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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 96 of 118

Liquify

 

Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 96 of 118

Liquify

 

Lesson Info

Liquify

then let's look at ways of distorting a face. And as always, I'm going to convert this to a smart object first so that whatever I do to it will not be permanent, and I can easily make changes later. Then I'm gonna go to the filter menu, and I'm gonna find a choice in there called liquefy. If I choose liquefy, I could expand this out to make it kind of take over my screen. And on the right side of my screen are a bunch of settings, and you can collapse each section down. The section I want to start with is one called face aware liquefy. If I expand that, then we have sub sections in here for the eyes. The nose knows the mouse house, the mouth in the overall shape of the face. Well, if I come in here now, it will automatically recognize various features in here, and you'll find that oftentimes, when people get their photos taken one, I look slightly bigger than the other. And so here we have a choice called I size, and if I move a slider, you'll see that it is able to figure out where my...

eyes are located, and Aiken separately. Adjust the one that's on the left side of the photograph from the one that is on the right. And if there was an eye that was just the slightest bit smaller than the other, this is where I'd be able to adjust that we also have I height. If I bring that, you'll find the eye gets taller before not a stall. And that's good if somebody is squinting, if they're squinting and you need them to open up their eyes, bringing up the I hide a little bit has the potential of doing that. We also have the I with so we could widen it or make it skinnier if that happened to need to be adjusted. And we can also do a tilt where it's going to rotate the I one direction or the other. So any time you need to find Tune, thanks for eyes. This is one way to do it. There is a choice called I distance, and that's going to put the eyes further apart or closer together, depending on what direction you go. Of course, it's easy to make somebody look really weird by moving the sliders dramatically in different directions. All right, then we come down here and we have the nose in here. We can adjust the height of the nose either making it shorter or extending it, and we can also make the nose a bit wider or skinnier. I find that if I end up shooting with a wide angle lens, people's faces end up being distorted in that on occasion, I might need to bring the nose with in a little bit because the nose is something that will be closest to the camera, it will usually be the most distorted and so on occasion. Bringing that in a little bit if it was shot with a wide angle lens can make the image look nicer for mouth. We can attempt to put a smile in, or it's better for exaggerating and smile. That's already existing where you could put a slight frown. You can adjust the upper lip height separately from the lower lip because sometimes people have them a little bit tensed and they one might look smaller than the other. We also could do the width wider or skinnier, and then the overall height. Finally, we have face shape in here. I can control the forehead, but since I have a hat on here, it's not gonna quite be appropriate. We can also just chin height up or down, and then the jawline. How wide is it and the overall face with? So that's face aware, liquefied. Now, if you happen to have a photograph that has more than one person in it and you got a filter liquefy, then you'll find that there's little pop up menu at the top, and you can switch between various faces that air in here in a just one separate from the other. So here, if I go to face number one, I might want Teoh here, adjust the forehead, bring it down a little bit and then select separately on face number two. Maybe it's the mouth that needs some adjustment. That upper lip is a little tensed, so it might bring it up a little. And the mouth height. We might be able to try toe open a little, although it looks like we could get him to talk a little, maybe get him just a little more smiley. But the main thing is you are able to switch between the two, then if I close that well and actually we can work on this one, this one, I should have converted to a smart object first, but I did not. If I do it at this point, then whatever changes I've had will will be more or less permanent. But I would have usually done this first go back to liquefy and liquefied, then also has manual tools. We don't have to use this face aware liquefy. We just have brush tool options here, and we have a set of brushes found on the left side of the screen. Let's take a look at what a few of them do. The top most tool will allow you to his push things around. And so if there is an area that needs to be adjusted, like here, his outfit is a little bit sticking out. A little too much might be able to bring it a little closer to the body, but then, when I do that, the area here is a little too distorted, so the next tool down, if you hover over it, will tell you what it's called. It's the reconstruct tool it allows you to bring areas back to the way they used to look. And so if I paint here, I might be able to try to get the curvature of his suit to not be distorted as much. The more I paint on this, the closer it gets to the original version of the picture. And so therefore, it wont be distorted quite as much. We also have twirled tools. If you need to manually come in here an attempt to put, let's say, a smile on somebody's face. Well, you might need to decide exactly what portion of the face needs to be rotated in order to accomplish that. In this case, I'm just going to click and hold down just to see what direction it's going. It's rotating clockwise, so it might be this portion I need. Rotate clockwise so I can just click. Let go a few times here to see if I can rotate that a bit. I'm not gonna go overboard, though, and if you just click, it's gonna go clockwise. If you hold down the option key, it will go the opposite direction, and so therefore, I could attempt to rotate the edges a little bit. Then