Tips and Tricks with Adobe® Photoshop®

Lesson 1/9 - Flames and Nondestructive Liquify in Photoshop®

 

Tips and Tricks with Adobe® Photoshop®

 

Lesson Info

Flames and Nondestructive Liquify in Photoshop®

Since the majority of the time, I actually start in light room and go over to photo shop, I think that's what I will be using instead of bridge. But if you use bridge, which finally after like seven years, I finally I do not call it the bridge anymore. It's just bridge, there was a memo I've been notified so way will be using the light room to start him to go over to the photo shop. Um, so I just have this simple, simple image here. Now we know since I am in light room, this is actually a ps defile I want to bring this over to photo shop, so when I use command your control, which is the shortcut, which is a very good shortcut to know if you don't want to learn shortcuts, though you can always write mouse, click andi, you can choose at it in and then you can choose at it in for a shock if you have a one button mouse and you don't right mouse click, you can use the control key, but if you have a one button mouse it's time, that's all I'll say time to get to, but mounts are welcome tablet...

s anyway, so I've got my tablet again today and I'll go ahead and click at it. And the nice thing about that is when you say it in and you edit as original because this is a photo shop document and it's a layered photoshopped document it opens up those multiple layers so what do I have here? I just have a simple background layer and then I have a photograph of some roses in a heart shape happens to be a smart object because I wasn't sure what size I wanted it I think you guys probably have learned about smart objects or using smart objects it's nice to see that the bell curve is finally like, oh, those air really actually quite beneficial more and more people are using them if you've never used them, I'll just quickly mention that see, I can make this image smaller and then I can go ahead and transform it and make it larger and I don't lose inequality because I've transformed it because it is the smart object. All right? So what do I want to do? Well, I want to drop out the white background and I want to add of course what goes good with a heart but flames so we're going to set these little roses on sire so that's a new feature, so a lot of my tips and tricks today will incorporate a new features in photo shops sisi so how do we do these flames? Well, first of all, I wanted to be flexible, so I'm going to go ahead and create a new layer so here's, my new layer, I'm going to name the layer, right? I know you guys all name your layers correct, so some of you at least name them before you hand them off to the client, but I would highly recommend the namely layers it's just proper photoshopped etiquette, and it really will help you. And if you're a beginner, how we see people, if you're a beginner and you don't know what layers and things on, just toggle the icon on and off, and that will really help you see what's on what layer you know if because sometimes these thumbnails get really small, so let me just give another little hint out here. If you're thumbnails air super small in your layers panel, you can use the flyout menu and you come down here to your panel options and you can actually make them much larger. So I'm not going to make them larger today because I've got a minimum space to work in for the streaming of this but know that not only can you make your thumb neil's larger, but look at this under thumbnail contents, you can display the content in these thumbnails, either based on what's on the layer or what's on the layer in relationship to the whole document so by default we always show you a thumbnail that's the same aspect ratio of the document and then sometimes if you've got a little teeny like layer that you're re touching, you just see like this little teeny dot because it's still showing you the entire document and it's showing you how big the information is on that later in comparison to the whole document well, if you've got twenty of these layers, you can't tell what's on what layer so instead what you might want to do is say, change your thumbnail content to the layer bounds so that when you click ok office and those little teeny dots so look, I'm gonna I'll just grab my paintbrush I'm on this flame layer I'll get a small brush it's make my and I'm just gonna paint a little dot but see how big that dot looks in my layers panel as opposed to if I went back to the flyout menu to panel options and I said ok, show me my thumbnail contents in relationship to the entire document. Now look how small that dot is you could barely see it. Okay, so pretty cool. All right? So I'm going to a quick select all and then delete to get rid of the dots because I don't wanna die aggress too much so I have my flames and I will scoot out a little bit just so to make sure we can see the entire document, I forgot that I have that whole black around there and I'll be select. Now I want to create these flames along a path. That's how the flames work. We have a lot of things underneath the filter menu now underneath the render option. See, I can render flames, picture frames, trees the trees is so cool you might be thinking really seriously. Trees it is is not clip art. Every tree you render will be different. It'll be unique and let me just I'm going to scoot over to my block for one second as we won't have a million years today we only have ninety minutes and so I doubt I'm going to get to cover trees. But I went to my block, which is just blog's dot adobe dot com slash j cost. I entered in trees in the search and check out all the trees that you can look at. Ok, here's all the different kinds of trees and then you can put leaves on all those trees. But you don't have to put the right leaves with the right trees, right? You can make up your own crazy trees. And you can put different branches and how many trees and you can change the lighting and you can change the camera tilt and you can put no leaves or lots of leaves or look at the little teeny tiny train at the top, or you're gonna have, like the trees start at the very bottom there's a million option with the trees, and