Saving a Warp?

SP
Posted By
Stuart Pedazzo
Mar 13, 2007
Views
2034
Replies
14
Status
Closed
I am doing a project that will make it look like rectangular labels have been applied to Mason Jars (somewhat square jars with rounded edges). I have designed the labels and warped them to fit on the photo of the jars. The jars are photographed from slightly above and the labels wrap around the curved edges of the jars. I have warped a rectanglular shape to look perfect (at least by my standards).

Now I want to put different graphics on the labels and have them warp so they look like they were printed squarely on the label before they were applied to the jar. Does this make sense?

Is there a way to save a warp as you would save a selection?

How to Master Sharpening in Photoshop

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TB
Tony Blair
Mar 13, 2007
"Stuart Pedazzo" wrote in message
I am doing a project that will make it look like rectangular labels have been applied to Mason Jars (somewhat square jars with rounded edges). I have designed the labels and warped them to fit on the photo of the jars. The jars are photographed from slightly above and the labels wrap around the curved edges of the jars. I have warped a rectanglular shape to look perfect (at least by my standards).
Now I want to put different graphics on the labels and have them warp so they look like they were printed squarely on the label before they were applied to the jar. Does this make sense?

Is there a way to save a warp as you would save a selection?

If they are all the same size and position! could you do this with an action?
TM
tim middleton
Mar 24, 2007
"Harry Limey" wrote in message
"Stuart Pedazzo" wrote in message
I am doing a project that will make it look like rectangular labels have been applied to Mason Jars (somewhat square jars with rounded edges). I have designed the labels and warped them to fit on the photo of the jars. The jars are photographed from slightly above and the labels wrap around the curved edges of the jars. I have warped a rectanglular shape to look perfect (at least by my standards).
Now I want to put different graphics on the labels and have them warp so they look like they were printed squarely on the label before they were applied to the jar. Does this make sense?

Is there a way to save a warp as you would save a selection?

If they are all the same size and position! could you do this with an action?

I would suggest the use of placed art that is warped using smart objects. there was a tutorial about this I saw and it was well done – I will try to dig it up it was most likely on the Adobe Website – now that they feel so comfortable with the CS3 eminent release.

thanks
Tim middleton

www.versonova.com

3/24/07 at 1:25 am
TM
tim middleton
Mar 25, 2007
the pictures and text demo tutorial about a warping a smart object http://creativebits.org/photoshop/prototype_product_packagin g_in_photoshop_cs2

and the video to Russel Browns Excellent demo
http://movielibrary.lynda.com/html/modPage.asp?ID=233
# 2 Smart Objects
the video of the "smart, smarter, smartest objects" – I think this would be the perfect answer to your project.

I look forward to seeing snips of what comes of this . . .

Tim
R
ronviers
Mar 25, 2007
On Mar 25, 8:16 am, "tim middleton" wrote:
the pictures and text demo tutorial about a warping a smart objecthttp://creativebits.org/photoshop/prototype_product_pa ckaging_in_phot…

and the video to Russel Browns Excellent demohttp://movielibrary.lynda.com/html/modPage.asp?ID=233 # 2 Smart Objects
the video of the "smart, smarter, smartest objects" – I think this would be the perfect answer to your project.
I look forward to seeing snips of what comes of this . . .
Tim

Hi Tim,
I completely spaced out on this thread but you’re right it is the perfect solution. It seems like smart objects do not get mentioned that much but I cannot work without them. Maybe that is because I started with CS2.
I put together an album explaining how I structured them in an entry for a recent contest. If you have time you can take a look at the following link. I set the layers palette options to display larger thumbnails but if they are not clear you can use the ‘download photo’ links to the right of each image.

http://picasaweb.google.com/ronviers/SmartObjects

And you can find a much more complicated demonstration here:

http://picasaweb.google.com/ronviers/ButtonProject

But there is no warping in that one.

Brgds,
Ron
K
KatWoman
Mar 27, 2007
wrote in message
On Mar 25, 8:16 am, "tim middleton" wrote:
the pictures and text demo tutorial about a warping a smart objecthttp://creativebits.org/photoshop/prototype_product_pa ckaging_in_phot…
and the video to Russel Browns Excellent
demohttp://movielibrary.lynda.com/html/modPage.asp?ID=233 # 2 Smart Objects
the video of the "smart, smarter, smartest objects" – I think this would be the perfect answer to your project.
I look forward to seeing snips of what comes of this . . .
Tim

Hi Tim,
I completely spaced out on this thread but you’re right it is the perfect solution. It seems like smart objects do not get mentioned that much but I cannot work without them. Maybe that is because I started with CS2.
I put together an album explaining how I structured them in an entry for a recent contest. If you have time you can take a look at the following link. I set the layers palette options to display larger thumbnails but if they are not clear you can use the ‘download photo’ links to the right of each image.

http://picasaweb.google.com/ronviers/SmartObjects

And you can find a much more complicated demonstration here:
http://picasaweb.google.com/ronviers/ButtonProject

But there is no warping in that one.

