Adobe® Photoshop® CS6 New Features

Lesson 31 of 47

Puppet Warp

 

Adobe® Photoshop® CS6 New Features

Lesson 31 of 47

Puppet Warp

 

Lesson Info

Puppet Warp

What we're going to do is we're going to master using the puppet work tool, and the pepper war came along and see us five, and nobody knew what the heck to do with it because it lets you select an object in your image and moving around. All right, so for example, if I turn off the visibility of the puppet war smart filter that iran because you can run it on smart objects, which is fantastic, so here's, our original shot and here's what we can make using puppet work so you literally can reach into the photo and move your son chicks, arms and legs and whatever else you can grab around with this tool. So it's really amazing. It is a several step process, as you can see over here in my layers panel for this particular document, I've got a bunch of layers going on, so we're gonna look at how to do all of that in depth. We're going to start with a slightly easier project wonder kitty see, superheroes can be animals as well. So what we used pep it worked for in this example is for the w now t...

hat's, probably one of the if you can say there's, a practical use for puppet war that's a little dicey, but this might be more toward the practical and of techniques probably useful for designers this particular technique more so than photographers but you can create letters out of everyday objects okay and that it's a really wonderful creative thing to be a well to do my idea on this one was that this was the golden lasso of truth that wonder woman would have why its goal okay here again that's how this head works so let's take a look at how this was created I'm gonna go ahead and uh turn off our kitty picture because it's a little distracting and I'll turn off the w that I made and I'll turn on turn off those guys team and I'll turn on the original rope image that I got from my stock photo okay so use my move tool just to kind of scooted around you can see I feel like a magician see it is an ordinary piece of rope so the first thing we're going to do is turn that rope into a smart object because this is going to give us the ability not on lee to do puppet work non destructively on our rope layer but it's also give going to give us the ability to go back in and edit the puppet war later on if we decide we want to tweak it a little bit without having to start over so if you remember tio open your images of smart object you can certainly do that choose file open a smart object or if you're like me and you always forget to do that, simply go up to the filter menu choose convert for smart filters. One more method of doing that that that haven't showed you yet is to control a right click near that a layer naming area kind over towards the right hand part of the layer, and in cia six you get an even more helpful contextual mini that has converted smart object as a as an option in there so you can do that. It doesn't matter how you get there just turned into a smart object, and we know it's a smart objects because it has that special little badge, the bottom right of the layer thumbnail. So now we're ready to enter the realm of puppet work and talk about trial and air. We've mentioned some of the techniques that we've covered the last couple of days involved trial and error seriously trial in here on this one, there is no quick and easy way to master this thing. It requires a different way of thinking, ok, so we're gonna go ahead and summoned pep it war and it lives under the edit menu choose puppet work there's no keyboard shortcuts for not your life as soon as you summoned pep, it worked what you will likely see is that okay, if I zoom in you can see that photo shopped plops a mish atop the layer content ok I like to turn that mesh off because it keeps me from seeing the object special if you're objects kind of thin like this you really can't see what you want a place the's things called pins which is how we tell photo shop which parts of the image we want to move and which parts of the image we don't want to move okay, so I'll go ahead and toggle the mesh off by clicking the checkbox next to show mesh and the options bar and other than that I'm not going to make any changes to the options are settings okay? So if you wanted to make a letter out of this piece of rope you need to think about the shape of that letter for example, if we wanted to make an ill out of this piece of rope we would need to place a pin at the top of the l at the corner point of the l and the into the ill because not only do you use these things called pins until photo shop which part you want to move they also anchor parts of the image in place and keep that part from moving as you're moving another pin crazy stuff so I'm going to start out by setting a point in the middle or a pin rather and you just click to set up in just click and it looks a whole lot like the pens that we've been seeing in the blur gallery filters as well as the lighting effects. Okay, so it's a grab a bowl thing and you can set us many parents is you want so I'm going to set another pin over here on the kind of at midway to the left hand side. Now, at this point, I could start clicking and dragging to move the pin around, but as you see, the whole thing is spinning, ok, so you get this kind of automatic rotation as soon as you start clicking and dragging to set up in the fix for that is to set more pins toe anchor the parts of it that you don't want to move into place, and we're going to do this several times so that it makes way more sense that it's making now so to make my w I'm going to sit quite a few pins and how do I know where to set the pins? I've done it a hundred times that's the on ly way it's experimentation okay, so now since I've said quite a few pins, I can start moving them around, and so what I could do to start my w is I could move this cintra pan up