Displacement Mapping

 

Adobe® Photoshop® 101

 

Lesson Info

Displacement Mapping

And people want to know how you adjust the levels just in the mask again could you cover that all he needed to do it is have the mask active as long as these little squared corner things were on their than any painting I do or adjustments or filters will only affect that got it won't affect the picture itself either one of them just a mask perfect thanks all right then let's get into filters so you had asked about bending like fabric something like that let's see if we could figure out how to do that what I'm going to do is open this picture of me and I'm going to put something on top of it so all credit new layer and right now I just want something that repeats where it would be like a pattern where be obvious if I bent that pattern you'd be able to tell so something like a grid would be good or whatever I'll go to the edit menu and say I want to fill and one of the choices in phil is to fill with a pattern and I don't know what pattern to use but I want just something that the one th...

ing I wish this had was a preview so I could see with these tiny little patterns look like you're not gonna have all of the patterns that air here because I can recognize some of these as patterns that I've actually created um so I'm not sure if you'll have them, but you could pick a pattern of the test right now. This is just a test, though you don't need a pattern for the technique you need, whatever it is you want to bend so if this was the fabric I wanted to use on somebody's clothing, I would paste in a picture of the fabric, I just need a placeholder for whatever that would be, and I'm using this because it's simple therefore, hopefully you'll be able to tell if it bends or not uh, afterwards, if we have time, we'll do it to a photographic image and it'll be possibly more interesting. So now I'm just gonna hide that layer will come back to it in a minute. I'm going to duplicate this picture now because I want it to bend that stuff based on this photo, but the filter I'm going to use to do that needs the information about how to bend it, to be in a different file, and so we need to duplicate this picture. I'll go to the image menu, and I'm going to choose duplicate, all right? It just duplicated. I don't, if you can tell, but there are now two tabs open, this was theory journal, and this is the one I just had made. So here we have our duplicate now what we want to do is simplify this what we're going to do is we're gonna make sure there's no layers so I flatten the image if there happens to be any layers that should get rid of them to further simplify the image, we're going to get rid of any color so I'm going to change the mode on this picture to a mod called gray scale when you go to that mode, you can't have any color then to further simplify it we're actually going to blow it the reason why we're going to blur it is photo shop is going to use the brightness of this image to figure out how to bend something and the way it's gonna work it's all it's going to do is look at where this is bright and wherever this is bright it's going to push the thing we're trying to bend towards you and wherever this is dark it's going to push whatever is trying to bend away from you but if we have all the fine detail it's in here then it thinks the poor the pores on my skin are like drill holes and they're like deep ones because they're dark you know that kind of stuff and if I blur this we're going to smooth out any of those little variations because otherwise they're going to be thought of his variations and height so I'm just going to come over here choose gazi and blur and I want to blur it not so much that I can't recognize what's there, not this but so I don't see any fine detail at all so let's see right here is not enough because I can still see these little fine details like a little thing there or whatever but keep going just until the skin completely smoothes out and doesn't look like it vary so much but I can still recognize it is me okay, maybe this far it's not an exact science as faras how far you gotta go. The main thing is if you have little bitty variations it's going to be little bitty variations in height in the bending so I got to gazi umber blurred by just using filter blur gazi ambler and I'm bringing it up to get rid of fine detail now I'm going to save this image I'm just going to choose say, the house I'll put it on my desktop and I'm going to use photoshopped file format then I can close the file if I want to or you can leave it open it doesn't matter but it's going to read it off the hard drive when I do this so I'll close it okay now remember we worked on a duplicate image, so when I closed the duplicate the original is what's left over now everything we're going to do is going to happen to the thing we want a bend in the fact that my face is underneath is irrelevant I could delete that layer if I really wanted to but afterwards I'm gonna want it to be there so that's why I'm leaving it there but the filter I'm going to use it will not be aware that my face is sitting there I'm gonna choose filter I'm inter choose distort and there's a choice called displace that was filter distort displace and when I choose displace this thing comes up he wants me to type in two numbers those numbers tell photoshopped how mountainous I want my bending to be do I want it to be like a little bit of hills that are barely moved you know there is if we moved this fabric by an inch total order wanted to look like it moved it by mile well the higher the number the more severe the bending is in your in general guessing and if when you're done it's too much or not enough you simply choose undo and you've tried a second time and you try it with a different number I'm just gonna type in twenty he always sleep in the same number for both then the choice is below say what should do if the file that I feed this I'm gonna have to feed it a file in a moment he is a different size than the file I'm running the filter on. Well, in our case the two files are exactly the same dimensions the width and height so these settings down here don't matter but if the file I fed it was a picture of my face but here on the plant is something else I'm applying to a file of a different size should it scale it up the the file on my hard drive or should it tile it repeated over and over again you know that kind of stuff so we don't have to pay attention to those I'm gonna hit the ok button and the moment I hit okay it's going to ask me for a file and I'm going to choose this one that I say I called it the map because this process is known as a displacement map and that's the map it's going by his faras how to bend my image so let's see what happens when I choose open can you see something in there? You look a little bit like you see the outline of my head almost it actually bent that you see my eye sockets if you try to look hard enough I can see a hint of eye sockets there's one right there there's another one right there there's a mouth in there and it's bending around certain areas well most the time if you just feed something if it's a car of faces long as the face or car whatever the object is is relatively evenly lit it's not like half the the the surfaces in the shade and the other half is bright instead it's relatively even in the lighting then it can use the shading like that to bend something let's try it on a different image I'll drag this one over put it on top and I'm gonna scale us down all type command tea and then the handles for the scaling our way out beyond my edge of my screen because this file was