Brgds,
Ron

very clever artwork
still not too clear about smart objects
but that looks like a great example of when to use them
I put a new illustration on my flickr page
from my own photography (I do mostly macro shots)
http://www.flickr.com/photos/kw-retouch
R
ronviers
Mar 27, 2007
On Mar 27, 1:08 pm, "KatWoman"
I put a new illustration on my flickr page
from my own photography (I do mostly macro shots)http://www.flickr.com/photos/kw-retouch

Nice job on the rock effects. I enjoy doing that kind of thing too. How much time do you spend using the liquify filter? How important is it for your work? When do you warp and when do you liquify? Was it liquify you used to do the back of AJ Miro?
Do you use displacement maps a lot? Under what circumstances do you like to use them? I try them on everything but so far they have only made things worse. I have not successfully used even one but they are where I think the secrets lie.

Thanks and keep posting your work,
Ron
K
KatWoman
Mar 28, 2007
wrote in message
On Mar 27, 1:08 pm, "KatWoman"
I put a new illustration on my flickr page
from my own photography (I do mostly macro
shots)http://www.flickr.com/photos/kw-retouch

Nice job on the rock effects. I enjoy doing that kind of thing too. How much time do you spend using the liquify filter? How important is it for your work? When do you warp and when do you liquify? Was it liquify you used to do the back of AJ Miro?
Do you use displacement maps a lot? Under what circumstances do you like to use them? I try them on everything but so far they have only made things worse. I have not successfully used even one but they are where I think the secrets lie.

Thanks and keep posting your work,
Ron

HI Ron
Thanks for looking at my work
I posted the orig photos and a screenshot so you can see how I made it The rock "effects" are not "created", they were in the rock as shot

When I was looking at the image I just thought the shape reminded me of a head
so I went looking for a headshot to match the approx shape I didn’t need any distortion as the shapes kind of matched well to begin I have not used displacement maps except in an attempt to make some stereograms
I only used warp to change text so far
I have CS so maybe warp is not there??

for the AJ shot I used liquefy
I find it very useful for fixing "pudgies" like waistline and very flowing things like fabric
the squeezer is great for chubby chins etc
the convex is great to open an eye
I use the index finger to PUSH large areas

it takes some practice to find the best settings like many things in PS

I also posted another image I made by compositing two photos a floral macro shot and the model
R
ronviers
Mar 28, 2007
On Mar 28, 12:01 pm, "KatWoman"
wrote:

I have CS so maybe warp is not there??

for the AJ shot I used liquefy
I find it very useful for fixing "pudgies" like waistline and very flowing things like fabric
the squeezer is great for chubby chins etc
the convex is great to open an eye
I use the index finger to PUSH large areas

it takes some practice to find the best settings like many things in PS
I also posted another image I made by compositing two photos a floral macro shot and the model

Thanks for the additional posts. Nice job on the composition, you have the good sense to select high quality source pics and a knack for matching lighting.
I enjoy checking out your projects. I especially like to find out how you work. I wish more members would post things they are particularly proud of to the group for purposes of discussion and exchange of ideas. Everyone is so busy so I understand.
One nice thing about entering these contests lately is I get to see how others tackle the same photo or assignment and see how they differ in terms of skill and quality. It is funny because some are simply painful to look at while in others I will see myself a few months ago or imagine where I will be a few months from now and in still others I see skills and an eye for quality that I can never achieve – even with my huge ego I have to admit that.
Do you plan to get CS3 when it is released? Smart filters sound pretty cool – imagine nondestructive smart sharpening a smart object.
K
KatWoman
Mar 29, 2007
wrote in message
On Mar 28, 12:01 pm, "KatWoman"
wrote:

I have CS so maybe warp is not there??

for the AJ shot I used liquefy
I find it very useful for fixing "pudgies" like waistline and very flowing things like fabric
the squeezer is great for chubby chins etc
the convex is great to open an eye
I use the index finger to PUSH large areas

it takes some practice to find the best settings like many things in PS
I also posted another image I made by compositing two photos a floral macro shot and the model

