Tài iệu Photoshop cs5 by Dayley part 91 pot

Chapter 19: Distorting Images
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The Liquify Filter
Although the Liquify filter can be used for creating textures, giving tummy tucks, or several other
serious Photoshop tasks, I predict that you’ll be laughing too hard to get much serious work done.
The Liquify filter is so versatile that it almost qualifies as an application all on its own. It’s certainly
more than just a tool.
When you select the Liquify filter by choosing Filter ➪ Liquify, your image is opened inside the
Liquify utility, as shown in Figure 19.21. Right away you can see that you can do so much here. I
break each area in the utility into manageable chunks and introduce them one at a time.
The Liquify utility works in a very similar way to the Puppet Warp. A mesh overlay is placed over
your image, creating a grid that can be pulled and warped to change your image as if it were made
of fabric. Each tool uses the mesh in a different way to create a different effect. The Reconstruct
tools also are based on the mesh.
The Liquify tools
The Liquify tools are stacked neatly in their own Toolbox on the left of the Liquify utility. Some
will be familiar to you, namely the Hand tool and the Zoom tool. Others are unique to the Liquify
utility. These tools are listed here in the order in which they appear in the Toolbox.
Note
While you are in the Liquify workspace, each of these tools can be accessed by a hotkey. Hover over each tool
to see its name and hotkey.
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Forward Warp: The Forward Warp tool drags the pixels starting at the center of your
cursor forward following the direction you drag. The effects look just like the wake of a
boat. This is a very basic way to push pixels around and can create very specific results, as
seen in Figure 19.22.
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Reconstruct: The Reconstruct tool is a simple way to restore specific areas of your image.
Brush over areas that you’ve already distorted, and they are restored to their original pixel
composition.

Tip
Holding down the Alt/Option key while either the Forward Warp tool or the Reconstruct tool is activated tem-
porarily changes it to the other of these two tools.
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Twirl Clockwise: Using the Twirl Clockwise tool is like a curling iron for your pixels.
Hold down your mouse button to twirl them around your cursor. Be sure to hold your
mouse in one spot to do this; the longer you hold, the tighter the twirl is. If you want the
twirl to go counter-clockwise, hold down the Alt/Option key while you twirl.
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FIGURE 19.21
The Liquify utility in Photoshop
Bloat
Pucker
Twirl Clockwise
Reconstruct
Forward Warp
Push Left
Mirror
Turbulence
Freeze Mask
Thaw Mask
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FIGURE 19.22
The effects of the first four Liquify tools (not including the Reconstruct tool)
PuckerBloatForward Warp Twirl

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Pucker: Using the Pucker tool is like having a mini black hole in the center of your cur-
sor; the longer you hold down your mouse button, the more pixels are sucked into the
center of your cursor. It creates a pinched or puckered look. Great for hips and thighs.
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Bloat: This tool has the opposite effect of the Pucker tool, pushing pixels out from the
center of your cursor. Great for lips and cheeks. Holding down the Alt/Option key with
the Pucker and Bloat tools changes one tool into the other.
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Push left: This is another great tool for getting rid of bulges. Dragging this tool upward
literally pushes the pixels the width of the brush to the left, blending the pixels to the
right into the space left behind. This has a dramatic effect on hard lines, as demonstrated
in Figure 19.23. Despite its name, you can push pixels right as well as left by dragging
downward, pushing them up by dragging to the right and down by dragging left. Holding
the down Alt/Option key reverses any one of these effects.
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FIGURE 19.23
The effects of the next three Liquify tools
Push Left Mirror
Turbulence
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Mirror: This effect is great for creating reflections or just really cool special effects, as
shown in Figure 19.23. You can drag left to mirror the pixels under your cursor, right for
the pixels above, down for the pixels to the right, and up for the pixels to the left. Don’t
worry. Doing it makes more sense than reading about it; you’ll get the hang of it. The first
brushstroke sets the conjunction point, and as long as subsequent strokes overlap each
other (and go in the same direction), the first mirror effect is perpetuated. After you create
an independent stroke, a new mirror effect is created.

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Turbulence: Turbulence randomly scrambles the pixels within the cursor. You can move
the cursor around your image for an effect that is similar—although not as precise—as the
Forward Warp, or you can hold it in place to swirl the pixels randomly and eventually
create a “burnt” area.
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The Mask tools: These tools help you protect areas of your image that you don’t want to
be liquefied. You can mask areas before or after you’ve used an effect on it, and the Mask
tool won’t change the effect. It just protects that area from further changes. Click the
Freeze Mask tool, and use the brush to paint over areas you want protected. The Thaw
Mask tool “liquifies” the areas again so they can be changed.
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Tool options
The tool options modify the behavior of the brush used to apply the Liquify effects. They are basic
brush settings and should be familiar to you if you’ve used Photoshop at all:
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Brush Size: This option changes the size of your brush and, therefore, the size of the
effect that is being applied. The brush used to twirl curls in Figure 19.22 was much
smaller than the brush used to make the broad mirror strokes in Figure 19.23.
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Brush Density: This option sets the amount of distortion that takes place the farther the
pixels are from the cursor. If you set your brush to a density of 100, the effects are the
same at the edges of the cursor as they are in the center.
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Brush Pressure: Use this setting to determine how fast the distortions are applied. If you
want to apply settings slowly and carefully, lower the brush pressure.
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Brush Rate: This option works with the tools that are applied over time as you hold the

