with this. Then if you have somebody that has one eye squinted a little bit more or less than the other, you might unlink these two and you could adjust the eye height to just scale it vertically and possibly try to open up the one squinty eye. Uh You also have eye width. In this case, we have them linked together. So you can see that I could scale the width. Uh if needed, we also have eye tilt and in this case with changing both eyes, it might look kind of weird, but on occasion, you might find that doing it with a single eye and doing it a tiny amount might uh be worthwhile depending on the image. I might need to just do just a little hint there. Then we have eye distance which can again make it wider between the eyes or pull them together. Then let's come down here and take a look at the nose. We can do nose height and width. Well, if I just move my mouse over the nose, you're going to find that we have some control here. If I click right here, we're gonna be adjusting the nose height. If you see me pulling it down or pulling it in. When I let go over here, this will change to reflect the change I've made. If you go to either one of these outer areas you're gonna adjust the width of the nose and only when you let go, will you see the slider over here change? So we can either work with sliders or we can mouse over the image. If we come down further, we have mouth and you see there's 12345 settings. So when I hover over the mouth, you see 12345, you know, kind of settings. But what I could do in here is I can adjust the upper lip, the lower lip, I can adjust the width and I could also try to make them smile or frown, but it all depends on how much teeth are shown and everything and how much you can get away with anything like that. Sometimes a very small change, but I can do all of those things. Uh We also have an overall mouth uh height uh to get in there. But when the lips are together, like mine are uh I don't know that I'm gonna be able to do all that much there and keep it looking at all realistic. Let's go down to face shape. When it comes to face shape, we have four choices. And if I go over on top of the image. We have an overall choice here where I can make my forehead larger like that, I could make my chin longer or skin or not skinnier, uh less tall. I can make the face width wider or less and I can come in here and work on the jaw line as well. If I want it to look like I have a more chiseled jaw in there instead of a rounded one. and we have the corresponding sliders over here on the right side. Now, I was moving these around just so you can see what they do. I didn't think that I actually needed most of these changes. I wouldn't mind bringing in that jawline a little bit, possibly. So what I'm gonna do is hit, reset here to get back to the original, I'm gonna come down to my face shape and I'm gonna come in here and just pull that jawline in a little bit. I might come down here to my nose and I'm gonna just limit the littlest bit. Uh And the other thing I might do is and maybe bring down the face with just a little bit to slim my face a little. So if you want to see before and after there's a preview check box down here, I'll turn it off so you can see the original, turn it back on and you just see that I have a slimmer looking face, but it still looks uh relatively uh natural. So then let's move on to the tools that are over on the left side. When you use those tools, you're gonna have a brush and you can control the size of your brush using standard keyboard shortcuts like the square bracket keys. Or you can come over here and adjust the size here. I'll use the bracket keys. Let's look at what each one of these tools do and then I'll try to give you maybe some practical use for them. So the topmost tool it's going to allow me to simply push on the image. Imagine it's made out of silly putty or play doh and I can come in here and just kind of push that um jawline in. I could do the same thing over here. Uh And you can get ridiculous with it if you want. Uh Here, I'll just push in a bunch. Well, if you want to control how um quickly things move, where if you have to move a little bit to, to make a uh large change or a lot of it to make a large change over here on the right side is where that's controlled here. We have a choice called pressure. Let's see how much it's gonna move with its set to 100. It moved quite a bit. Let's bring our pressure down to a lower setting. And now when I bring it in, I, I have to move my mouse further in order to get uh a large enough change in the image. So I might like it with the pressure down. So I don't make such crazy um changes with such small moves. Then we have density and I'll turn density all the way up to begin with. And when I do, you'll see how much of the width of my brush affects that chin line. And then I'm gonna end up bringing density down and I'll go to the same area and now less of my brush width is affecting it. You can see more of a kind of pointy shape in the middle. So it's kind of saying how, how much imagine you're pushing down on something and how big of an area do you have? You're pushing happening where it's actually hitting hard and then it's gonna fade out until