Thanks for the additional posts. Nice job on the composition, you have the good sense to select high quality source pics and a knack for matching lighting.
I enjoy checking out your projects. I especially like to find out how you work. I wish more members would post things they are particularly proud of to the group for purposes of discussion and exchange of ideas. Everyone is so busy so I understand.
One nice thing about entering these contests lately is I get to see how others tackle the same photo or assignment and see how they differ in terms of skill and quality. It is funny because some are simply painful to look at while in others I will see myself a few months ago or imagine where I will be a few months from now and in still others I see skills and an eye for quality that I can never achieve – even with my huge ego I have to admit that.
Do you plan to get CS3 when it is released? Smart filters sound pretty cool – imagine nondestructive smart sharpening a smart object.

I will DL the demo soon and check it out.
So far everything I need and use (and more) is in CS
But I like to keep current and I never used CS2 so I’m sure it will be a bit of a change (not my fave when I am in a hurry)

the idea of the sharpening being non destructive is very attractive and maybe the idea of smart objects will become clearer upon using it.

I am going to put a up a crappy photo I had to fix.
I am thankful that I work with a talented photographer and rarely have to start from bad images.
Most of my photo sourcing is "in-house" on my hard drives. I also work with my own photos and only learned PS because of photography. Same reason I learned makeup arts. With PS I can take that to the next level.
I have never been interested in making journalistic or realistic, every pore showing, images (although I like them and "get it") I guess like the Greek artists I am interested in the idea of perfection of the human form, not reality. So for work I fix hubby pics of people, and for myself I shoot flowers and some landscapes, behind the scenes snapshots and candid portraits.
It is much more interesting to me to start with a good image and make it great.
For so many years we were not able to control this part of image making***, so it has made me feel fresh about being creative again.

** had to send out for expensive dye transfers or airbrush or scrape off the silver on BW papers with a razor knife (etching)
R
ronviers
Mar 30, 2007
On Mar 29, 1:38 pm, "KatWoman"
wrote:

I will DL the demo soon and check it out.
So far everything I need and use (and more) is in CS
But I like to keep current and I never used CS2 so I’m sure it will be a bit of a change (not my fave when I am in a hurry)

the idea of the sharpening being non destructive is very attractive and maybe the idea of smart objects will become clearer upon using it.
I am going to put a up a crappy photo I had to fix.
I am thankful that I work with a talented photographer and rarely have to start from bad images.
Most of my photo sourcing is "in-house" on my hard drives. I also work with my own photos and only learned PS because of photography. Same reason I learned makeup arts. With PS I can take that to the next level.
I have never been interested in making journalistic or realistic, every pore showing, images (although I like them and "get it") I guess like the Greek artists I am interested in the idea of perfection of the human form, not reality. So for work I fix hubby pics of people, and for myself I shoot flowers and some landscapes, behind the scenes snapshots and candid portraits.
It is much more interesting to me to start with a good image and make it great.
For so many years we were not able to control this part of image making***, so it has made me feel fresh about being creative again.
** had to send out for expensive dye transfers or airbrush or scrape off the silver on BW papers with a razor knife (etching)

I wrote a longwinded and meandering reply to this post but apparently it did not take. If it continues to not show up I will try rewriting it tomorrow.
R
ronviers
Mar 31, 2007
On Mar 29, 1:38 pm, "KatWoman"
wrote:

I will DL the demo soon and check it out.
So far everything I need and use (and more) is in CS
But I like to keep current and I never used CS2 so I’m sure it will be a bit of a change (not my fave when I am in a hurry)

As an experienced professional you know what you need. Since, as a student, I am not sure what I will need I have decided to rely on Adobe’s relationship with its users to guide me. In other words, if Adobe thinks I need it I think I need it too – for now.

the idea of the sharpening being non destructive is very attractive and maybe the idea of smart objects will become clearer upon using it.

Almost all of my Photoshop files begin by ‘placing’ a raw image or an AI vector file from Bridge. Just try that next time you work on a project, I bet you will never not do it again. Having that raw there to go back to any time and recrop, rewhite balance, resize, recurve etc. is invaluable. It is even more important when you start ‘placing’ your vectors. And once you start nesting them your workflow will never be the same. Plus you can add masks and styles to them.
The trick for me has been getting the relative sizes right.

I am going to put a up a crappy photo I had to fix.