a little bit, see how, now that I've set those other pins that part of the roof is locked into place. It's not moving right now, so now I can start clicking and dragging the other pans, and eventually I will get what begins to look like an actual letter. So it's a lot of stretching in warping and experimenting, but the biggest thing is trying to figure out where the heck to set those pins to create the shape that you want more so of a problem when you're trying to create letters out of an animal object like that, you really got to think about it. But now that you can see the shape of a w that I was after, if you look at where the pens replaced, they kind of make sense, right? So I basically place to pin on everything that I wanted to change change case I've got a pin on each of the ends because I knew I wanted those to dangle over, and I've got a pin that allows me to make that nice little cur. But the top obviously had to set up in in the middle of the room to make that dip for the w. And then, of course, I needed a pin for each part of that they're not really d senders, but for lack of a better word to call them so that's, basically it so it's all about figuring out where to put those pins but the thing that made the biggest difference for me and made me turn the corner on actually being able to make a shape as opposed to never being able to make a shape with the puppet work tool is when I understood that not only do I need to play spins on the part of the object I want to move but I also have to place pins where I don't want it to move else those areas will move as you move the pins okay there is no way to stop part of your object from moving as you're adjusting penn's on one side of it unless you lock that area down with more pins that's how it works okay, so let's go ahead and except this puppet work you have to tell photoshopped that you're finished messing around with the pins remember yesterday we decided that photo shop had a one track mind and well you've got an active crop box while you've got an active free transformed about me bugs you can't do anything else same thing with a puppet work while you've got pins on your screen you can't do anything else so the way you can accept a puppet warp is to click the little check mark in the options far this guy right here so give that a click or you can just press enter your pans go away and now you could just treat that as a as a normal layer so I might scooted over here and I'll turn back on our wonder kitty turn back on our photo and because I wanted the color of the rope in wonder kitty to be a little bit more saturated I added a huge saturation adjustment layer just to pump up the color's a little bit so show you how to do that sets a needle tio so trot down to the bottom of the layers panel and click the half black half white circle and then choose hugh saturation and then all I did was increased the saturation a little bit and because it's an adjustment layer if I say this document as a photoshopped document meeting my layers panel remains intact and my layers don't get flattened together then I can go back in and I can edit that he saturation change if I want or turn it off completely if I decide when I print it maybe the colors or two oversaturated too saturated rather so let's do that again we'll turn that off turn this guy off and will will and it's going to go ahead and revert back to where we were there we go so you've got our original rupe picture and d be careful when you're doing this at home after you buy the course don't save over these exercise files whatever you do because just like I just did when I turned that rope into a smart object and then iran puppet war, then I lost, for all intents, purposes, my original rope player wasn't as easy to get to you, which is why reverted. So just be sure that you don't save over these exercise files. Put him somewhere else. You just remember if you're playing around with them, don't save them, ok, so we're gonna move I rope over again, so we're starting from square one. We're going to turn it into a smart object married different ways, toos filter, convert for smart filters or control or right. Click near the layer name and shoes convert to smart project soon is it turns into a smart object. Go ahead and choose the edit menu and choose pep it work immediately. Turn off that show mish check box in the options bar next thing you want to do is think about the shape you want toe you want to create. It could be hugely helpful to draw the shape. So in other words, if you want to draw a debbie, you might draw the w on paper, sketch it out and look at the different angles and look at the different curves of whatever shape you want to make and that gives you an idea of where you might have to drop ins in order to make that shape it's not easy, but it is a lot of fun to play around with his long as you're not on a deadline put a deadline and the mixing it becomes not fun at all ok, so we're going to start by dropping a pin in the middle just because I know the w's got that uh that dip right there in the middle sign no, I need a pin there and I'm gonna go ahead and drop a couple of more pins where I think the bottoms of the w will be and then I'm gonna drop another pin where I wanted to kind of curve at the top, the edges of the debbie and then another pin on the ends you can delete pens if you drop one and a place where you don't want to, you can simply click to activate the pen and press the delete key. Ok, so now that I placed on my pins now I'm ready to start dragging. You could try to start dragging before you get all your pins play, especially if you're experimenting but again you're gonna have to drop at least two or three or four pins on the opted to keep the rest of it from rotating around as you drag and it doesn't matter which pen you start with to make the shape because the object is going to start work being a soon as you start clicking dragging