Intro to the Adobe® Photoshop® Puppet Warp Tool
So let's talk about the puppet work the public warp is exclusive to photo shop it's not gonna be in photo shop chalmers, but it's super fund to use especially for things like the ribbon layout or the ribbon on this layout. So this is how it would be or how it would be easiest to make this shadow touch in places and move away in other places. So I'm going to again create a layer from this shadow and then if you go to edit and public work and see it creates this crazy grid and what you dio is you create anchor points in this crazy grid and that you could move around that you want to stay still, that kind of stuff, so because it's anchored over here, I'm going to add an anchor point here and an anchor point here we're just gonna add it every curve already, so because it's anchored over here, we don't really want to shadow over here so you can click on the anchor point and drag it up so the shadow goes away and then it's also looks like it's still touching over here. So I'm gonna I'm gonna...
pull this one out too, and it needs a little bit more, so we're going to create another anchor point and pull it up even more so that there's not really that much shadow here and now this corner I want to look like its floating away so I'm going to pull it down a little bit but also pull it in a little bit and we have to pull if we wanted to look like its floating away, we have to kind of make sure that it looks like it's not in the next place so we want to make sure we pulled this shadow in up here and this one I want to look like it's pulling away so we're gonna pull it down a little bit and this is going to be touching so we're gonna pull this one up a little bit and I'm going to just show you what it looks like when you finalize it just so we can see so let me undo it so you can see the difference here's what it looks like with the public work here's what it looked like before so you can see the shadow changing and disappearing in places and getting bigger in other places so I would actually probably pull this down a little bit too just so looks like it's floating a little bit more and you can actually go in and at it public work again if you find that you missed a place, you have to re anchor everything that you don't want to move because if you don't anchor everything, let me show you if you don't anchor everything let's just anchor there and then I tried to move this the other end moves way don't like that yeah his dick it's crazy so you have to make sure you anchor all of the points so add it public warp so I decided that I want that end corner to float away from the page a little bit more so I'm just gonna pull it down a little bit more easy I can edit it at any time you can go back and say hey, that doesn't look right so you can go back and edit and again the only caution I have with it is that sometimes when you add it all simmons show you your shadow layer can get kind of hard around the edges again where was soft before and in on a ribbon it's not that big of deal because the edge is going to be hard but if you had that issue you can go teo at it or filter blur kasim blur and just add a slight blurt tio keep that edge soft again because in some places it can get kind of funny and a look like it was supposed to be soft and then it gets all hard around the edges and it's it's weird so just add a slight blur if you have that problem and it'll fix it so let's do that again let's talk about those stars on the baseball layout okay this stars so because they're sewn in the middle actually let's do a different one he's here to see over here because they're sewn in the middle we wanted to look like they in the middle it's touching and in the outside edges it's flipping up on both sides and if we were to use some of the other tools you would lose the hard edges around the shadows you would have exactly the same shadow on both sides and we don't want that, so we're going to use the puppet work again with this one at it, but it worked ok? So we're going to pull this shadow up so remember, we have to anchor things anchor all four points just make it easy and now we're going to move this shadow up so that basically disappears in the middle and then we want to pull these shadows out I'm gonna pull it out on both sides just so we can see what it does make sure we pull the shadow down in here too so that it still, um anchored at the top and so this one's probably a little bit funky, so we need tio obviously I messed it up so let's go back to add it public war and this shadow down here actually needs to go like this way so we're gonna anchor all five points again and we're gonna pull it out ok, so that's a little bit longer than I like, but you get the point let's, do another one let's do this one like I wanted to see you to see create layer at it public orb no if you want it to look like it's just floating away on one side, you can do that too, so you can move the shadow up just so it's like a normal shadow, so it looks like it's touching and then on this side you can warp it so that it looks like it's pulling away on this side. That's the cool thing about the puppet work tool is that you can really control the way that the shadow looks cause you can get down to the nitty gritty with all the points, so you can see the difference between that's human. You can see the difference between this star with the warp shadow and the star with the stock shadow. It looks a lot different that this is really shaded where it shouldn't be, so when you're having, when you have tricky objects like that, like things that are stitched down, it's really kind of imperative that you don't apply the stock shadows, tio everything you have to go in there and warp you don't have to, but if you really want it to look realistic, you have to but what's really cool about the shadows and the the rules that were breaking is when their warped because just like in the rial paper lay out because they can come up with different angles you can break the light source rules and just have them being all kinds of crazy which is fun I think that's one of the advantages of of visual scrapbooking is that you can because you control the shadows which of course you don't in riel paper scrap booking you could get into really awesome effects of really different effects and you can't paper scrap booking because the shadows give you so much definition and the layout and they change the way things look so much that they can be their own design element almost so let's do one more public orb have got the right shadow this time move it up move it down and let's make it flip up over kirsten something sense they would flip up over the baseball bag all right pretty cool so that is was that one two, three four ways to work three way store something like that but there's so many ways it's crazy um what about banners? What kind of warping do you think that you would do on banners the puppet to bring the stitching down our yeah uh that's what I would normally dio you can also d'oh you can actually probably do most of them yeah on it because of the way it is depends on the way that you want the shadow to be, how far away you want it to look. Do you want it to look like it's pinned down on the top, like it's stitched down so let's, try let's, try the warp and see what happens. So work works pretty well. You can also, um, use the work to say, ok, I don't want these ones I want these ones look like their culture to the paper and these ones to look like they're farther away, so that was pretty effective. You can also use the puppet warp, but smudging, I don't think that I would d'oh, uh, you have to go in every single banner and pull it out, and I don't want to do that. That would be crazy and also it's, because it's so imprecise and you have ah hardage on a banner, it can get wonky and witty, and so I wouldn't do that. So you really have to just assess each individual thing that you want toe warp and say, ok, so I wanted to look smudgy like flowers will work, or do I need it to have a hard linear edge, in which case I need to use one of the other warped functions?