I want to talk about bending and warping the contents of your layers and so let's see how we can do that because sometimes when you're compositing images together you don't want just the static image you started with you want something that it looks quite different so we have a bunch of other different approaches to use let's see what we can come up with the first one is going to be a little bit odd ah I'm going to take this image here and one other which will be this one and before I really work on this image enbridge you have some little rotation icons up here I'm gonna rotate that guy like that before I open him and I'm not saying this is gonna be the the finest most fine art image we're going to make but it will be an image toe learn a particular technique okay, I'm going to act as if this guy was walking by upset me close it is walking by this one and they saw the line and this guy's a little bit more skittish and tried to get away from the scene in general let's see I'm gonna dra...
g it over put it in this document and I'm going to do to start with is I'm going to mask this so that all I have is the zebra I'll use thie quick selection tool to begin with and I'm just going to go across this and since we're not going to create an absolute perfect masterpiece, I'm going to just get this started, and then we'll just review a teeny bit, maybe in quick mask mode before I decide to, uh, bring it over and get rid of that background, but with the quick selection tool with default settings when you click and drag, if you let go and you click and drag again, it's going to add to your selection so I could just sit here and let go and click again as many times as I'd like you notice whenever I let go, you might see my mouse change into a little twirly icon and that's because the auto enhance check boxes turned on remember how you mentioned earlier that you could speed this up if you had auto enhance turned off and on? Lee turned on at the very end, I didn't think about that, so every time I let go of the mascot and you'll find it's thinking a little and that's why? But we'll be fine once I have this painted in er if there's a little too much, you got, like between the legs I could hold on the option key option takes away, and then I can type a letter cue to get a quick mask quick mask mode is similar to when we had our mask over late on our picture. Where we just get kind of a preview of what we got and we can change the end result by painting and so I could come in here and zoom up and see where it looks the worst and touch it up a little bit not going for perfection but I just want to make it so it doesn't look terrible and we might not be close enough yet without a few quick touch ups then what I'm going to end up doing is I'm just going to copy this guy put him in the other document and I'm not going to use the background at all that's close enough type letter q aa and I'll just grab it, drag him over to the other dot well actually I think it was another document instead of dragging the other document I'm just going to use a mask to hide the background there we go uh I'm gonna position I'm up here and it's going to be as if he jumped up on the neck of the other guy to get out of the way there's line walking by and so I'm just going to come up here and transform it with command t a little tip when you do command tea for transform is if the transformation handles for that particular object are beyond the edge of your screen which oftentimes they are especially was a huge document you're working on you could type command zero control zero in windows and it'll zoom out just far enough that you can see those handles and therefore you can easily grab them and put them in so we're just going to get this guy positioned approximately where we want him and then the fun will begin you're like right about there all right, I want to make it look as if he's kind of leaped up on top of this thing and uh uh is holding on well in order to hold on you wouldn't just have your legs straight necessarily at least I wouldn't keep my arms straight I would kind of wrap around to grab on to this so before I do anything to this though I'm going to turn this into a smart object and the reason why I'm going to use a smart object is because if I don't then if I come back and try to edit it later it's not going to remember how I edited it the first time it's not going to allow me to find tune it just like a four women too first talked about smart objects where if we scaled and rotated something clicked okay and came back later on to re scale and read rotate with a smart object remembers exactly how it was set up so it's a ziff we never left that transformation time so I'll go over here and convert this into smart object and then once it's done I'm going to go to the edit menu and here's where we're going to use a feature called puppet warp when I choose puppet warp from the edit menu photo shop is going to place an odd grid over my image like a mesh on my image and now I can click within my image either where I want to be able to move something or where I want to just kind of hold it in place to prevent it from moving and see it usually what I do is I click a few times in the areas that I don't want to move to just kind of lock it in imagine this is being made out of like plato you know just stuff you could just pull on and mold and you're going to somehow glued down a few corners of it to hold it in place so I'm going to click here where the tail would attach click up here click over here click down by the chest quick there there may be a couple more all that's doing is if I click in all those places in here I can type command age to hide the the mash take command age again it would show up again but you can see where I've