I could grab that top tool, which is just gonna move things in general and see about moving his mouth down just a little bit. Could grab the center of his upper lip and try to push it up just a little bit just to get a different look. We have other tools in here. This one here is the pucker tool, which will pull things in like that. And it could be that in some areas, maybe his forehead. I just need to pull it in a teeny bet to make it look a little too far there or below that we have the bloat tool, which is going to push things outward in itself. Somebody's squinting their eyes. One I squinted more than the other, and those tools on the right side didn't work here. I can click a few times, get that groups a little too far. With that last click right now, his teeth look like they're sticking out of it. I could, uh, Parker them, meaning pull them inward. But there's all sorts of adjustments we can do there in the If I remember correctly, both the pucker in the bloat tools. If you hold on the option key. You get the opposite meaning it's liquid into switching between those two tools. Then we have a tool that pushes things to the left is what it's called the push left tool. If I come in here and I dragged vertically and I've drink up, do you see how it's pushing to the left? Choose undo. If I dragged down, though, it's gonna push the other direction. So on occasion, if you have somebody where they're sticking out a little too much, you could just dragged downward the tiniest bit to push it towards the right or drag upward. If I'm on this side, push it in a little, just be subtle about it. Don't move too much, and we could come in here and try to re sculpt areas. And if you need to push up or down, then instead, what you need to do is drag left and right instead of up and down here. If I were to drag left, I'm gonna pull up. I'm sorry, this reading left to right. If I go, the opposite direction will push down. Then below that, we have freeze in fall tools freeze and thaw allow you to prevent an area from changing. So let's just say that in here I did not want to change his mouth, and therefore I grabbed the freeze tool in I paint. I get a red overlay over an area that's gonna be frozen, and that's going to mean I cannot change that area because maybe it was that I was going to work on his nose and I was worried about if I was pushing his nose downward. Let's say that I might get into his mouth area, so then I could come in and use any tool. I don't know what I need to do it to its nose, but I'm gonna pull it down a little bit. And when I dio, this is preventing the mouth from changing because it's frozen. When you're done with that, you can go to the tool below, and that's the thought tool, and I go over here and get rid of that red over light. So the red is an area that will not be changed. That's where if you have like a somebody's in a bathroom and behind them is a tile wall. And if you move to tile wall at all would be obvious. So you go in there and freeze the entire wall. So if you happen to start pushing and pulling on things, that tile in the background does not end up getting distorted. And then we have a face tool in the face tool allows you to do the same adjustments that we were using earlier where we had our face aware liquefy. But it allows you to do it by moving your mouse over the image. And so if I move the mouse over the overall face, then I could click within it once a I get near the edge and I can change its with or I can come up to the eye and I could make it larger, smaller. But in the end, all I'm doing is changing the settings that we're usually found under face aware liquefy, and I'm just choosing a tool on the left side of my screen called the Face Tool in allows Metamor Inter actively work with that. Then there is a choice up here to what we haven't used. It's the 3rd 1 from the top. It's called the Smooth Tool, and if you've ever done anything to the image. Maybe you pushed on one area and pulled on another area in the result just looks like an abrupt transition. You can paint with this tool and it will smooth out any relic. Can't even say that word irregularity to it. So if you had an abrupt kind of non smooth edge, it will make it feel much more smooth. Then each one of these tools over on the right side of your screen will have options. There you can change the size, the density, Which is kind of think of it as how hard you pushing with If it was your finger to move things around, um, and how quick changes are happening now, also in here, you're going to find choices like mask options. This has to do with the freezing and fine. You could mask all that'll put red everywhere, and then you could come in and choose the thaw option to say I only want to work on this part. So now nothing can change in the picture except for that area. Uh, that was by hitting the mass call button. There's an invert all button which would change where you know what is frozen, and you can also choose none to get rid of it. We also have options for viewing. If you want to show guides and other things, you can look at that. They're relatively self explanatory. And also there is a mesh option you could load. You can save and load a mesh, meaning if you want to make the same change to a different picture. Maybe I have five pictures of these guys taken one right after the other, and they're all need the same choice or change. You'll be able to do that and then let's see. Yeah, I think that's most all the tools, so I'll click OK here and liquefy could be great. I would turn things into a smart object first, because then, if you return to the liquefy filter, you can go back in and still reconstruct things by painting with the second brush that's from the top. Ah, and so all the changes, they're not permanent. If it is on a smart object,

Class Description

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

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

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

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

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

Lessons

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

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