you get to the edge of that brush. So this is determining how wide that is. I might leave it somewhere in the middle. Uh So in this case, what I might want to do is I'm just gonna move the tip of my nose. My nose is the tiniest book crooked. You might not know that. But so that top tool allows you to simply move things around. Uh We're gonna come back to these two tools after we look at the others because they're good for modifying things once you've distorted stuff. So now let's go to this one. This is the twirl clockwise um tool and if I were to click and hold down the mouse, it's going to rotate something clockwise. And the longer I hold down my mouse, the more it's twirled, I type command Z to undo. So if you needed the slightest change to your image, you could just do a very quick click and if you want to go the opposite direction. So here we're by default going clockwise. What I'm gonna do is hold down the option key al to windows. If I hold that down, we're gonna go the opposite direction. But you just might want a tiniest little click and it's that pressure setting that's gonna determine how fast things change. So with pressure at 100 you'll see how fast it moves and with pressure turned down, now I'd be able to make much slower changes and therefore be uh more precise with what I'm doing. So that would be another way you could attempt to uh get a little hint of a smile is you could try to rotate there. Hold down the option key when doing the other side to rotate the opposite direction. If you'd like the next tool down is the pucker tool with the Parker tool. I can come in here and click on something and hold down and it's gonna get smaller, choose undo. So if the tip of my nose feels a little too big, I'm just gonna click on it a little bit like that. And so I could make the ends of my mouth a little bit smaller if I felt like it. And again, the pressure is gonna determine how radical is it. And when it comes to this tool, there's a setting up here called rate, which you'll find with some of the other settings too. And it determines, I believe how fast it's going to be uh changing areas. So if you need to be more subtle than it's allowing you to, then that's what you might want to adjust. Now, with this tool, if by default, you click and it makes something smaller, choose undo. And if you hold an option, it should make things bigger. And that is what the tool below it does, which is the bloat tool. And so you can get the functionality of both bloat tool and the pucker tool in a single tool uh by just holding down the option key uh depending on what it is you need. And so I could come in here and just say I would like to maybe hold option here and just make that pull it in a little tighter, whatever it happens to be, then we have another one. This is the push left tool. And with this, it depends on what direction you drag. Let's see what happens if I click over here and I drag down, do you see how it's pulling it to the right? I'll choose undo. Let's see what happens if I drag the opposite direction. If I drag up, you can see it pushes it in and in here we have our pressure setting, which is going to be how uh radical it is about it. So now I can get a smaller change or a larger one. And so we could also go at an angle where I go both up and to the right and here you might just naturally go up into the left, but you find it pulls at the wrong direction. So just choose undo by typing command Z and just drag the opposite direction. If you go horizontally, you're either gonna push up if you go one direction or pull down. If you go the opposite, it's a little hard to really uh control because unless you use it all the time um because it's hard to remember exactly what direction you need to go. So then let's make sure we've made some changes. I'll come over here and be more aggressive with this to make a visually obvious change that definitely needs to be lessened. So then up here, we have some uh tools we can use. We have one here, which is the smooth tool. If there's any transitions from where you've distorted to where you have not, that just don't have a smooth transition, you can come in there and click and drag and kind of just uh paint over it a few different times and it will attempt to smooth out that transition. We also have the tool above it, which is the reconstruct tool and that tool is going to bring it closer to where you started. So you can come in here and if I click and hold, you'll see it kind of reconstruct. But what I could do is just a few little quick clicks like that. And if it ends up making too large of a change, if you like, you don't have enough control, you have a rate control there that you could lower so I could come in there. And after adjusting a few areas to decide that I need to get a little closer to what we starting with. And you could bring the entire image all the way back by just painting all over the place uh to get it back then right here, we have a freeze and a thaw uh choice. So let's say I came in here and I reconstruct it around my eyes. I reconstruct this whole area because I don't want it to have distortion in it. And then what I ended up doing is I come down here and grab the freeze