Liquify
Ben Willmore
Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Liquify
then let's look at ways of distorting a face. And as always, I'm going to convert this to a smart object first so that whatever I do to it will not be permanent, and I can easily make changes later. Then I'm gonna go to the filter menu, and I'm gonna find a choice in there called liquefy. If I choose liquefy, I could expand this out to make it kind of take over my screen. And on the right side of my screen are a bunch of settings, and you can collapse each section down. The section I want to start with is one called face aware liquefy. If I expand that, then we have sub sections in here for the eyes. The nose knows the mouse house, the mouth in the overall shape of the face. Well, if I come in here now, it will automatically recognize various features in here, and you'll find that oftentimes, when people get their photos taken one, I look slightly bigger than the other. And so here we have a choice called I size, and if I move a slider, you'll see that it is able to figure out where my...
eyes are located, and Aiken separately. Adjust the one that's on the left side of the photograph from the one that is on the right. And if there was an eye that was just the slightest bit smaller than the other, this is where I'd be able to adjust that we also have I height. If I bring that, you'll find the eye gets taller before not a stall. And that's good if somebody is squinting, if they're squinting and you need them to open up their eyes, bringing up the I hide a little bit has the potential of doing that. We also have the I with so we could widen it or make it skinnier if that happened to need to be adjusted. And we can also do a tilt where it's going to rotate the I one direction or the other. So any time you need to find Tune, thanks for eyes. This is one way to do it. There is a choice called I distance, and that's going to put the eyes further apart or closer together, depending on what direction you go. Of course, it's easy to make somebody look really weird by moving the sliders dramatically in different directions. All right, then we come down here and we have the nose in here. We can adjust the height of the nose either making it shorter or extending it, and we can also make the nose a bit wider or skinnier. I find that if I end up shooting with a wide angle lens, people's faces end up being distorted in that on occasion, I might need to bring the nose with in a little bit because the nose is something that will be closest to the camera, it will usually be the most distorted and so on occasion. Bringing that in a little bit if it was shot with a wide angle lens can make the image look nicer for mouth. We can attempt to put a smile in, or it's better for exaggerating and smile. That's already existing where you could put a slight frown. You can adjust the upper lip height separately from the lower lip because sometimes people have them a little bit tensed and they one might look smaller than the other. We also could do the width wider or skinnier, and then the overall height. Finally, we have face shape in here. I can control the forehead, but since I have a hat on here, it's not gonna quite be appropriate. We can also just chin height up or down, and then the jawline. How wide is it and the overall face with? So that's face aware, liquefied. Now, if you happen to have a photograph that has more than one person in it and you got a filter liquefy, then you'll find that there's little pop up menu at the top, and you can switch between various faces that air in here in a just one separate from the other. So here, if I go to face number one, I might want Teoh here, adjust the forehead, bring it down a little bit and then select separately on face number two. Maybe it's the mouth that needs some adjustment. That upper lip is a little tensed, so it might bring it up a little. And the mouth height. We might be able to try toe open a little, although it looks like we could get him to talk a little, maybe get him just a little more smiley. But the main thing is you are able to switch between the two, then if I close that well and actually we can work on this one, this one, I should have converted to a smart object first, but I did not. If I do it at this point, then whatever changes I've had will will be more or less permanent. But I would have usually done this first go back to liquefy and liquefied, then also has manual tools. We don't have to use this face aware liquefy. We just have brush tool options here, and we have a set of brushes found on the left side of the screen. Let's take a look at what a few of them do. The top most tool will allow you to his push things around. And so if there is an area that needs to be adjusted, like here, his outfit is a little bit sticking out. A little too much might be able to bring it a little closer to the body, but then, when I do that, the area here is a little too distorted, so the next tool down, if you hover over it, will tell you what it's called. It's the reconstruct tool it allows you to bring areas back to the way they used to look. And so if I paint here, I might be able to try to get the curvature of his suit to not be distorted as much. The more I paint on this, the closer it gets to the original version of the picture. And so therefore, it wont be distorted quite as much. We also have twirled tools. If you need to manually come in here an attempt to put, let's say, a smile on somebody's face. Well, you might need to decide exactly what portion of the face needs to be rotated in order to accomplish that. In this case, I'm just going to click and hold down just to see what direction it's going. It's rotating clockwise, so it might be this portion I need. Rotate clockwise so I can just click. Let go a few times here to see if I can rotate that a bit. I'm not gonna go overboard, though, and if you just click, it's gonna go clockwise. If you hold down the option key, it will go the opposite direction, and so therefore, I could attempt to rotate the edges a little bit. Then