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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 98 of 118

Displacement Map


Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 98 of 118

Displacement Map


Lesson Info

Displacement Map

then there's another way of bending things in. This is where we convention things based on the brightness of a picture. If you look at the brightness of a three dimensional object, oftentimes it gives you clues as to its dimensionality, just from the shadows in the highlights. If you look at this particular photograph and you look at one side of my face, you'll notice that the areas their furthest away on the side of my face or darker in as my face gets closer and closer to camera. It's getting brighter and brighter in the very tip of my nose is the brightest on the other side of the face. It's a little different, and that is getting brighter as you go further away. That's because there was a light source over on that side, But still you see this thing where it might be getting darker as it gets closer to camera, because getting further away from the light source will. There's a way to use the brightness of your picture as what you might call a depth map, something that just defines ah...

, three dimensional character of a two dimensional photograph. And if you want to use that to bend something. Then we can do so using something called a displacement map. So let me give you a brief idea of how to think about displacement maps. We can use that flag image because there you can tell if it's been bent. So I'm gonna grab the flag. Image will use my move tool I'll click within the flag image will drag up to the other tab on the drag down into this documents. We put it in here, closed the original flag, zoom out, and I probably want to scale the flag down. But before I scale it down, I think I'm gonna turn it into a smart object. Therefore, everything will be calculated on the original size flag, all type command T that's free. Transform control team windows and I'm gonna scale this down. I'm gonna bend that flag around my face, even get some stars and things in there. But I'm gonna do it based on the brightness of my face. So first I'm going to start off with the base image that's here in what I need to do is simplify it to simplify, just so I don't mess up the original I'll duplicate this layer. It's not that essential that you duplicate the layer where you could do, in fact, is just duplicate the document that be easier. So image duplicate will give you a brand new file so you don't mess up the original and I'm gonna call this the map and then I'll throw away the flag because it's a duplicate document and I just want to simplify what's here. The first thing I'm gonna do to simplify things is take all the color out, an image adjustments. De saturate should do that for me. The next thing I want to dio is get rid of the really fine detail. If you look at the fine detail, what's going to happen is areas that are bright are gonna be thought of as being close to you in areas that are dark. They're going to be thought of being further away. And what that means is where the pores are in my face. It's going to think their little role, little drill holes that they're lower than the rest of my face, and I don't want it to distort the flag with that much detail. I wanted to think about the overall shape of my face, not every little whisker and poor. So what I'm going to do next is blur the image using a filter called Ghazi Ambler. And I'm just gonna blurt enough that the fine detail goes away like the pores on my face. And then I just see the overall brightness of the image, the overall tone, ality and shading. Probably somewhere right around there, All the really fine details, whiskers, pores, all that go away. Then I'm going to save this on my hard drive just to save as put it right on my desktop. And I can use Photoshopped file format. Now we can close that file now. I'm gonna work on the layer that it's on top. That's when it has to fly again. It turn its little eyeball back on, and I wanna bend the flag based on that simplified document that saved on my hard drive. So to accomplish that, I'm gonna choose filter, distort, displace. This comes up and it wants me to type in a number. That number tells you how mountainous theon result will be. If you type in a low number, imagine you're seeing a three dimensional object from the side. You'll get a very slight raised to the image. If you type in a high number, you're going to see a very tall raised to the image. And you don't really know what number to use because it's really based on how high resolution your picture is and how much contrast is in that file. We're going to feed it. How close to white is the bright area? How close to black is the dark? And so I'm really just gonna guess here. And if I don't like my in results, I'll just choose, undo, and I'll try again. Type in either ah, higher or lower number. I always type in the same number for horizontal and vertical, and then we have some options down here, and this really is saying, What should it do? If the image we saved on our hard drive was a different size than this document, it's needs to be the same size, and so to make it the same size if it was smaller, should it stretch it to fit? Or should it Thailand repeat it? Well, that's not gonna matter. It's exactly the same size as this document and then what should it do with the undefined areas? Should it wrap around to the other side will repeat the eggs pickles. We're not going to need to worry about that. All I'm going to do is click OK, and when I do, it's gonna ask me for a file. It's a file that it's just gonna look at the brightness of, and it's gonna think of bright things that's being close to you. And dark things is being far away in white Click open. It should bend our flag. There it is. So if you look at where the edge of my, um, Chin would be and not my when he called this part my jaw line, I can see it's been bent. I can also see it's been bent on the other side. There was some vertical line there. If I were to hide this, I could tell what it is. But what I'm gonna do now just to make it easier to tell how that is conforming to my face is I'm gonna print it on my face like a tattoo, and I could do that by changing the menu at the top of the layers panel known as the blending Mode menu. I'm gonna choose a choice called Multiply, and when I do now, you might be able to see that where my eye is. You can see it's bending down into my eye socket and right here where my skin bulges out to have my cheek, you can see it bending to conform with that. The only other thing I might want to do then is mask it so that it only applies to where my faces and doesn't go beyond. And I might want to mask it so it doesn't print on my eyeball. Uh, otherwise it wouldn't quite be inaccurate Tattoo. Now, what I could do, though, is choose undo with Command Z. And let's say I wanted to bend Mawr. I was using the number of 20. I'm gonna type Command Z one more time so it's no longer applied. Or since I used a smart object, I don't even you do that right here. It says, displaced. Just double click on that. You'd be able to change it when you double click, it will ask you for the settings I was using. 20. Let's try each time you click. OK, though it's gonna ask you for that other file, so make sure you don't throw it away until you're sure that you like the settings. But now we have more of an extreme or mountainous bend. If I said it to multiply, it might be more appropriate. It all depends on the image. But what? This is how you could grab a tube of toothpaste that had no label on it whatsoever. You can put a new label on top of it into a displacement map, because the highlights and shadows that would define the kind of wrinkly character of ah tube of toothpaste could be used to bend the label to make it look like it fits. Or you have a T shirt. He and the T shirt has wrinkles in it. You want to show a design on the T shirt that conforms to those wrinkles, displacement maps, how you do it, where you have the door of a car and you need to put a police logo for a police car design on it. Well, if it has any shading to that door, the card, it's usually going to give it some sense for the dimension and using that to bend Ah, logo that would be printed on the door will usually make it look appropriate. Then you use multiply mode to actually make it look like it's printed on it. And then you can mask it to make sure here, if I add a layer mask that maybe in this case would all do is use the quick selection tool to try to select my sky. I also got a little about my hat in their lips, don't want to take away hat, and then maybe I select inverse to get the opposite. And actually, I don't need inverse. There's already a mask here. All right, I'm gonna fill that part of my mask with black, get it off the background, and I'm gonna come up here in paint with black. Just grab my paintbrush, gotta paint with black, get it off my eyeball, uh, and get it off my hat. But there's all sorts of uses for that. Any time you see those T shirts that have designs that have never been printed on a T shirt before, but they're previewing it, they're using displacement maps to do so. The key is you have a blurry black and white photograph saved on your hard drive that you feed the displaced filter

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.


  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly


Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.


  • Beginner, intermediate, and advanced users of Adobe Photoshop.


Adobe Photoshop 2020 (V21)


  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail



I have used Photoshop on the Mac since its first commercial version 1 release. I have done a bunch of tutorials through the years but have mostly bungled along managing to fix what I want in photos. This if the first class I have ever done that really explains all the little stuff. Lots of tips and tricks I just never learned or explored. Need more tutorials from Ben.