tool. And what I wanna do is prevent these areas from changing. And I want to instead change the areas surrounding them and make sure that this is not part of what has changed. So now those are frozen and now I can go to the normal tools that we've been using previously and whatever it is. I do. If I come in here and grab my ear and push it in, you're gonna find it fades out as it gets towards that eye and it won't be able to fully affect any of the stuff that has been frozen. Maybe I come in here and, and pinch in my cheeks. I I'm doing things that are more radical than I should be just to make it obvious. But let's say I did that. Now over on the right side, remember under view options, there was a choice called show mask and that means show that red overlay and you can change the color of it here to any one of these choices and you can turn it off if you don't want to see it. Uh Then I might want to come in here and use the smooth tool to smooth things out. Now, if I have show mask turned off, uh that area is still frozen is just that you're not seeing the overlay. So I still won't be able to affect the area in there, but I can affect this area. That's right near the edge of the transition. And I might try to smooth it out on both sides to get a better transition into that. Uh I'll turn my Show mask back on so you can remember which areas are frozen. Uh If I then decide I wanted to change my nose. Well, then I come down here to this tool that is the thaw tool and I can come in here and remove that red overlay to say no. Now I want to be able to change uh more of the image maybe all the way into there, then I could turn off the mask overlay. It's still masked, it still can only affect uh those areas. And then I could come in here and make further changes knowing that I can get to uh different areas within the uh image. Uh Also, when you're in here up here will be an area called mask options. And if you open that up, uh let me first turn on the uh mask overlay, so we can see it. Uh There we have none. If I click that, that is going to remove all the frozen areas or I could mask all that would cover the entire image with red and then I could come in and only thaw the few tiny little areas that I actually wanted to change within the image, therefore, preventing it from affecting the majority of the picture. And then we have invert all which changes where the red shows up. So you get the exact opposite. So this should be called thaw all and then this would mask the whole thing, then you grab this little Thaw tool and say I only want to change this much. And now the tools would only be able to work on that area there. You can get even fancier with this with these little icons. Uh But that has to do with clicking here and working with the transparency that surrounds a layer or if you had a selection or a layer mask on that layer, uh then you could use some of that. That's something I rarely uh work with. But for now, I'm gonna click none because we're done talking about masking, masking is going to limit where it can affect the image. So in this image, I might want to go here to the reconstruct tool and I see right near the edge of the document that um we're missing part of the image because we pulled it in. Well, I might want to see if I could paint over that enough times to pull that area back to what it originally looked like to see if I can get that stuff to be filled back in. And I could have always worked on a duplicate of the layer and had the original image underneath and then used a mask afterwards. If I needed to get certain areas like these at the top to uh get back to their original look, then we have show backdrop and that is if you have other layers in your document that you would like to show you could do. So here, would you like to show it in front of this image behind this image or blend the two together and you want to be able to see through it uh there's my original, here's my, what we've done here where I could blend the two together to compare them. Uh Sometimes it's useful if you need to match uh this so that it, it matches another image that's underneath in its width or some other attribute. Uh But that is what you can do there. We also have the brush reconstruct options and here if we hit, restore all that's like using that reconstruct brush across the entire image, and that's going to bring the entire image back to uh normal. I'll choose undo. Then we also have a choice here called reconstruct. And here I can dial in, how much would I like to go back? So if I set it to zero, we get none of the distortion and if I bring it up, I can dial it in. So therefore, if you've overdone it a little bit, you could back off on everything as a whole. So you can see there's a whole bunch of options in here. Just a matter of experimenting and getting used to their various functionality. So let's go and work on something other than my face. So I'm gonna click. OK. And you can see that this can be applied as a smart filter and it just says liquefy. If you double click on liquefy, you'll go right back into it is if you never left. So you still have all of the changes you've made and you could modify them here. We got my man Rich and I don't