those pans and it's only because I've done this one a bunch of times that I haven't any idea of which wants to drag first and don't panic if you get weird warping before you're finished ok because as soon as I drag this pin up that straightens out that area it's all connected and the way you drag one pin absolutely effects the other pins the distance at which you drag each pin and stretch and object affects the other pans can you can just keep on tweaking and let's say that I I wasn't able to get the shape that I want I could add even more pins you know even in the middle of doing it my shape starts to change and in this situation I'm not crazy about it so I'll delete those but you can do that so we've almost gotten it to where I like it way here we go we'll call it ok so now we need to tell photo shop we're finished you can either press return or enter on the pc or you can click that little check mark and the options bharat the far right when you do photo shop applies the pep it warp and you see the pep it work as if it were smart filter over here, on the right hand side in your layers, panel. Now let's say that I show this to my client or what have you I decide I want to change it. I decided that you know what I really don't like. Um the way my w looks, I wanted more curvy. Do I have to start over? No, because we've used to smart object. So what we're going to do is double click take the puppet work filled her in the layers panel it's not a filter, but since it stacks up in the same way the smart filter does, we'll call it a filter. Anyway, you double click puppet warp in your layers panel if you have used the smart filter mask photo shop is in a temporarily disable it can we didn't use a mass that we don't care care that flu shot we don't care. So as soon as you double click puppet working your layers painting you get your pants back so now I can come in and I can continue two tweak my w to produce the look that I want if you can. So that's the great thing about, um using a smart object is otherwise you'd have to start over there's no way to make there's no way to edit your pans. If you don't use a smart object, so we'll go ahead and click ok? And as you can see, I'll turn on the w that I like better. You could make some really cool designs. That's the most practical use that I've been able to find for pep it work is creating letters out of objects. All right. So now, let's, come over here to our superhero. This one is pretty involved. Okay, so what I'm gonna do is use a step by step technique in this fabulous look right here. Start some page for fifty. So what we're going to do let me show you the original image. Merry go best the image that I started out with. So the first thing I did was I duplicated the background layer. I'm just gonna tell you what we're going to do. Then we're going to actually do it. So I duplicated the background layer, and then I created a selection of the kid. When I had a good selection of the kid, I jumped him and only him up onto his own layer, which created that. So my goal was to put the kid, isolate him on a layer. My next goal. Was to remove the kid from his original background, so once I selected him and jumped him upon his own layer, he was safe up here all right, so I turned him off and then I had to set about the task of removing him from the photo because if I'm going to do something like this move all his limbs around, I got to get rid of him from his original background otherwise you'll see his original position behind the moved parts and that will look very freaky so that's what I did, so I deleted him from his background I cloned a little bit more of a shadow because I moved his legs, so I I increase the size of the shadow using the cloning tool to make it look a little bit more riel and then I took the layer where we had isolated the kid on and I turned that into a smart object and then I summoned pep it work so it's pretty involved, but this is what you've got a d if you try to use pepper or on just the flat photo, you can't move anything. All you're going to be doing is morphing the whole photo in these odd odd ways it's on ly when you understand that to move a person's limbs or an object in the photo that you have tio isolate that object or person on a separate layer then you have to completely remove it from the original air that this begins to be useful in anyway so that's what we're going to do all right, so our first step here and I'm just gonna shove these in a player group so that we don't have to see them for a while there we go clean up our layers panel this little bit so the first step is to duplicate your background because you don't want to mess up your original go ahead and turn off the original background layer because unless something goes seriously wrong, we're not going to need it again, but I like keeping my original layers hanging around in my layers panel always just in case our next goal is to create a selection of the object we wantto warp since we've got good contrast between the item we want to work and their background, we can have a go with e quick selection tool, so we'll go ahead and choose that from our tools panel is in the same tool set as a magic wand come over here to our image again. Like I said earlier when I'm using the quick selection tool I keep two fingers on the left and right bracket keys okay? Because those air keyboard shortcuts that I like to use for changing rest size so I'm gonna go ahead and click and drag to create a selection of our super kid and then I need to come down and include his feet in the selection it's all zoom in and I'll make my breast size much smaller because remember the size of the area that photo shop is grabbing is directly proportionate tio your brush herscher size so now I'll examine there's two my image make sure I've got a good selection of the kid looks like I need to get his hand in the selection and the little star okay, so to me