CSP Feature Column

Puppet Warp Operation: Do's & Don'ts [Ver 4.0]

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CHYEE

Puppet Warp Operation: Do's & Don'ts

This time, the topic is 'The Art of Using Puppet Warp'.

After the CLIP STUDIO PAINT Ver.4.0 update, in addition to the existing [Free Transform], [Mesh transformation], and [Liquify] functions, you can now use the newly added [Puppet Warp] function to adjust illustrations while drawing!

However, compared to other transformation functions, this new feature is relatively less intuitive to use and has more points to pay attention to, which often leads to unsatisfactory transformation results for beginners.

Therefore, in this article, I will:

1️⃣Part One – A simple introduction to the Puppet Warp function and points to note when using it;

2️⃣Part Two – Analyzing the deformation logic of Puppet Warp;

3️⃣Part Three – Sharing small tips to keep your artwork natural when using Puppet Warp;

4️⃣Part Four – Demonstrating with practical examples how to easily make hair flow naturally using Puppet Warp.

I hope that through these sections, beginners can operate the Puppet Warp function more naturally! Now, let's get started✨

1️⃣[Introduction to Puppet Warp Usage]

In this section, I will briefly explain how to use [Puppet Warp] and points to note.

▶To use the [Puppet Warp] function:

Select a layer (multiple layers or folders can be selected; only raster layers can be selected) →

Use the [Selection Area] or [Lasso] tool to select the image to be transformed (optional) →

[Edit] → [Transform] → [Puppet Warp]

If it's a vector layer, text layer, or object layer, you need to first use [Rasterize Layer] before applying the Puppet Warp function.

▶Execution Range of [Puppet Warp]:

Depending on whether the image is continuous, the execution range will vary.

Top image: If the outer edge of the image is a continuous pattern, a mesh will also be generated in the empty space in the middle.

Bottom image: If the outer edge of the image is a discontinuous pattern, the empty space in the middle will not be affected by Puppet Warp.

If necessary, you can first add a new layer below the broken line art and fill it with a temporary background color, with opacity set to 0. Selecting both layers simultaneously allows you to control the mesh generation range.

If there are two completely separate images within the selected area, they will be handled independently during transformation. That is, as shown in the image below, distorting A will not affect B.

If the selected layer contains 'invisible but existing' pixels, a mesh will still be generated.

In the example below, although the purple shadow part is clipped by the heart-shaped line art, it will still be recognized when using the Puppet Warp function. Layers need to be merged separately to generate the correct mesh.

Note that if the selected image area is large and complex in shape, the mesh may not cover some edge positions, and the image may be clipped.

In this case, you need to expand the processing area to correct it, adjusting the value until it covers the entire image.

Other detailed settings for the Puppet Warp function, such as ①controlling mesh density, ②hiding the mesh, ③deleting pins, methods for selecting multiple pins, adjusting the front-to-back relationship of image deformation, etc., unfortunately, due to space constraints and the fact that these options are easily understood, I will only mention that these parameters and functions are available for use or adjustment here.

For a deeper understanding of the detailed functions, please refer to this official explanation.

2️⃣[Deformation Logic of Puppet Warp]

Simply put, [Puppet Warp] is about generating a triangular mesh on the target image, allowing users to freely set 'pins,' and achieving deformation effects by moving or rotating these 'pins.'

Have you ever heard of 'shadow puppetry'?

The mobility of the Puppet Warp function is similar to the movable positions controlled in shadow puppetry. If beginners are unfamiliar with [Puppet Warp] at first, they can try to imagine controlling shadow puppets to anticipate the deformation effect.

However, unlike shadow puppetry where 'only joints are moved without affecting limbs,' the [Puppet Warp] function smoothly distorts the 'entire image' based on pin positions. Therefore, instead of separate pieces of paper being moved as in shadow puppetry, Puppet Warp is more like stretching a single continuous membrane.

Furthermore, improper or excessive operation can easily cause the image to distort into strange shapes, resulting in more time spent adjusting the pose!

That's right! While Puppet Warp is a convenient tool, please remember that convenience doesn't mean omnipotence!

As mentioned at the beginning of the article, CLIP STUDIO PAINT offers many types of transformation functions. Using the appropriate transformation function at the right time is what truly helps you speed up your creative process.

Next, I will continue to explain when and how we should use the Puppet Warp function.

3️⃣[Tips for Using Puppet Warp]

As the name suggests, since it's 'Puppet' Warp, it is generally most suitable for adjusting characters. Next, I will use character examples for further explanation.

💡❌Do not add pins to all joint positions at once

Although adding pins is particularly important, it's not correct to add them everywhere from the start.

Please see the demonstration below. For example, in the image below, I want to 'adjust the waist to be slightly tilted and slightly raise the hand' to add some variation to the character's pose.

If you initially add pins to the waist, hands, and feet:

Moving only the waist pin – Failed
Selecting multiple pins for the head and waist and moving them – Failed
Selecting multiple pins for the head, waist, and hands and moving them – Failed
Rotating only the waist pin – Failed

No matter which method, the resulting effect is quite strange!

The correct approach is to first add pins to the waist and feet, and then only rotate the waist pin.

After the waist rotation is complete, then add a hand pin to create the raised pose.

If you are troubled by the order in which to add pins, then remember: 'Only perform one action per transformation'.

'Bending over' and 'raising a hand' are two separate actions, so performing them as two separate transformations will be easier to control.

💡❌Do not add another pin at the end of a pin position that needs to be rotated

Taking the image below as an example, I want to 'rotate the character's right knee' to create a cuter pose.

Therefore, a pin should not be added to the right ankle; otherwise, the right calf will be unreasonably distorted.