like the way his outfit is open. I don't think I'm either gonna convert to a smart filter. In this case. I'm just gonna go to liquefy. Let's zoom up with a little command plus there and we could use the top tool. And what I might want to do is just kind of tighten this up. I'll actually go into the, the uh tool that makes things smaller this guy. And let's see if I can just pull this in a little bit and it feels like it's being pretty radical in how this is doing that. Here. We have a rate, I'll bring it down so we can be a little bit more uh subtle with the changes. But I'm just trying to make that look a little smaller and then I might wanna move it. So I'll grab the top tool and let's just see if I can move that in a little bit, maybe like that. Then I'll grab a tool that smooths things because I don't think it looks very smooth and it's making a huge change as I paint. So I'm gonna choose undo and I'm gonna bring my rate down. So it, it makes less of a change as I go and let's see, it's still going pretty radical. So let's bring down pressure. Now, let's see what I've done so far. Turn preview off, turn preview on, we pulled it in a bit. I don't like how this is distorted. So I could go to reconstruct and see if I can bring some of that back. If I don't want it to affect his suit. When I reconstruct, I can come over here and freeze it. So I will just paint about like this to make sure that I don't mess up the suit. I've already worked on like that. Then try to reconstruct, see if we can bring this back to the way it used to look and it'll be that little spot in between where something's got to stretch. So it's not gonna quite look right. But that's where after using liquify, I could use the remove tool to go in there and clean that up. Uh So the other thing I can do is see if I can use smooth to smooth that transition so that it doesn't look as uh radical in its distortion. Then I can go to the right side and we have our mask options and I'll just say none. And, uh, then we could do other things. I could attempt to do something here. I might come in there and use the thing that pulls stuff in and get it right across there and then grab the smooth. But I think that's only a slight change there. I click. OK. And then here's my wife Karen who almost never has anything here. But if gard this position, she might, we could do a classic little, uh, tummy tuck here, I'll grab the thing that sucks things inward and I just might try to make that area slightly smaller. Then I might take the tool that moves things and just move this upward, come back into the pinch, a little more push and then come in and reconstruct or smooth, smoothing in my case, and reconstructing anywhere out here and finally smoothing to get that transition to not look so distorted. Let's see what we've done. Here's preview before, after I'm not a pro at this part of it. It's not what I typically do, but you get the idea. Next. Let's explore a feature known as puppet warping to puppet warp something I want to get it on its own layer. So here I'm gonna use our selection tool. I'll click here on me. Hopefully, it will be able to find me in there. Uh It doesn't look to be all that perfect because I can see it missed uh got some of the reflection on the wall. It's missing some of my hair. So I'm gonna zoom up, I'll hold down the shift key and I'm just gonna circle around the rest of my head to see if it's able to add hair. Then I'm gonna take away by holding option and go over here on the wall and I'm not gonna attempt to get this perfect because I'm trying to show you the concept. I'm not trying to create a finished. Exactly. Perfect. Uh image. And the only difference is how much time you spend in making selections. Perfect and other things. So for now I'm gonna act as if that is good enough. What I'll do is copy that onto its own layer. Now, if you want to be able to adjust the mask later, I could always come in here and duplicate the background layer instead and then just use a layer mask. Therefore, the mask is not permanent. Uh I can hide the layer that's underneath. So this is what we have in that layer, I might just fine tune a few spots here because I can see right where my hair uh transitions into my head is um not quite right, right there and right there. So we'll do that uh but leaving it. So we have it as a layer mask means I can always come back to it later and fine tune it. Uh Then next thing I want to do is hide that and then work on the layer that's underneath. And what I'd like to do to that layer is I would like to retouch me out of it. So I'm gonna get a selection out of the layer that's above. I want to just get the selection we had uh a few minutes ago. One way of doing that is to put your mouse on top of this little thumbnail image and hold down the command key that's controlling windows and click on it that will bring back the selection. Even if you made changes to the mask, the changes will be incorporated. I'm gonna make that selection a little bit larger just so that I'm sure it includes all of me every little pixel, maybe about uh four pixels to make it. So now if I look a little bit closer before it was right up against me, whereas afterwards, now