that looks like a good selection. Now if you're doing this for riel on your own images and certainly if you're charging see this is another great product that you photographers can offer to your clients. You would definitely take more time with selection, and you would use the referring edge dialog box to find tune it and make sure that it's, precise and smooth and wonderful we're not gonna do that, okay, so once we get a good selection of the kid, then we're going to jump him up onto his own layer and we've been using that keyboard shortcut a lot and it is command j on a macro control jay on the pc ok, so now we've got the kid on his very own layer by turn off our background copy layer, you can see that he is on a transparent background, the next thing I want to do is delete him from his original background so we're going to turn off the kid the isolated kid layer temporarily ok so now we're working with the duplicate background copy okay, so go ahead and activate that we need to make a selection of the kid again but do we have to start that from scratch? Absolutely not because we've already done it right here with that isolated layer weaken simply load that layer is a selection okay? So command or control click the layer some nail of the isolated kid and that layer doesn't even have to be on which is nice are visible rather so when you've got a selection of the kid and you're on the background copy layer now we're going to use content where phil to delete him altogether from the photo but first just like we did earlier we're using the content and where tools we want to pop out that selection a little bit so that we're not left with a funky outline of where the kid used to be because that would be funky so let's go to the select menu and choose modify, expand and again depending upon the resolution of the dock that you're working with. You may need to enter more pixels and I'm entering on this and this is a fairly low resolution document so now we've got a good selection of the kid and we've got a little bit of the background around the selected area here the question yeah, we have a question that's coming up in the chat right now people are just curious if your what they're seeing right now is two layers that you're working on or you're working on a when layer that it's all one image the later and confused of what the what the technical layout is right now that you have going on okay, well, what I'm doing is I'm simply working with the duplicate background layer so I'm working with a copy of the original image so just one layer okay hopefully is zooming into the layers panel right here can help clear that up a little bit so what we've got here is our original image that we opened okay, the first thing we did was we duplicated that background layer and then we turned off the original we're not going to use that again ever and all the only reason we made two copies because if we screw up way don't have to start over. So the next thing we did is we use the duplicate background copy to create a selection of the kid from this election we jumped the kid up onto his own layer which is how we ended up with this layer now our goal is tio delete the kid from this background so we can temporarily turn off the visibility of the isolated kid but use the shape of that layer to create a selection of the kid on this layer in order to use content and were filled completely delete him from that road from the scene. So hopefully that, um, that clears the question of just a little bit. So the next thing that we did was we expanded our selection to include a little bit of the background it's just going to help content where phil do a little bit better of a job. So now we can choose, edit, filled and from the eu's poppet menu, choose content aware and then click ok. And in this situation, photo shop was able to do a really great job because why? Because we had a nice swath of background pixels that photo shop could use to remove that kid. Okay, so at this point, we're done with this selection so we can get rid of it by pressing commander control d or by choosing select diesel it ok. So now let's, turn our kid layer back on. See, we're back to square one, but what we have done, if you look at my layers panel, is we have separated the background from the foreground. That's all we've done take several steps to do that and it is crucial for using puppet work the next thing we want to do is we need to turn the layer that we're gonna warp into a smart object because we want to go back and have the ability to go back and edit those pins if we want to without starting over so once that layer is active can use any of the mess the methods that we've talked about this far for creating a smart object out of it I'll use the contextual menu in the layers panel now we're ready to summon pep it work yeller like finally so she's at it and poppy corp again turn off that meesh because see I can't see anything with that mesh on so that's what you're going to see so I would advise you to turn it off but if it doesn't bother you and you find it helpful by all means leave it on I find it the opposite of helpful so I turned it off all right now we need to think about what we want to move as well as what we don't want to move so if our goal here is to let's say we want to make this kick a little bit more impressive ok we obviously need to set pins on the area we want to move so if I want tio move his leg up kick it out a little bit more I could set pens on his me think of that as a rotation point all right, that can be helpful as well I want to set a pan on his foot but now I need to start setting pans where I I want him to remain in place I don't want his cape to move so I'm gonna set up in there I don't want this elbow to move so I'm gonna set up in here I really don't want his head to move so I'm going to set up in there I don't want this arm to move I don't want that part of the cape to move I don't