I like what you did with Spa. The glow from the chandelier and the light reflected from the ceiling is fantastic. I’m sure you could have done as well by using styles if you wanted. And natural or not the increased saturation is a great improvement. The thing I have noticed from TV and movies is that for human perception two things are most important; saturation and contrast. Just watch ‘Sin City’, not my favorite movie but a good argument for the idea that drama equals saturation and contrast. That is why I lost interest in HDR. I have yet to see an HDR image that does not dilute saturation and contrast.

I found the object between the mouths of the couple in Barshot to be distracting but otherwise I think your edits are subtle but tasteful and make the shot much better – especially changing the color and fit of the dress. She might not mind if you added a catch light to her near eye and push her tummy in just a bit.

I am thankful that I work with a talented photographer and rarely have to start from bad images.
Most of my photo sourcing is "in-house" on my hard drives. I also work with my own photos and only learned PS because of photography. Same reason I learned makeup arts. With PS I can take that to the next level.
I have never been interested in making journalistic or realistic, every pore showing, images (although I like them and "get it") I guess like the Greek artists I am interested in the idea of perfection of the human form, not reality. So for work I fix hubby pics of people, and for myself I shoot flowers and some landscapes, behind the scenes snapshots and candid portraits.
It is much more interesting to me to start with a good image and make it great.
For so many years we were not able to control this part of image making***, so it has made me feel fresh about being creative again.

When I started out in photography I embraced the old school idea of doing everything possible inside the camera with a premium on minimizing post processing. I think that if I had not been so stubbornly attached to the idea of shooting everything in raw I would still be in that mode today and never realized the value of post processing. But since I did shoot raw that meant conversion and conversion led to correction and from correction to editing and what editor does not want to apply special effects now and then. I still think the proper mindset for the photographer is to minimize post, like you said, I "get it", but I have been seduced by graphics away from photography and no longer consider myself an aspiring photographer. I have lost interest in producing accurate images and now I want to produce satisfying images.

** had to send out for expensive dye transfers or airbrush or scrape off the silver on BW papers with a razor knife (etching)

Boring
K
KatWoman
Apr 2, 2007
wrote in message
On Mar 29, 1:38 pm, "KatWoman"
wrote:

I will DL the demo soon and check it out.
So far everything I need and use (and more) is in CS
But I like to keep current and I never used CS2 so I’m sure it will be a bit
of a change (not my fave when I am in a hurry)

As an experienced professional you know what you need. Since, as a student, I am not sure what I will need I have decided to rely on Adobe’s relationship with its users to guide me. In other words, if Adobe thinks I need it I think I need it too – for now.

the idea of the sharpening being non destructive is very attractive and maybe the idea of smart objects will become clearer upon using it.

Almost all of my Photoshop files begin by ‘placing’ a raw image or an AI vector file from Bridge. Just try that next time you work on a project, I bet you will never not do it again. Having that raw there to go back to any time and recrop, rewhite balance, resize, recurve etc. is invaluable. It is even more important when you start ‘placing’ your vectors. And once you start nesting them your workflow will never be the same. Plus you can add masks and styles to them.
The trick for me has been getting the relative sizes right.
I am going to put a up a crappy photo I had to fix.

I like what you did with Spa. The glow from the chandelier and the light reflected from the ceiling is fantastic. I’m sure you could have done as well by using styles if you wanted. And natural or not the increased saturation is a great improvement. The thing I have noticed from TV and movies is that for human perception two things are most important; saturation and contrast. Just watch ‘Sin City’, not my favorite movie but a good argument for the idea that drama equals saturation and contrast. That is why I lost interest in HDR. I have yet to see an HDR image that does not dilute saturation and contrast.
I found the object between the mouths of the couple in Barshot to be distracting but otherwise I think your edits are subtle but tasteful and make the shot much better – especially changing the color and fit of the dress. She might not mind if you added a catch light to her near eye and push her tummy in just a bit.

I am thankful that I work with a talented photographer and rarely have to start from bad images.
Most of my photo sourcing is "in-house" on my hard drives. I also work with my own photos and only learned PS because of photography.
Same reason I learned makeup arts. With PS I can take that to the next level.
I have never been interested in making journalistic or realistic, every pore
showing, images (although I like them and "get it") I guess like the Greek
artists I am interested in the idea of perfection of the human form, not reality. So for work I fix hubby pics of people, and for myself I shoot flowers and some landscapes, behind the scenes snapshots and candid portraits.
It is much more interesting to me to start with a good image and make it great.
For so many years we were not able to control this part of image making***,
so it has made me feel fresh about being creative again.