there's a little gap between the selection and where I am and uh I might add a little bit just wherever I think like my hair might be sticking into it or any other thing where it includes. Maybe right here, maybe the shadow for me, here's the shadow for my foot. I don't know if that's going out far enough, whatever. Maybe there. I think it missed the top part of my shoe. All right, then I want that to be retouched out. So, what I'm gonna do is go to the edit menu and I'm gonna choose generative fill that uses artificial intelligence. I'll leave the prompt empty and I'll hit generate and I hope it will be able to remove me. I know there's gonna be a shadow on the wall behind right above my leg. And that usually means there was a hint of me still in there because it ends up thinking that there should be a person and they're all terrible people. Uh So I'm gonna use something else here instead I'll choose undue uh and get back to the selection. Let's instead go to this tool, which is the tool I used to make the selection in the first place. Let's right click. And that's where I'm gonna find a choice of delete and fill selection that will automatically expand the selection a little bit and it should attempt to remove me. Let's work down here in the background. And I'm gonna use a tool that needs to work directly on the original image. If for some reason I wanted to keep the original, I would duplicate this layer and just leave one copy of the original. Uh But I'm just going to right click while I'm in the object selection tool, I'm gonna right click and that's where I'm gonna find a choice called delete and fill selection and it will attempt to get rid of me. It did an OK job. I can touch it up if I need to and I would do that coming down here and using the remove tool and I'll just come in if I need to and see if it can figure out what should be in these spots. But this is not gonna help me with the puppet warp tool. This is just kind of prepping and I could spend more time doing this by using cloning uh to really fix this up uh nicely. But it's good enough. The main thing is you would remove the subject of your photograph, the thing that you're going to be distorting. Now, let's go to the layer that's above. That's where I have that picture of just me. And if I hide the layer that's underneath, you see it's just me. I'm gonna take that and I'm gonna convert it into a smart object and then let's head up to the edit menu and that's where I'm gonna find the choice of puppet warp and puppet warp is kind of fun. Uh When you first turn it on, you might see a mesh that looks like this and this determines how fine of adjustments we're going to make. And you can change the density of that mesh to have uh fewer points. So you're making kind of more crude changes or more points where you're making much finer like if I needed to move my thumb, I would probably have it set to this. Therefore, I could control where the knuckle is separate from the tip of the thumb and that kind of thing. Whereas if I had it set to fewer points, then it would be impossible for me. Now to control my knuckle separate from the tip of my thumb. There's just not enough lines in there, but we're going to leave it on the set called normal. And then I'm gonna turn this check box called show mash off. So we just see the image I'm gonna move down to my picture. And what I wanna do is click wherever my joints are, wherever I don't want to move them to begin with. So I'll click once here where my foot is. I'll click once on my knee, I'll click once here and I'll do the same thing over here. And if I never move these, then they should remain stationary. I'm gonna come up and let's just say I hinged their, their elbow, wrist, elbow wrist and I might want to get the top of my head so I can control it separate from my neck. So these are all now points that I can reposition. And so if I would like my, my pose to be different here, I could then grab something like here and move this and it's doing what's known as puppet warping. I could come over here and I held shift when I clicked on this. So now I have two points selected and therefore I can try to move them both together. If I need to move the end of my hand, I add a point there. And now these are pivot points that can be moved and I could try to move the hand to a different position. If I want the thumb to move, I might add one here and add one at the tip, then I'd be able to try to move my thumb. Uh I could then try to move my my wrist. But when things are really close together, it's gonna start getting distorted a lot. Uh So we can attempt to do that uh, if I wanted to, maybe I want my head to be tilted a little bit. Well, in order to tilt my head, I'd probably have to move this here and then move that over a little bit to make it look appropriate if I wanted here to have my feet completely different. Let's say I want this foot to look like it's darn near doing the same thing. Well, I'd have to take my foot and move it like this. And then I would have to come to one of these. If you hold on the option key, you're gonna get one or two things. If you're on top of the pin, you'll get a scissors. And that means if you click, you're gonna