want that me or this he or that total move now I can start having some fun so now we're gonna come back over here to the area that I really want to move and you can just start sewing it around power, power, power power power power net friend talking about entertaining okay see, I'm getting new it's all your fault ok? So and neat little thing in the options bar that I will show you as I'm swinging his legs around, you'll notice that his leg went behind the other leg what if you don't want that? What if you want to cross his legs? Anyone that leg to end up over this one? Well, in that case you can use depend if settings in the options bar it's the's weird like hans right here upended what this does is it lets you arrange anybody's ever used the page layout program? You know exactly what this means lets you change the stacking order or a range what appears to be most forward in your picture and what appears to be in the background ok, so if I want that leg to be on the leg I moved to be on top of the stationery leg I need to bring that pin forward or up in the pep it warps stacking order so the way I'm going to do that is I'm gonna change pinned if well these icons one has up a barrow one has an up arrow one has a down arrow so since I want to move that leg forward or up in the stacking order I'm gonna click the pendant that has thie up arrow okay now on this particular image you wouldn't want to do that because when we used content where phil we popped out our selection to include a little bit of the background so to make this look really you have to go in and use thie smart filter mask that footage shot by and lastly gave us when we ran puppet work on the smart object and you could hide that extra bit of background that we tacked on there because we used content where phil ok but I just wanted that that's a good explanation of what those pin depth settings do. Then they just let you control the stacking order when you start moving things around and crossing them. Okay, that's what that does? All right, so I'm going back out a bit so we can see our whole do and now I'm gonna move his foot back because that is just creepy. So we can have all kinds of fun to make these kinds of changes look realistic with pep it warp it is helpful if you know a little bit about the human anatomy and how things move and change. So for example, if I really wanted to make this kick look riel I would need tio shorten that leg and I would need to move his need up to make things look more riel because when his leg is a little bit farther back, it appears to be visually shorter. It's really not. But so it is helpful if you know a little bit about an enemy to make these things look real, but if you're just moving stuff around a little bit it's not such a big deal, okay, so let's see what else we can move in here so we can make his cape? We can fan out his cape if we want that would require setting a few more pins okay cause remember, not only do you have to sit pins on the item you want to move, but you also have set pins on the things that you don't want to move, so if I want the cape to come out a little bit more, I'm going to set a few more pins and then I can be can to stretch the cape now the problem is that I'm stretching his body as well, so if I end, do and use my super secret step backward keyboard shortcut, which is command option z on a mac control ault the on a pc you khun step backward so the fix is tio put cans on his shirt as well, so that part of the image doesn't move. See now I can drag that cape out and I'm not stretching his shirt anymore. Lots and lots of trial and error with this so over here on this side of the cape, if I just start dragging those kate pins out, all of this area is going to be warped with it. I don't want that, so I'm gonna set pins on his shirt where I don't want that area to move and just for good measure, I might set one on her is jeans right there? So then after I've locked that area in the place that I can begin to move his cave in interesting ways, and I probably also said a pin on his elbow right here so that when I'm dragging the cape out, I'm not working his elbow t this is wild stuff in for photographers, this is helpful for special products to sell to your clients, you know, whimsical stuff like this a lot of fun, you can create scenes that would be, you know, rather impossible to do your very difficult or maybe dangerous otherwise for your clients you want them to pay, you don't want to do anything that's going to harm them, but you could also use this, perhaps in fashion photography, if you do a photo shoot and man, you just need that models arm just a little bit, rotate it or you need to move afoot over a leg over a little bit or let's say you've done a fashion shoot and you've got some accessories and the purse didn't fall exactly the way you wanted it or the sea scarf isn't fanned out like you'd have it business. Were this that kind of tool? It would be extremely useful and again, family reunion shots photos of exes imagine the fun you can have with your on that one, so when you're finished again, you have to tell photo shop, so press return, enter or click that little check mark in the options bar and to go back in and edit this image further all you have to do is double click pep it warp in your layers panel and you can see all of your pins and you can come back in here and continue to edit I mean we could have some real fun and pull this leg up where it looks like he's airborne so changing reality indeed and it was a lot of fun lots lots fun but again none of this is going to be usable or make sense or look realistic if you don't remove the item you want a war from its original background and I mean completely ok so let's have another go with that all right I'm gonna river here tied on my layers that I made with a layer group there we go so open your image duplicate the layer turn off the original uh the originals visibility