mouse in place with the button pressed, such as the Twirl and Turbulence tools. It deter-
mines the speed that these effects are applied in this way.
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Turbulent Jitter: The Turbulence tool scrambles your pixels, and the Turbulence Jitter
setting determines how widely they are scrambled. A lower jitter scrambles pixels in a
smaller area, avoiding the burnt look, but not creating a dramatic effect. A larger jitter
scrambles pixels every which way inside your cursor.
Mesh options
You can save meshes, just as you would save selections, to use later. The mesh is what is placed
over your image and changes as you use the Liquify tools to warp and distort your image. By sav-
ing the mesh, you are really saving the Liquify settings that you have applied to your document.
These settings are actually saved as an independent file and can be opened even if you have a com-
pletely different image in the Liquify utility.
At the top of the options panel, click Save Mesh to save your current liquify status. You can browse
and save the document independently of the image, just as if you were saving a new document in
Photoshop. Make sure you choose a location where you can easily locate it later. To load a saved
mesh, click the Load Mesh button and browse to the location of the mesh file. It is loaded into the
Liquify utility and takes effect on the current image immediately, replacing the mesh that was pre-
viously there.
Reconstruct options
When you are having fun with Liquify, it’s easy to go overboard. The Reconstruct option that you’ll
probably use the most is the Restore All button. Simply click this button to restore your image to
the one that you opened.
The Reconstruct options are a little more complicated. They don’t restore your image completely;
each one works with a different algorithm to reconstruct certain aspects of your image and lessen
the effects of any distortion you applied to it. The Reconstruct options work using the mesh, and
the results you get are affected by any Freeze Masks you place over either areas of distortion or
even areas where a distorted object used to be.
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Figure 19.24 shows examples of these Reconstruct modes:
FIGURE 19.24
Each of these images represents the reconstruction mode applied once.
Revert
Smooth
Rigid
Loose
Before reconstruction
Stiff
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Revert: This mode reverses the effects of the distortion uniformly and a little at a time.
Areas that are masked are not affected.
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Rigid: This mode restores the right angles in the mesh, removing distortions that twist the
mesh past those right angles. In Figure 19.24, you can see that the results are a more rec-
ognizable and jagged image.
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Stiff: This mode reconstructs your image with only two or three clicks, but if you have
any distorted areas frozen, the borders feather into the areas that have been reconstructed
rather than creating a hard line between the masked and unmasked areas.
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Smooth: This mode works best if the frozen areas are distorted differently than the unfro-
zen areas, after you have used another Reconstruct mode, for instance. Smooth copies the
distortion effects of the frozen areas and propagates them through the unfrozen areas.
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Loose: This effect is similar to the Smooth mode, but it creates more continuity.

Note
All the reconstruction modes have cumulative effects, meaning that you can continue to click the Reconstruct
button in any mode to achieve a bigger result. You also can choose another Reconstruct mode and layer it on
top of any other reconstructions you’ve already applied.
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Mask options
The mask options in the Liquify utility change the way masks interact with one another. Using the
drop-down menu that appears when you click any mask option, you can create or modify an exist-
ing Freeze Mask with any selections, transparencies, layer masks, or alpha channels already present
in your image.
These options look similar to the options that modify your selections, but if you are used to the
way the selection options work to change your selections, these options are going to confuse you,
because they do not work the same way at all. In fact, they don’t even work consistently with each
other. For instance, the Replace Selection option adds a mask over the element you choose from
the drop-down menu (Transparency, for instance), but every other option ignores the mask and
uses the unmasked area as the selection. On top of that, all these options treat masks created by
the Freeze Mask tool as selected areas, so when you add a transparency to a Freeze Mask, it looks
more like an intersection.
So, if you are using two different alpha channels from the drop-down menu, the mask options
work just the way you think they are going to, but using these options with the Freeze Mask tool is
confusing. Instead of giving you a list of what the mask options should do, I provide you with an
image of what they really do. In Figure 19.25, I created a Freeze Mask that runs through the flower
and the transparency. As I clicked each mask option, I selected transparency from the drop-down
menu.
Note
In order to use a selection from the drop-down menu, you need to create a selection in the original document,
save the selection using the Select menu, and then deselect the image before opening it in Liquify. If your
image contains an active selection when you open it in Liquify, you can liquify only the selected area.
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The three buttons at the bottom of the mask options are much more straightforward:

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None: This removes any freeze mask placed over the image.
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Mask All: This creates a mask that covers the entire image.
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Invert All: This changes masked areas into unmasked areas, and vice versa.
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