delete that pin. But if instead you move away from the pin, so you're just near it. Now, we can control the rotation of that point right there. So if my legs looking overly distorted, I might be able to get that rotation to be a little closer to what I need. I can then go to this one up here again, click on it to make it active, then hold option and move just outside. And now I could more work with that. I could also come down here to this one. Hold option, move a little bit out and control it uh and do that with each one. There we go. Let's say that's what I needed and that can make it look a lot more natural when you're attempting to, maybe when you're attempting to maybe move this up this way and then you try the rotation out. And if I need control in between, just add another point, there is a limit to how close these can be. So sometimes you might get an error message, but um in general, you'll be able to uh put them most places where you need them to be. Then just for giggles, let's uh take this leg and put it behind this leg. And let's say what I did that I wasn't looking to make that leg be behind. Instead. What I really wanted is for it to be on top. So how can I do that? Well, if I select one or more of these pins, I can right click and what I do, I can tell it to bring it forward in the stacking order of those pins. So when I choose, bring forward now you can see that my leg is on top instead of going underneath. Uh This is obviously way too much of a distortion. I mainly just wanted to show you if you need it to be on the opposite um side of something you can do that. I'll, I liked it better when we had these two kind of over here and, and this one a little closer to there with a little different rotation and a little different rotation, maybe one last one on the tip of my hand to get it up onto the wall. When you're done, just press return or enter. And afterwards if you're like, oh man, I don't like what I did to my face. All you have to do is head right back in to puppet warping. And I could always come in here and remember, hold on option and you can click on a point to delete it and maybe I just needed it that way and you can fine tune this. However you see fit down here in my layers panel, it'll show up as a smart filter and it says puppet warp, turn off the eyeball there and you'll see what the original look like, turn the eyeball back on and you'll see what we've done. But the key was to first remove me from the background so that if I move, you don't see another version of me right behind that, let's look at one final way to bend an image. And in this case, I've done a little bit of work ahead of time. All I did was open this image and then I found a poster that I wanted to put on the side of this trailer. I scaled it down to the size needed. And before doing so I converted it into a smart object. So let's zoom up and see what I'd like to accomplish. Well, if you look at the trailer, the outside of the trailer is not flat. Instead it undulates where it sticks out more in these little kind of ribs. I think that makes the outer shell uh stronger. So it's not just one flat piece. And I wanted to look as if this was really glued to that wall. So it undulates just like uh the trailer itself and I'll start off by changing the blending mode to multiply. So it looks as if it's kind of been printed on that trailer. Uh but I want to bend and that's what we don't have currently. So let's hide that. And let's first prep this. What I'm gonna do is duplicate this document. I'll just go to the image menu and choose duplicate. And I'm gonna call this the map because we're gonna apply something that is known as a displacement map. And it needs me to provide an image that describes the dimensionality of this surface and it needs me to do it as shades of gray. So what we're gonna do here is I'll throw away the layer that has the poster on it because remember this is the duplicate and I'm gonna change the mode of this to gray scale to take all the color out because it only needs shades of gray. And the other thing is it can't work with 16 bit images when it comes to this image, I'm gonna feed it. So if it was in 16 bits, I would have brought it down to eight. OK. Now let's zoom up and what it's gonna do when I feed it this as what's known as a displacement map. It's going to think of the brightness levels that are here as describing the dimension and the image imagine that it thought areas that are bright are close to you and areas that are dark as being far away. So therefore, it could bend things where it thinks that that's the dimension. The only problem is is if I get in close, do you see the noise that's in the image? And it's not just noise, there's little specks of dirt and other things. Well, if I leave those in there, then uh it's going to be distorting it based on that brightness and it's not gonna look very good. Also, I want a nice gradual bend and not like an immediate one. because if we just had one shade of gray and then right next to it, another shade of gray, it would think they're two somewhat radically different distances. And I want this to instead think it's a gradual thing. So to do that, I'm just going to apply the