because you're not going to use it again unless things go terribly wrong next thing you need to do is create a selection of the object you want a warp since we've got good contrast we're gonna use the quick selection tool two fingers on your bracket keys makes you really fast with changing brush size in order to get a good selection all right now I'm gonna zoom in to make sure that I've got all of our little super kid here selected there is much of him as I can get here we go. And if you need to use the refined edge dialogue to find tune your selection, you might want to smooth it out a little bit that number, the even her here will smooth the edges of the selection, which can be helpful if you've made this election with the quick selection tool. Okay, but it really doesn't create that jag of the veg is magic wand creates jagged edges quick selection tool is much better than that. You can shift the edge of your selection if you need to let's say I needed to just increase it this a little bit that I could certainly do that here, ok, that would be increasing it too much. And if I got a little overboard of my selection, I could tighten it by using this shifted slider and dragging it to the left, and I'm gonna go and cancel out of that because for our purposes right here is this fine. All right? Soon as you've got that selection, you need to jump the object up onto another layer. Saruman the usar keyboard shortcut of command or control jay. Now we're gonna load a selection of that kid by command or control clicking the thumbnail of that layer, then we're going to turn that layers visibility off. Because we don't want to mess with it right now. Now we're going to click on that duplicate background layer that we made now our goal here is to delete the kid altogether, so since we're going to use content and were phil, we're going to pop out our selection a little bit to grab some of the backgrounds that we don't end up with a funky outline of where the kid used to be, so choose the select menu modify expand you could also use your finance for that as well. I'm going to inter five pixels again, a high resolution document you're gonna have to enter more pixels in that now we're ready to choose, edit phil and then pick content aware from the eu's poppet menu and click ok, and if you've got on a nice amount of background pixels around the selection than photoshopped will do a heck of a job removing your object. So now we can get rid of the selection because we don't need it anymore. You can do that by pressing command or control d or you can choose select d select now we can turn on the visibility of our kid layer, activate that layer and turn it into a smart object so you can control or right click near the layer name, choose, convert to smart object or you can use any of the other methods it seems like an photoshopped there's always exactly six ways to do the same thing it's weird always six okay, now we've got our smart object. We know it's a smart object cause it has that funky little badge the bottom right of the layer thumbnail now we're ready to summon puppet work, so try it up to the edit menu choose puppet work, turn off the mesh if you want tio wear in texas, that would be if you don't teach young t dad if you auntie now we need to think about what we want to move and what we don't want to me, so just start dropping pins. I don't believe there's a limit how many pins you can drop? However, if you try to drop a pin that is close to another pin photoshopped mike squawk and say pin to close kin to you close, in which case you can just delete it and, you know, move it over a little bit or you can tell photoshopped via the density menu that you wanted to allow you to set more points and it won't squawk it you if you try to place them really close together and I'm gonna leave it's set to normal, all right, so if I want to move this kid's leg, I'm going to set a pin on his knee honest foot because those are the pieces that I want to move and now I'm going to start setting pins on the pieces I don't want to move like this foot the heel and the toe I'm sending points or pins rather on the heel and toe because he's at an angle to me in the shot and that's why it's a wide foot over here I can get away with just setting one pin because it's a narrower piece of him so I'm gonna set another pin on his knee and I'm doing that one just because I know I'm gonna want to swing that float around when we get done anyway so then we'll put a pin on his cape and we'll put a pin on the left elbow on its head on his hand maybe on the cape over here and now we can start dragging the cnn's aram so if we want to make that kick a little bit more impressive we might shorten his leg a little bit and bring that knee up you see his whole torso is moving so to keep that from happening I can lock it down with parents and now I'm moving pretty much just his knee okay so I can suing that over a little bit and then if I'd like I can swing this foot around and if you shift click you can activate more than one pin in a time so before I squished and squashed stretched out his foot, but had I activated both pins by shift clicking than I can move both those pins at the same time? Okay. Actually, I think it worked out better the way I did it before here. Radio fun stuff changing reality, indeed. Ok, so let's, say that's. Good. Now I want to expand his cape, but before I start moving that pin, I already know because we did in a moment ago it's going to stretch out his shirt so it set some pins to lock down that area. Now we can stretch that cape out to really make it look like it's flying. All right, we can do the same thing on the other side. We want to lock down that shirt and lock down this elbow as well, and then we can pull that side of the cape out. No end to the hours of fun with this one and here's our before and here's our after. And that, too is fun just to sit there and do that. Not really.

