Body Shaping: Puppet Warp Tool
Another very common technique for body shaping is warping, I love warping. It's a little old school. Alright. Image, transform, warp. I use this a lot. Now, when you're warping sometimes you don't want that huge file selected because you want just a small area. Right, because this is, they haven't made it in such a way that you can actually change the grid, grid size smaller. So what I will do is I will get out of here and I will select an area. Oh shoot, I forgot to tell you about this. This is another change. You cannot do a warp, you can do liquefy in a specific area. You cannot do warp in a specific area. So, for warping I'm going to get rid of that, it's a very important point. Liquefy you can do in a specific area, warp you cannot. So for warp what I tend to do is I take a box, I select the area, I Command J it, I do my warp. I know this looks a little silly but you get the idea. And then I save that. I label it warp and I save it all in a file so that if someone has to come up a...
nd follow behind me, they know what I did. Please don't merge it. I beg of you do not merge it. I have to pick up jobs from folks and they've already merged everything. I have no clue what they did. I can kind of figure this out. If you give me this, I can get there. If you give me this and mind you've worked on top, and worked on top, and worked on top, it's never one warp, honey. It's always like 17 different things you've had to do. Then I'm gonna have a hard time figuring out what you did. So, if you need to communicate if you're gonna be a compositor, you want to keep your files separate. Do you remember I talked about not having 75 layers in your file? Because you don't want to have 75 layers in your file, this is another reason to pull your warping out into a separate file. Have your retouching in one file, have your body shaping in another. I have yet to have a job go that was fully, like really big warping files that I didn't have trouble going back to a retouching change and then having to warp again. Back and forth, back and forth. And you really need to be careful how you manage it. Let's talk a little bit. We were talking earlier about retouching and what to take in and take out and how would you do it. And again, I'm gonna suggest on this file, kind of the same treatment. Go ahead and merge it on top and do your warping on top. Or, your I by the way, I say warp for anything. It might be liquefy and I say warp, it's just my terminology. So forgive me if I say the same word if I'm on a different filter, it's all the same technique to me. And when you can make it a Smart Object so that you can repeat it. You're not always going to be able to do this. It's just the bane of life, and you're gonna have to get used to it. One of the ways that you can use this, and I really, really like it, it's Puppet Warp. Now Puppet Warp is a little crazy making. Sweet Jesus, what's going on? The file's gone crazy. What you have to do with Puppet Warp is you have to setup stops before you start. What? You have to setup stops before you start. And what that means is you have to put some points in there so that the file won't move around too much. And then you click and drag and you can move what you need to. You can zoom in. I love Puppet Warp, I think it's really fun. But it's a little tiny bit unwieldy. I'm just putting a pin and pushing in. Pin, ah! Yeah, yeah, yeah, I heard you. She didn't like where that pin was. Pushing in. Yeah. I wish they'd get the grids a little better. Shut up. (chuckling) Hey! Yes ma'am.
Can you erase a pin?
Yeah, you can pull them out. Um, Command option, I always forget what the key is. There you go, it's a option. How many people does this happen to? I think some people do it with their phone numbers. You actually don't know what the key is. Your hand knows what the key is. That happens to me all the time. I'll be like, ah, what's that key? So, on warping again, Puppet Warp you get to keep it here. You get to keep it as code. You get to keep it as code. It's mathematical code and it's sitting right on top. And because of that, here is what I'd like to suggest to you guys. I'm gonna suggest that you actually try to work with Puppet Work and Liquefy because you can keep it as code. And you can go back and you're not stuck with it. Come on, come back on. Do you see how that even on my computer that that amount of re-draw, the computer it's really thinking. I've got a very jacked up computer. And this is a tiny file. It's a 38 meg file with, so it. This is a nothing file for me. This is what 589 megs? Nothing on the stuff I work up. And even this little thing, when I turn this off and on it kinda goes ugh. So you can imagine if you have 10 figures, oh my Lord, this is really gonna get jacked up because it's got all the retouching. I'm gonna suggest when you do body shaping, when you can try to use Warp or Liquefy. Warp or Liquefy can be very hard to do in terms of straightening lines. So that's where you might want to do masking first and then merge it up. Do you remember on Chelsea on the red dress we masked her first? So, for straight lines probably masking is your best option. For curvatures, Warp or Liquefy. And, so you might have to do double. That means you might have to mask your item, then make it a Smart Object, and then apply your Warp. Okay, the key is to be flexible. I see a question coming down the pike here.
What happens when she's not on a solid color background? There's some kind of funky pattern behind her.
Yeah what would happen then if you would have to clone it out. And you cry a little. It's doable but you cry a little. So, what do you do when you have a pattern behind? Hopefully, can you warp the pattern with it or you do a patch. And what I mean by a patch is you will grab the fabric, the background, you will Command copy it and paste it. And you will move it over and pray that you don't have a seam that's too difficult to match. Oftentimes on patching of patterns what I try to do is Command T and just pull it over if I can. Command T and stretch it out. You'd be amazed the human eye will let you get away with some stuff sometimes. Yes ma'am.
If you select the Warp from here can you do the warping with the selection?
Ah, you mean Command T?
You're in Command T.
No, no not there. To the right of the bi-cubic, that little warp grid? Does that work if you're on the screen here?
I don't know, I'm so sorry I don't know where you mean.
Top of the screen.
Top of the screen. Oh, maybe. Oh hey. Girl, you just showed me something. I didn't know that. Hey, ladies and gentlemen, right up there. There's a little clicky. I did not know that, thank you. (chuckling) I got to learn something today, too.
It's really exciting. And you know what? I'm going to take a moment to actually talk about this while I think I've covered this. You kind of understand this process. I want to as I show you something else, I want to talk a little bit about this notion of education and learning and are you supposed to be an expert, are you supposed to already know what you've done and should know? This is a learning process. I have been working in this program for easily, I mean nearly every day. I'm kind of a workaholic, for 25 years minimum. And I know about a third of Photoshop I would say. Maybe a fourth of what this program can, a fourth. Can you imagine? So for ya'll your not expected to know all this. And I think this community of CreateLive is really brilliant about sharing, and giving, and learning how to do other files and it's really great.
Consistently make the people in your portraits shine by knowing exactly how and what to enhance or alter when retouching. Lisa Carney is back with the ultimate portrait retouching class. She will dive into working with a variety of skin tones, facial hair, body shaping, and clothing. No matter the person, lighting or portrait - this class will help show you how to enhance it in your post-processing. She’ll explain how to:
- Prioritize your workflow
- Use the clone/heal tools
- Match skin tones
- Work with lighting/shadows and volume
Lisa is one of the best retouchers on the Hollywood scene and will be sharing her professional insight into how she approaches workflow and technique to create amazing portraits.
Software Used: Adobe Photoshop CC 2017.1.0