put them I think a little easier if I have the mesh they're not overly precisely placed I'm just kind of saying keep this area alone don't move it then I'm also going to click where I think I should be able to rotate areas or imagine it be like if it's my arm where can I move this its movement around my what you call this thing elbow movement around my wrist that's why I'm gonna put the pins is where I should be able to rotate around in pitted things from sorry sometimes technical words just don't work when I'm teaching so other times they come out like crazy so I'm going to do that I'm gonna add one right here I'm gonna add another right there another right there and maybe another right on the tip now what I could do after adding those he is repositioned them independent of each other and so if I wanted to move this I can just pull on it and you see how it can bend the image there in the reason why we pinned these other things this so they wouldn't move because otherwise the entire mesh would start moving around so I'm going to actually have more of these to get them on each leg where I think I should be able to rotate things around and now let's start manipulating it you can click on any one of the pins and then start to move it moving it like this if you'd like you can grab more than one pin by holding on the shift key and clicking so you have more than one the little dots in the middle tell you what's active and what's not and therefore move both of them like that so I might move them both and then shift click to get rid of one let's see if I can bend this around a bit that's going to be actually the leg that's underneath though so I think I can get it just kind of look like that the one that's on top I might click on this pin hold shift and get the other one bend it around a little bit grab the other pin reposition it now there's something that determines how um these react in at the top of my screen is where I determined this there are some pop up menus up here we have a mode and here it says rigid versus distort rigid would mean act as if these were made out of like wood where you might have a joint in one spot right where you click the pin but the arm portion should be like a chunk of wood when you move it it's just solid rigid if you send it to distort it's going back more like it's, plato or jell o or something else where when you move it it might bend more and just become curved that type of stuff in normalised somewhat in between so if I find this bending things too much acting like there just to fluid, then I might need to change this to a setting more like rigid, and then when I move these that might have a little more success making them look the way I want them to, I could move these around. Also, if you want to rotate something around a particular point, what you can do is if you move your mouse onto a point, let's say I move mine onto this point right here. You can also hold on the option key when you're near that point, not run on top of the point but near it, and if you hold on the option key, you'll see a ring appear around it in that ring allows you to click and just say, rotate it's right here you see how I'm kind of rotating that leg a little bit, so if you find that it doesn't quite look right in a particular location, you want to do a little bit of rotation hold on the option key move near the point you want to do it, too, and then click and drag. So with this, I'm just going to adjust the position of these a bit, and I think I'm doing all right there when I'm done, I'm going to hit the returner, enter key, and since I used a smart object, it thinks of this has being a necessity to that in my layers panel it tells me it's been applied right down here says puppet warp if I double click again it sends me right back in it remembers where all the points are so I could come in here and make additional changes maybe I want to move the head I want to grab this pin do that may want to rotate the head so I hold the option key can I can rotate it now if you ever move these things so that one area overlaps another for instance here I'm going to grab three pins off of this leg hud shift to click on them otherwise you'd only get one of the time and then I'm going to move this is if he's so scared he's going to put this right over his eyes well if they're going to overlap then you khun tell photoshopped what stacking order it should use what you can do is if you click on any particular pin click on this one which would be a end of the hall wolf right here's a choice called pin depth you can say actors of that pin is higher than the other elements within that layer or lower but this only really affects it where things overlap so if I made the arm overlapped ahead and I could hit this and say put that on top if I grabbed the other pins that for that general area and also put those on top, I could get that look like it is more on top. Ah, but in this case, I don't want to get that ridiculous were ridiculous enough already. Uh, now be silly here, but, you know, yeah, uh, get oppressor turner enter again, say I'm dead well before I even say we're done let's look at a few other things in here remember, you could type command age to show the mesh or to hide the mash you have can have control over the measure as well. There is a choice here called density, and if you set it to fewer points, you're going tohave a more basic mash. You can see there's fewer lines within the mesh eso it's going to be not be able to control it? Quite is finally, or I just chose undue I can choose more points that will have an even more intricate mesh within this image, and that will allow me to have much more smaller, smaller control over various areas. I mean, if she's okay there undue, though, to get back to