Gaussian blur filter and I'm gonna blur it. And until I find the lowest setting that gets ready of all the noise first, and then I'm gonna push it a little further to make sure it gets rid of the little details like that. One little speck that's there and stuff like that. And I want this to look smooth So I don't see any crisp edges anywhere close to it. So I'm thinking somewhere up maybe around here. Now this is looking really smooth and I can't see any of the fine details that used to be there. So I'll click. OK? And now we need to save this on our hard drive. Just gonna go to the file menu and choose save as and I'm gonna put it on my desktop. So it'll be easy to get to, I'll use Photoshop file format and I'll just click save. Now, remember that was a duplicate image. And so let's switch back to the other version and let's put our poster back in and let's make sure the poster layer is active. Then let's go to filter. We're gonna choose distort and there's a choice called displace. That means a displacement map. And the map is the gray scale image that tells it where to go if it should go bend it one way or another. So this comes up, we're gonna have horizontal and vertical scale and you want to set them both to the same thing and the higher the number, the more dimension it's going to have, the more it's gonna feel like it's sticking out towards where you're positioned, the lower the number the flatter it's gonna feel and you just got a guess to start with and then when you look at the results, you might think it's a little too much or not enough So you choose undo you come right back in and you adjust your settings. So I'm gonna start off with 20 and I always set the two to the same setting. Otherwise it's going to um move the image horizontally more than it would move it vertically when it bends it. And we don't need that. Then down here, this wants to know if the image we're gonna feed this plug in, which is that one? We saved a few minutes ago. If it's a different size from this, uh should it scale it or should it tile it where it repeats it if it wasn't big enough. Well, it's the exact same size as this document because we duplicated this document to make it. So the setting used here absolutely does not matter. Then if there are any undefined areas, any empty areas in that image, what should it do? Should it wrap the image around or should it repeat the pixels and all that? But we're not working near the edges of this picture and the two things are the same size so that I think that uh it's not gonna matter what we choose down here. Uh Then since we're working with a smart object, it says embed file data and smart object. That means that if I end up transforming the layer to scale it or rotate it, could it reapply this without me having to feed it that gray scale image again? Uh And that's fine. It'll make it a little bit uh larger of a file size, but it's fine. So I click. OK. And now it's asking me for a file and I'm gonna grab that Photoshop file, which is just the black and white version of this image that has been blurred and we'll hit open and let's see what happens, ah check that out and so I can see how it does somewhat look like it's going around that, which is kind of cool. Uh So let's try changing the settings. All we need to do to change the settings is we don't even have to choose undo and then reapply it because over here in the layers panel, it showed up as a smart filter. So just double click on the word displace and I'm gonna type in a higher number like 30 and then when I click, OK, it's always gonna ask me for an image because it didn't know if I wanted to switch to a different image or not hit open and now it's gonna bend more. So if I choose undo, this was at 20 this was at 30 I just need to decide which one is better or do I need to go even lower. So if 20 was maybe too high, let's try 15 and then we'll see what it looks like at that lower setting. OK? I'll choose undo. That's 20 that's 15. I'm thinking the 15 is just about right. Uh for me. And so that is known as a displacement map and it can be used to bend things around. But we do have one issue with this particular 11 main issue. And that is, do you see this little fold in the trailer? It's like a seam between one piece of metal and the next, we'll look at how it was distorted there. Do you see how extreme that bend is going into that? That doesn't quite look right compared to everything else. So, let's see if we can fix that somehow. Well, we still have that other black and white image open. It's sitting right here and if I zoom out on it and you look at that, let's zoom out. And if you look at that spot, it's right here and anything that's dark is thought of as being far away. And so it thinks that that is like a canyon going way down and we just need to retouch it to make that look more like these others. So what I might do is just copy from like right down in here because um here I see this part which I think should uh I could use here. So I'm gonna come over here and use the healing brush tool and I think I will just come up and uh maybe I'll start right here. Option, click to say copy from here and I'll go right up here where it kind of lines up