every time you render him, they're going to be unique. So that means if you do any kind of architectural work or where you're mocking up anything, if you're doing any gaming and you need to put a tree in there just for for the mock up saying, these things are great, and then if you're doing composited like I do, you will never know if my trees aerial or not, I will not tell you, ok, so trees picture frames on dh flames, so course I have to show flames, so we tap the yuki. Why? Because the yuki gives us our shape tools, but I need the custom shaped tool and I get to choose what shape I want, so I'm going to choose a little heart shape and one of the nice things about the shape selector here, the little shape tool preset picker, I believe, is that I can actually load all the shapes the ship by default. You could do it all at once, which is really nice. I wish our other panels had that, so this one, the heart shape is actually there by default, so we'll just stretch this out and we will grab the heart shape, which is right there. But here's, the thing I don't actually want to shape layer because I don't want it to create a new layer, a new phil layer and use the shape as a mask instead, I just want the path, so I just change right here where it says shape, we're going to change this to a path, so this gives me a busy a curve like it, just as if you were drawing with a pen tool. Hey, so we just click and drag out, and I'm going to make this about the same size as those hearts, maybe, like right there, you know, you know, this is a really cool feature that if you start drawing with the shape tool or with a marquee tool or anything, you've got your selection and it's halfway drawn, and you decide it's not in the right spot. You can hold on the space bar and change, you can drag the point of origin from which you're selecting, and then when you let go of the space bar, you can then change. The actual size of it if you want to. So I'm gonna go back to my flames. I've got my path. I've got the right layer targeted. I've got the path selected, we can see in the past palette panel, that is my work path, and now when I go under the filter menu and I come down to render, I could go to flame. All right, so this is going to bring up just like the trees. We can have all sorts of flames so we can have one flame along a path in which case let's make the with a little smaller. There we go so you can kind of see how it's going around the heart, we can see multiple pans along the flame so I can actually have it draw multiple flames that follow the path and this path. Obviously you're probably cheerier than me. You're not going to do terrible flames around him heart, but you'll do whatever you want. Okay, so all of these different options we can do multiple flame's path directed various angles. We could do one single candle light if you want to, but let's go back to these multiple flames one direction, so I like this because then they will all be going like up. As opposed to if I did multiple directions or path direction it's going to follow the path around the heart and it's a little crazy right now so my flame lines let's take those down a little bit and let's bring it means get that like that doesn't even necessarily look like now I've got like a seventies filter on top of my flame filter right? So we have we have all sorts of options here but let's go to some of the the presets here because this will be easier all right, so now we've got small link so they're really small flames but and they're going to be a little bit of an angle there and they're going they're going to adjust for interval for loops which is kind of important because as you as you tell it you want an interval the interval set to eleven it might come up short as it closes a path so that's important and then we can have violent flames or just normal flames that depends on your aggression that day I suppose or you could just have flat flames if maybe it's a more peaceful campfire esque thing all right, so there's a ton of options and there I would suggest that you just check them out when you have time I just made a few presets here let's see if there's one that I like I like that one right there, okay, so that's definitely like heart on fire all right, so we click ok and to the reason that I had that new blank layer of courses so that it would put it on that blank layer all right, so you're thinking that doesn't look good all right? We'll just told on first of all, we need to hide the work path so and I need to see that anymore and I need those those flames to be gray scale because I prefer grayscale because I'm not very good with color and so like these colors right now we're like really making me nervous so how can I change the flames to grace get well, I can just change them by adding like a black and white adjustment layer which which already have in the file but don't forget you could also if you just want to change the the one layer without a lot of control, you could just change the the blend mode of that layer to something like luminosity and that would drop out all of the color and still that you're thinking you know, I'm not really sure how good those because flames always look better against black right? So I have to get rid of this white as soon as I get out of the white the flames are gonna look awesome, ok, so how do I get rid of the white well, I suppose I could use, like, quick selected everything, let's, turn off the flames for a minute. I could use quicks like they could use the magic wand and, like the backgrounds like converse or I could use the advanced blending options and stuff. But I could also do this if I just want to paint it in more freely, because I don't really I don't care about that exact selection. This is a bunch of roses. Maybe the roses aren't even in a heart shape. Maybe I just have a bed of roses like a whole wall of roses, and I want to paint in and out the roses where I want to see them. Well, what I would do is I would just turn the rose layer to multiply. Why? Because all of the blend modes here are going to hide white. All of the blend modes here are going to hide black on all of the blood modes here in this grouping will hide middle gray. So with that in mind, if I just