When I started out in photography I embraced the old school idea of doing everything possible inside the camera with a premium on minimizing post processing. I think that if I had not been so stubbornly attached to the idea of shooting everything in raw I would still be in that mode today and never realized the value of post processing. But since I did shoot raw that meant conversion and conversion led to correction and from correction to editing and what editor does not want to apply special effects now and then. I still think the proper mindset for the photographer is to minimize post, like you said, I "get it", but I have been seduced by graphics away from photography and no longer consider myself an aspiring photographer. I have lost interest in producing accurate images and now I want to produce satisfying images.

** had to send out for expensive dye transfers or airbrush or scrape off the
silver on BW papers with a razor knife (etching)

Boring

I have never used PLACE
except in ILLY which I rarely use
I also use vector very very rarely

I am mostly dealing with photos in JPG to start (file >open) I always keep a copy of my original image as the background, that way I can always refer to it as it is there in the same file (saved in layers as psd) with all adjustments above in layers
For finished work I flatten and save as tiff with crop I want I keep the layered psd file for any further edits and in case different crop is required I have the full original there
I make a new jpg file for sharing over internet or email of the finished piece
I keep the original file untouched as archive or reference

I do not understand how you think I could use layer style to get the lights on

I saw a couple of features in CS3 that look worth getting for my work style the new selection dialog, where you can see the feather effect on the mask before saying OK is great!
the BW conversion dialog also will save time and reduce amount of clicks and layers needed

I think the steps in creating visuals are very individual, how to combine in camera capture and after processes. I prefer to judge the work visually not by techniques used to make it. But if I like a piece I am always curious about "how did they do that?" If you are a technical photographer documenting something yes realism and accuracy as you say may be the goal, I am not very technical I was a painter, I prefer a looser style.

In the real world as a photographer you are not always hired for both parts. Still on a lot of jobs we hand over "as is" images straight from camera for someone else’s art department to alter. I always hold my breath and am disappointed frequently. Some jobs are for making money which makes it more palatable.
R
ronviers
Apr 2, 2007
On Apr 2, 12:23 pm, "KatWoman"
wrote:

I have never used PLACE
except in ILLY which I rarely use
I also use vector very very rarely

I misspoke, I keep trying to place AI files inside of PS but it causes PS to shut down. I want it to work that way but it just doesn’t. What I should have said is that I paste my vectors into PS.
I do not understand how you think I could use layer style to get the lights on

I am rushing to finish an entry for a contest and behind on my curves class but I could not resist giving this a go.
The first image shows the fill pixels added – two taps with the paint brush (any color) on each lamp.

http://picasaweb.google.com/ronviers/KWTemp/photo#5048964952 736861058

Then color, painted on to ceiling, blurred and opacity reduced.

http://picasaweb.google.com/ronviers/KWTemp/photo#5048965730 125941650

Next shows the style added with fill opacity then reduced to zero and an inner (to light the filament) and outer glow (for the colored bulbs) added.

http://picasaweb.google.com/ronviers/KWTemp/photo#5048964128 103140210

The filter looks arguably better but remember this took a total of three minutes and with more tweaking it could have been better – even indistinguishable.

Take care,
Ron
K
KatWoman
Apr 3, 2007
wrote in message
On Apr 2, 12:23 pm, "KatWoman"
wrote:

I have never used PLACE
except in ILLY which I rarely use
I also use vector very very rarely

I misspoke, I keep trying to place AI files inside of PS but it causes PS to shut down. I want it to work that way but it just doesn’t. What I should have said is that I paste my vectors into PS.
I do not understand how you think I could use layer style to get the lights
on

I am rushing to finish an entry for a contest and behind on my curves class but I could not resist giving this a go.
The first image shows the fill pixels added – two taps with the paint brush (any color) on each lamp.

http://picasaweb.google.com/ronviers/KWTemp/photo#5048964952 736861058

Then color, painted on to ceiling, blurred and opacity reduced.
http://picasaweb.google.com/ronviers/KWTemp/photo#5048965730 125941650
Next shows the style added with fill opacity then reduced to zero and an inner (to light the filament) and outer glow (for the colored bulbs) added.

http://picasaweb.google.com/ronviers/KWTemp/photo#5048964128 103140210
The filter looks arguably better but remember this took a total of three minutes and with more tweaking it could have been better – even indistinguishable.

Take care,
Ron
OH I get you now
use the styles on the brushed parts
I was thinking you meant not use the brush at all

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