Class Description


Lesa Snider returns to CreativeLive for an intensive Adobe® Photoshop® CS6 tutorial. Whether you've already upgraded or are still deciding, Lesa shows you practical yet non-destructive editing techniques you can use every day. This 3-day course is a perfect companion to Lesa's previous Adobe® Photoshop® CS5 tutorial on CreativeLive.

Lesa dives further in-depth into advanced filters such as Puppet Warp, Liquify, and Lighting Effects, which all take advantage of the new processing power of Adobe® Photoshop® CS6. Lesa also spends a full day covering Adobe® Photoshop® CS6's brand new video features.

Software Used: Adobe Photoshop CS6

Reviews

a Creativelive Student
 

Dear Lisa, It has taken me forever to start my online class...Guess I'm more disciplined in a classroom. I've just started your course and am so excited because I've recently been asked to do a fair amount of graphics for a small company. Thank You so much for all of your awesome courses. I love your personality, makes it much more fun. Thanks, Terry C.

Alvin Lim
 

Lesa's methodical way of coaching is done with ease and clarity. Together with John Greengo and Sue Bryce, she is one of my favourite mentors in CL. I purchased her CS5 and even before finishing it got the CS6 intensive class. Now Photoshop is no monster to fear but a powerful monster to create impact-fully beautiful photos. Good for both beginners and advance users!