set this to multiply like yeah, it's gone? No, look, just add a new layer now, where's this when I click the new layer icon where's it gonna add a layer right above this currently targeted layer, but if I hold down the option, no no, I can't I was testing you if I hold down the command here the control key on windows and I click it actually adds the layer underneath it and if you've ever needed to do that or not but this will be just the paint with white layer so it is it's actually transparent now, right? It's not actually white even though the thumbnail looks why it if we went into our preferences and we went into our transparency and gammon and we turn this on we would know with the checkerboard if we turn off the background that sure enough pain I'm gonna paint with white on the layer that has nothing. Okay, so I'm gonna go ahead and grab my paintbrush I'm gonna tap be did you see that? So it actually took me? I had to click on that thumb now icon in order but now you can see the transparency actually in the layers panel so that just happens because I just went to the preferences and toggled it. So I've noticed that when I come back in if I want to see the transparency the checkerboard in my layers panel I just have to click on a layer once and then it seems to update it okay, so I have my paintbrush I tapped the bee key I get a little bit bigger brush we could do that with the right, bracket or we can use that keyboard shortcut, the command option or control fault that will help me to drag left or right in order to get a larger or smaller brush. And I might just want to paint with, like, fifty percent, right? So if I tap five, it changes the opacity of the fifty percent. I don't know if this has ever happened to you, but if you have the airbrush attributes on and you tap five, you don't change the opacity, you change the flow, so just know if, like, for some reason, I don't understand every time I tap my keyboard instead of the opacity changing the flows changing that's because the air rush attribute is on the other thing that could be happening. Of course I have the brush tools so it's changing the opacity of the brush if you have the move towards and then it would be changing the opacity of the layer, so be careful. All right, so now all we need to do is I've got the rose there, I know where the roses pretty much underneath, and I'm just going to paint with what with with white, so I need to tap the ex key need to look down here, make sure that I'm painting with white and now look wherever I paint with white basically I can paint in the rose you're thinking well, I didn't know where the roses were yeah, because so if you turn on the flames that'll help, all right? So we'll just bring up the flames and we've got this and then we might want tio reposition them all right, so I gotta flames and I just scoop them down I'm using what am I using? I've got the move tool selected so I tapped the wiki and then I use shift up arrows and down arrows. Now I might want to also just d saturate that home thing so that's why I have this black and white adjustment there who uh so much calmer now. All right? And if you don't know howto teo create a black and white adjustment layer I'll just make one here look, you use a little adjustment there icon come down here to black and white and you see why I put my properties panel underneath my layers panel because when I add a new adjustment layer, my cursor is right there, so I don't have to go find my properties panel and the properties panel also where it is by default the way it always flies out it drives me crazy so you should know that you can write mouse click in the properties panel like in this blank area right here uh no, it must be auto yeah so auto show hidden panels if you don't want it to fly out all the time toggle this off and then it won't it'll just stay put as it's little iconic view there came to turn that off if you want to I just put it right underneath the layers panel because it makes sense and my cursor is always right there when I had my adjustment there now I don't want the adjustment layer to be completely one hundred percent opacity otherwise I don't get any of the color from the roses so what I'm gonna do is since I have my moved to will select it now when I use that same keyboard shortcut like five it changes the opacity of the layer is opposed to the opacity of the brush that I had selected okay what else do I want tio I just want to put them in a group you have a question yes because you talked about it in your class yesterday but people were curious about your work space and everything being on the left hand side versus the right okay so the truth of it how do you do it? I am lazy that's why my my all my panels and stuff on the left hand side so look let's go these air this is your work space picker up here in the upper right and I'm going to go to essentials this is how we ship it I'm going to say reset the essential, so this is how normally your workspace will look, all I do is I pick the panels that I use all the time, so I don't use the colors and this watch is very much so. I just close that tabb group libraries I use so I grab you have to click on where it says libraries on the panel that the tab for the panel, the name of it, and just drag it over to the other side and you get that science line next to your toolbar. And then as soon as you see that science line, you could just let go and it will nest your panels now with your tool bar on the left hand side and sort of being on the right hand side, so styles and adjustments, I just don't need those, so I close them layers I use all the time I usually put it below the library's panel, so I'll just drag down and see when I position my cursor at the very bottom of the library's panel. Now the scion line is down at the very bottom, so when I released my cursor, it will dock it underneath the library's panel, and then we can always change the size by just dragging him, so it makes sense to me I use paths a lot. And it's a short panel, so I put it with libraries and I use channels that's a short one, so I put it with libraries as well, and then I also use history, and I also use action so we can drag history to be with layers because that's usually