with that part, I'm gonna click, just make sure it's lined up and then I'll come down here to see, could I just put that in or I could use the remove tool? Because that would be, uh, probably p pretty good choice. It would be best if I did this before. I had blurred the picture because right now I can see a slightly crisp edge in there. Uh, that might not be ideal, but I'm gonna let it go here and just try to get that. And I could always use the remove tool and see if I can smooth out that one little spot right there, any others. But anyway, the main thing is we got rid of that really dark part. So then I'm just gonna choose save to save that back into that file. Now, this is not gonna update because it only looks at that file at the moment. I feed it to the filter. So I'm gonna double click over here in my layers panel on the word displays. I'm just gonna leave the settings the same because I kind of like them or maybe I'll bring it up to 18 and click. OK. That's when it asked me for the file. Now we have that updated file. So when I load it, if you look there, uh if I choose undo this was before where it kind of snuck in there and this is after which it's a personal choice as to which one you like better. So this is known as a displacement map. And if I turn it off, you can see just the flat poster and turn it on and it looks like it conforms to it a little much. There are limitations on using this notice. The area of the trailer that I used was one color. Uh I did not go across this if I were to go across this, take a look at our map and if I zoom out, do you see that area right here? Well, dark things are thought of as being further away. So we would have pushed it. So it looked recessed here. What would I have done to fix that? Well, back when I had this version before I converted to black and white, when I converted to black white, I would have used a black and white adjustment and when you do, there's a little hand symbol up here and you can click on whatever color you want and drag up or down to brighten or darken. And I would have gotten that to be the same brightness as the surroundings. And then the other thing I would need to do is just like when I retouched out this dark line, I'd have to retouch out the pinstriping that was on each side of that, then that would have worked fine. Let's throw that away other things that would not work. Uh Well, if you look, let's say down here. Do you see where this chair is casting a shadow onto the trailer? Well, that's making part of the trailer dark. You know, if I attempted to uh do something in that area, it would think that the poster that I was applying to be pushed way in right there. So the lighting has to be even no uh like shadows going across it that are partially there. Otherwise you'd have to retouch them out in the black and white version also as I showed here, no multicolored thing. So this can be used to wrap something around like uh somebody's car door. So it looks like a a logo is put on there. You can even do it to somebody's face, just make sure their face is relatively evenly lit here. I'll show you where I've done the same thing to a few other images. I used the same kind of graphic and then I took this image and tried to see if I could get it to work and you see there, the lighting is relatively even and all. And this is what it looked like. And if you follow it, it's, it's nicely conforming to it. And then I ended up using this wall and this graphic and this was the end result. And if you look at it, you'd have to follow some of these lines. But you can notice it looks like it's being distorted as it gets into the various nooks and crannies of this wall. But the classic example of doing a displacement map is, uh, whenever you see t-shirts for sale online and you go and look on the website and you see hundreds of designs and when you click through them, you notice the shirt is exactly the same. Every wrinkle in the shirt is exactly the same. And that's because they never printed that shirt. They are just waiting for you to buy the shirt and then they'll go print it. And so what they've done is they have a shirt that's been evenly lit nicely. It's usually either a white or a gray shirt. And then they used a displacement map to distort the image that's gonna go on the shirt. If it's a white shirt, then they just set the graphic to multiply mode and it looks like it's printed on the shirt. If it is a dark shirt and their printing is multicolored and bright and dark, then they probably left it in normal mode. And what they did is they took a copy of the shirt and put it on top and set that to multiply mode. If it was a white shirt, then the shadows of the white shirt would have printed on the logo. Uh sometimes that's needed where you don't want to set the graphic to multiply mode because any area that's white would disappear. So if your design for your T shirt had white in the act design, you would want to put a copy of the shirt on top and multiply mode and you probably need to adjust it until the brightness of the shirt is white and only the shadows were there. Uh But anyway, that is the most classic example I can think of. I just didn't happen to have a t-shirt picture.