so much bigger you don't know if you remember or not but you can zoom out to see the handles by typing command zero oh all right now let's go and try the filter again it was filter distort, displace and you type in a number click ok in and ask you for a file you feed it that file and it should bend things now that doesn't look like it bent it all that much it's somewhat subtle so what I'll do is I'll choose undo and I'll simply apply the filter in type in a higher number let's see what happens if instead of typing in twenty I typed in fifty you seem or bending now the problem is it's hard to really give a reference for this because we don't have the shading of my face if we had the highlights in the shadows of my face, then this would look a lot like it's been bent, so why don't we take a copy of my face on it if you remember how to jump that to a new layer, but if I type command j you khun jump it to a new layer, put it on top, and then I can get this to kind of interact with what's under it by playing with the different blending modes this menu, we've used this menu only once or twice, I think, didn't we use overlay and soft light to put some texture on something? Well, there's a way to experiment with all of these choices, and you can use really creative things with these, and that is you could be to switch between them here's, how you can do it, just go to the move tool. Make sure that tools active if that tools active, hold down the shift key and your keyboard in press plus or minus shift plus or minus cycles through that menu, and therefore you don't have to manually use your mouse and go over here to the next one, let go and then go to the next one, let go to experiment with it instead, as long as the move tool is active, you gonna hold downshift and hit the plus sign and cycle through and see now if you look can you tell that this is bent? Can you see that were my eye brow is the image kind of moves around it like that and where my nose is? Can you tell that this is kind of looping upward a little bit? If I were to use something like a grid, it might be a little more obvious but it's kind of fun to use a photographic image if you have evenly lit fabric or something similar, it could look rather interesting what I like to do though if I want to actually apply it to something like somebody's face is I'll actually do it in more than one layer I'll take the face like this put it in and then I will oftentimes I actually do the opposite it put the texture on top let me do that but this underneath textures on top and then experiment with that menu and what I'll do is I'll find one that looks somewhat interesting let's say that one and then I'll duplicate the layer command j that's the texture I'm duplicating and then all cycle through the menu more and see if I can find another one that helps out and if I find another one it helps out if it's too much I lower the opacity of it so that I can have it in more than one mode in just vary the opacity then the final thing I'll usually do is oh mask it so I might take these two since its two layers and throw him in a folder remember how you can put folders to organize things what's also nice about using folders is if you put things in a folder then you can have a mask to it and the mask effects all the layers inside so therefore I could come over here and paint with my paintbrush tool and say I don't really want this on the background so I could go and maybe somehow select the background in this case I'm using a tool called the quick selection tool if I hide the texture it might be easier to select because the sky is nice and clean if it doesn't select it means it's not looking at the layer that contains what you want so click on that layer you can also hold down the shift key if you want to add to a selection or the option key alton windows to take away and he don't take away go back up to the layer that contains my textures turn it on and if I don't want that to go beyond out into the background then if I want to hide things I need to fill this with black so let's fill now I see the layer mask is active so that's where the feeling's gonna happen if we fill with black I should get it off of there. And now I have it on my face. But if you look at things like this line that's coming across do you notice that the line actually looks like it's bent where my ear is right here? It looks like it's bent a little bit there. It looks like it's bent there where my moustache comes in. It looks like it's bent here and so on. In this particular case, it's. Not like a perfectly looking like it's bent around it, but we can get something to look that way. If you evenly lit something and it is like fabric or car or else you could do this and it could look kind of interesting. Ah, I'd come in here and maybe get it off of my eyeballs. Um, by grabbing my brush tool, paint the black, let my eyeballs pop through, and I could let other things likely in my beard go. T I should say, come through and get it off my hat, but experiment with that and the mainly experience with different numbers. When you end up feeding it, there are other picture, and you could make it look like things are more bent. The maur, the item that you're bending, has a pattern to it, the more obvious the bend will be, the more organic it is kind of like this image, the less obvious it will be. But if we were to come in and do something like that pattern again, I'll do it with a high, higher number, you might be able to see it a little better. I'll try sixty there. Can you see my face in there? General feeling it's? Not exactly precise, ben, but it's, usually good enough for a lot of purposes and, uh, can look interesting. It's called a displacement map and it needs a grayscale picture, and what it does with the grayscale picture is it ends up looking at bright areas and thinking they're close to you in dark areas, thinking they're far away from you and that's, how it figures out how to bend it and with a lot of pictures if it was evenly lit, this one's not perfectly evenly lit because this side of my face is brighter than this s o same with undermined chin, but if this was more evenly lit, could get a little more idealistic version, but things that are recessed are generally darker in a lot of photos, and so it khun get them to bend down into those recesses.

Class Description


Adobe® Photoshop® lets you bring out the best in your photographs – learn how to navigate the powerful software in Adobe® Photoshop® 101 with Ben Willmore.

Ben will show you how to use the most important features of Adobe® Photoshop® by working through common, real-world projects and explaining the process. You’ll get to know the Adobe® Photoshop® interface and learn about the features you’ll use the most. Ben will teach you how to:

  • Enhance hair, eyes, and lips in portraits
  • Merge multiple images into a panorama
  • Fix bright reflections on glasses and closed eyes in a group shot
  • Correct photos that are under or overexposed
  • Create a collage of multiple images

You’ll learn how layers, selections, masks, and filters help you make a great image and find out why resolution, file formats, and color profiles matter. Ben will break down commonly-heard technical jargon so you know what others are saying and you’ll learn keyboard commands that will make your work easier.

By the end this class you’ll be confident and comfortable working in Adobe® Photoshop® and know how to troubleshoot when problems arise. 

This course is part of the Photoshop Tutorials series


Software Used: Adobe Photoshop CC 2014.2.2

Reviews

John Taylor
 

Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.