a really long panel and let's grab properties and drag it all the way down to the bottom. So now I've got my kind of properties area my layers area, and if you drag him in the wrong order and you want to change the order, you can just drag and swap like history with layers or layers with history or I could go put, you know, history up here is soon as it gets that full sayin all the way around it, it tells me I'm going to drop it right inside with that group of panels, but I'm going to leave it right down here, okay? So once you've got it all set up because you don't want to sit here and set it up over and over again, what I would recommend that you do is come over to the right hand side and just say, I want to save this as a new work space and it would be your new jake, a creative live work space and you will notice if they're actually quite powerful so I can also I choose to save my keyboard shortcuts like if I have a special keyboard shortcut because you might have a workspace that when you do your time lapse or you're working with video and photo shop you might have a work space for that and you might have different keyboard shortcuts than if you're working with layers or you're working with typography or something so you just hit save and that way because some of you guys I see you I know you were like at the end of the day you've got it's like you can't even see like where are your where's your image because you do it palate shuffle and stuff is everywhere and you got five amos is open at one time so what you do is you just come here and you say photoshopped please I'd like to start over can you please reset that workspace and it just puts all your panel's back the way they were okay let's get rid of some of these adjustment layers that I had I mean tap the delete key in order to get rid of all of those we can put our flames down below the roses if we want tio now look at the flames they don't quite match right so I want to distort my flames and in the past I could always do this with liquefy with puppet warp with a number of different things but if I wanted to be flexible we've just changed liquefying so that liquefy khun b nondestructive so I'm gonna convert flames to a smart object so I'm gonna write mouse click here and choose convert to smart object from the list and what that does is it says ok photoshopped capture all the data that's on that layer right now at the size that it is so that if I do make a distortion it knows how to undistorted if I scale it down it knows how to resize it up and it's you will you won't lose any data and therefore you're not gonna lose inequality so with the flames layer as a smart object I can now go to filter and goto liquefy so it used to be that this was great out you couldn't liquefy a smart object so now when I go to liquefy I can and you'll notice what I've got is I've got the show backdrop turned on because I actually want to see the flames in relationship to the heart so now I can just kind of such those flames out and when I click ok and it's a big dialogue box sorry and I should just warn you by default it's not in advance mode it's in beginning mode because I will admit when you come in here and you look at this you like the right so usually we keep off the show backdrop where you can only then see the layer that you're working on, which is fine if you're doing retouching, but if you want to see it in relationship with the rest of your layers than you want to turn on show backdrop, the reason you want to go to advance mo to is because and we see people when they use liquefying, because usually it could be a face or it could be like, you know, the hair if you take a photograph of someone in the winds than this hair's all poofy and you want a knuckle hair down or put the other hair up or something, if you use too small of a brush, right what'll happen is you'll end up looking like lisa simpson, right? Where you'll have, like, all these little points on your head, right? So that doesn't work so let's just undo those and liquefy supports multiple indio, so I did under those with command z multiple times and then stand I would get a really big brush, but then wouldn't I'm happening is you're like, well, now I'm pulling part of the school as well as the hair so that's, why you have to go to advance mode because we have this tool right here, which is the freeze mask tool, so if I select that and I know that this portion of my image is just perfect just fantastic do not move this portion of the image and do not move this portion of the image you on ly want to adjust this portion of the image now when I go back and I make an adjustment even though it is a really big brush on lee that area will move right so I have used that to kind of lock down different areas right so that probably didn't enhance my image so I'm gonna go and do that and then we can thaw this if we want tio I just get a really I said the thought tool to be super big so it just covers everything at once all right so now we click ok and we do a little un do we do and you can see how liquefy and its nondestructive so if I go well now I've made this side look good but now this side doesn't look good well look we've got our flames layer it's got a smart filter mask so I can mask the liquefy if I want to and I can also just go in and re edit it by double clicking the word liquefying getting a smaller brush maybe there and just saying let's look at the backdrop and let's just pull out my flames right there as well click ok well so before and after questions comments concerns studio audience I just wanted to usually need a sort of way

Class Description

This action-packed session will give you the deluxe tour through the new tools, features, and product enhancements in Photoshop® CC 2014. Julieanne Kost will get you up-to-speed on the latest features and ready to take advantage the most current technology.

Julieanne will share her "Top Ten Photoshop® Hidden Gems for Photographers" that will improve the way you work in Photoshop®. You’ll also learn about her favorite shortcuts and compositing techniques and about the most efficient ways to get the job done.


Software Used: Adobe Photoshop CC 2014.2.2

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