normal because I don't want to mess up anything we've already accomplished. Also, when I click on a point, you remember how is able to rotate things around. Where I held on the option key and I clicked and drag and that's how I could rotate around a particular point if you don't feel like clicking and dragging their is a setting up here where whenever you have any particular point clicked on this number right here is what I was really changing when I held on the option key and I clicked and drag where is rotating things so if you wanted to rotate a different pin the same amount you could just copy this setting click on the other pin and paste in the same number so we rotate the same amount if you don't want to deal with that with rotation this is usually defaults to auto which means that when you click and you move points around it's going to automatically try to rotate things how it thinks it should and changing it to fixed is saying you want manual control over it which is also what happened when I held on the option key to adjust it so what I'm gonna do is going to hit the return around turkey and then after doing that just like when we had a some colorful shapes and I wanted to weave them here I want to make it look as if parts of this animal or behind the draft that's there so I'm going to add a layer mask and with later masking the area paint with black should end up hiding the layer so if I end up painting with black right now but that layer mask active, I can come in here and say don't appear in this area because that's the area where I wanted to look as if it's behind I could go to the other leg I only want that like to stick out just beyond the neck paint to say I don't want that one uh, so it looks like it's behind think of an idea and then in order to have it have any feeling that it's really there I would want to do a drop shadow so I can go to the letters fx choose drop shadow and you see my drop shadow here I'm gonna get in there approximately get my size which controls all soft the edges, my capacity, which is how bright or dark it is I'm going to make a little extra dark just so it's easier to see otherwise you won't be able tell what I'm doing click ok and then right now that thing called drop shadow is attached to this layer and I don't want to be because it doesn't make sense they would drop shadow falling on the grace guy out here I wanted to only fall on the animal it's here, so I'll go up to the layer menu and I'll choose later style remember that choice called create layer I'll use that so that therefore that shadow should become its own layer sitting here, and if I wanted to only show up where this other area is, I can add a mask. If the giraffe was on its own layer, where its body had been isolated onto its own layer, I would end up clipping it says, make this only show up with his information on the layer below, but the layer below contains more than just the draft that's there it also contains the trees in the sky and everything else, so it wouldn't work in this particular case, but with a layer mask, I can easily come in here and just paint on the areas where it's going beyond the edge of the draft instance of working on a layer mask wherever I paint with black, I'm hiding the contents of this layer, so I'm just going to get it off any areas where it would be hitting the background. And now let's, see where that shadow is showing up. You see it just in that one area so it's. Not that you need to do this every day. Well, he did some sort of example. Think about puppet warping, bumper warping his mainly where you can click to add little points it, um, you know, it's absolutely ridiculous, um but it's where we can add those points on her image and be able to move things around I have friends that use it all the time when they shoot kids gymnastics in kids, gymnastics or so into what they're doing, they shoot it but they're going to propose is perfect, yet they're too young to have figured out over everything and she goes and ends up manipulating every little part and makes them look absolutely perfect but the katie using puppet work is to isolate whatever it is you want a warp onto its own layer so that the only thing that's on that layer is that what you want a warp you don't want the background in that later as well then if you wanted on the same as the original background that was there you're not trying to composite instead you're just trying to find tune it after you get that unto its own layer you're going to want to work on the layer that's underneath it and do content and were filled to fill in the hole for where that object used to be so that if you move him around there's not just a white hole behind where the body used to be and said you move it and there's appropriate background and if you use a smart object, then when you apply puppet warping it's just going to appear as an accessory to that layer necessity. Where you could always turn off the eyeball on it and see the difference between what it looked like when you worked it and what it looked like originally. And you can always double. Click on the thumbnail for the smart object. If you need to go in and refine your later mass that you might have used, or if you need to do any retouching to that particular layer or anything of that sort. But this is just kind of a ridiculous example. To, uh, show you a little bit about puppet working question. So the zebra looks stuck on what can you do to make it blend in more realistically, a surrealistically possum. One thing I can do is you were actually talking about that later, which is. We need to make sure that any color bias, any color, caste, that's in one picture is also in the other. So the colors feel similar. And also the contrast in color looks similar.