I could grab that top tool, which is just gonna move things in general and see about moving his mouth down just a little bit. Could grab the center of his upper lip and try to push it up just a little bit just to get a different look. We have other tools in here. This one here is the pucker tool, which will pull things in like that. And it could be that in some areas, maybe his forehead. I just need to pull it in a teeny bet to make it look a little too far there or below that we have the bloat tool, which is going to push things outward in itself. Somebody's squinting their eyes. One I squinted more than the other, and those tools on the right side didn't work here. I can click a few times, get that groups a little too far. With that last click right now, his teeth look like they're sticking out of it. I could, uh, Parker them, meaning pull them inward. But there's all sorts of adjustments we can do there in the If I remember correctly, both the pucker in the bloat tools. If you hold on the option key. You get the opposite meaning it's liquid into switching between those two tools. Then we have a tool that pushes things to the left is what it's called the push left tool. If I come in here and I dragged vertically and I've drink up, do you see how it's pushing to the left? Choose undo. If I dragged down, though, it's gonna push the other direction. So on occasion, if you have somebody where they're sticking out a little too much, you could just dragged downward the tiniest bit to push it towards the right or drag upward. If I'm on this side, push it in a little, just be subtle about it. Don't move too much, and we could come in here and try to re sculpt areas. And if you need to push up or down, then instead, what you need to do is drag left and right instead of up and down here. If I were to drag left, I'm gonna pull up. I'm sorry, this reading left to right. If I go, the opposite direction will push down. Then below that, we have freeze in fall tools freeze and thaw allow you to prevent an area from changing. So let's just say that in here I did not want to change his mouth, and therefore I grabbed the freeze tool in I paint. I get a red overlay over an area that's gonna be frozen, and that's going to mean I cannot change that area because maybe it was that I was going to work on his nose and I was worried about if I was pushing his nose downward. Let's say that I might get into his mouth area, so then I could come in and use any tool. I don't know what I need to do it to its nose, but I'm gonna pull it down a little bit. And when I dio, this is preventing the mouth from changing because it's frozen. When you're done with that, you can go to the tool below, and that's the thought tool, and I go over here and get rid of that red over light. So the red is an area that will not be changed. That's where if you have like a somebody's in a bathroom and behind them is a tile wall. And if you move to tile wall at all would be obvious. So you go in there and freeze the entire wall. So if you happen to start pushing and pulling on things, that tile in the background does not end up getting distorted. And then we have a face tool in the face tool allows you to do the same adjustments that we were using earlier where we had our face aware liquefy. But it allows you to do it by moving your mouse over the image. And so if I move the mouse over the overall face, then I could click within it once a I get near the edge and I can change its with or I can come up to the eye and I could make it larger, smaller. But in the end, all I'm doing is changing the settings that we're usually found under face aware liquefy, and I'm just choosing a tool on the left side of my screen called the Face Tool in allows Metamor Inter actively work with that. Then there is a choice up here to what we haven't used. It's the 3rd 1 from the top. It's called the Smooth Tool, and if you've ever done anything to the image. Maybe you pushed on one area and pulled on another area in the result just looks like an abrupt transition. You can paint with this tool and it will smooth out any relic. Can't even say that word irregularity to it. So if you had an abrupt kind of non smooth edge, it will make it feel much more smooth. Then each one of these tools over on the right side of your screen will have options. There you can change the size, the density, Which is kind of think of it as how hard you pushing with If it was your finger to move things around, um, and how quick changes are happening now, also in here, you're going to find choices like mask options. This has to do with the freezing and fine. You could mask all that'll put red everywhere, and then you could come in and choose the thaw option to say I only want to work on this part. So now nothing can change in the picture except for that area. Uh, that was by hitting the mass call button. There's an invert all button which would change where you know what is frozen, and you can also choose none to get rid of it. We also have options for viewing. If you want to show guides and other things, you can look at that. They're relatively self explanatory. And also there is a mesh option you could load. You can save and load a mesh, meaning if you want to make the same change to a different picture. Maybe I have five pictures of these guys taken one right after the other, and they're all need the same choice or change. You'll be able to do that and then let's see. Yeah, I think that's most all the tools, so I'll click OK here and liquefy could be great. I would turn things into a smart object first, because then, if you return to the liquefy filter, you can go back in and still reconstruct things by painting with the second brush that's from the top. Ah, and so all the changes, they're not permanent. If it is on a smart object,
Class Materials
Ratings and Reviews
Noel Ice
I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
a Creativelive Student
Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!
Student Work
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Adobe Photoshop