If a pin is added at the end of the rotation pin for the knee (ankle):

Without adding a pin to the ankle:

Success!

💡✔️If necessary, add more pins to fix positions

For example, in the image below, I want to 'rotate the wrist'. However, in practice, the forearm was still unreasonably distorted.

At this point, adding one more pin to the wrist area can ensure that the forearm remains relatively normal.

Additionally, when moving the pins for the wrist area, be careful not to accidentally shorten the forearm. If shortened, the forearm will also be unreasonably distorted.

Example: Only one pin at the wrist position:

Two pins added at the wrist position:

Of course, if you still cannot achieve reasonable limbs after adding more pins, you can consider using other functions like [Liquify] for further adjustments.

💡✔️Make good use of the selection function for local deformation

Based on personal observation, the larger the image area, the larger the mesh size will be. In other words, a larger image area will be covered by a single mesh, meaning the image will be distorted more coarsely when warped!

Therefore, if the image area is large but you only need to adjust a local part (such as the leg), please select the leg or up to the waist before using the Puppet Warp function. This will make the mesh distribution more concentrated.

When selecting an area, remember to add enough pins at the edges. Otherwise, the image may appear fractured during deformation.

It should be noted that if the image area is not originally large and you select a further confined area, even with pins added at the edges, a slight image fracture may still occur. Therefore, you need to make decisions based on the specific situation and remember to check for any unexpected gaps.

If fracturing occurs, you can also consider overlaying a copy of the original image below it and then merging the layers.

💡✔️Pay attention to keeping human poses natural

Have you ever noticed that in daily life, when you raise your hand to block the sun, your shoulders also rise slightly? And when you need to stand on one leg, your body naturally leans to one side?

That's right! A natural body movement is never only about a single joint!

Therefore, when using the Puppet Warp function to modify a pose, you need to pay attention to which areas need to be adjusted simultaneously. Don't think it's done just by raising the wrist; remember that the shoulder should also be slightly raised.

Fortunately, in the Puppet Warp function, when rotating or moving pins, surrounding areas will be corrected to some extent (which is one of the advantages of Puppet Warp!).

However, this function is also affected by the pin positions. Therefore, when transforming, you need to consciously observe whether the affected areas are reasonable.

In the example below, when rotating the pins for the neck area, the shoulders and hands were also adjusted:

However, if pins are added to the shoulders, the deformation of the shoulders and hands will be greatly restricted:

Therefore, when using Puppet Warp, you need to be very clear about what effect you want to achieve and whether the collateral movement produced when moving pins is acceptable. This will enable you to set and use pins more effectively.

💡❌Do not perform excessive deformation

Although it may seem somewhat inappropriate to suggest limiting the use of a function in an article introducing it, I apologize to say that Puppet Warp is not suitable for large-scale deformations.

Large-scale deformations can make the image excessively unreasonable.

For example, do not forcefully distort an original image that is 'bent to the left' into 'bent to the right'.

In the image below, a leg that was originally slightly bent inwards can be further bent inwards using [Puppet Warp]; however, if you try to bend it outwards, the entire leg structure will collapse.

For another example, a hand that was originally vertical cannot be directly bent outwards.

You can imagine that in reality, when your elbow is back and your hand is down, if you want to raise your elbow and place your hand on your waist, you need to rotate (rather than just lift) your shoulder to achieve this, as the range of motion of the elbow joint is limited.

Therefore, although the elbow is not visible when the arm is vertical, it will be seen when the hand is placed on the waist!

Transformation functions cannot conjure things that weren't originally there!

Therefore, before using it, you need to consider whether that part can be reasonably deformed.

Even when used on objects, excessive deformation can still make the object's structure unreasonable, and originally smooth lines will become rough, so I still do not recommend using it in such cases.

Therefore, if necessary, you can first use other transformation methods like 'Flip Horizontal' to get the correct orientation of the object, and then make other fine adjustments.

If the transformation you have in mind changes the front-to-back positional relationship of objects, I would recommend redrawing it directly. This will be faster than forcefully using the transformation function, and more importantly, the image will look more reasonable and natural.

💡✔️Please use the Puppet Warp function before detailed shading

Although [Puppet Warp] allows simultaneous transformation of multiple layers like line art, base color, and shadow layers, if using the transformation function causes a change in the positional relationship of objects, then the lighting and shadow positions should also change.

However, Puppet Warp cannot fully account for all these subtle changes, so I recommend using it before the detailed shading step.

If it is used near the final stage of drawing, then you need to check whether the lighting and shadow relationships are correct.

Taking the image below as an example, if you adjust the flowing hair part only after the character is largely complete, you will need to spend extra time checking if the lighting and shadows are correct and making additional touch-ups.

💡✔️Drawing different objects on different layers is more conducive to deformation

In the example image, if you want to make changes related to the upper arm, it will inevitably affect the shape of the jacket and sleeves.

Even selecting only the arm will not help, and the related parts will need to be redrawn.

However, the original purpose is only to correct the limbs, and the clothing structure should not be deformed.

This situation is especially noticeable with multiple objects that have a front-to-back relationship. For example, limbs covered by clothing, clothes covered by hair, etc. Under the premise of only correcting limbs, Puppet Warp can only be effective if limbs, clothing, etc., are drawn on different layers.

4️⃣[Practical Demonstration Using Puppet Warp]

In this section, I will demonstrate how to use the Puppet Warp function to adjust hair positions.

First, in this illustration, although the hair is drawn flowing, the range of motion seems like it could be greater.

*Note: Since this is a demonstration image, the lighting and shading have already been processed. However, I still recommend using the Puppet Warp function before processing lighting and shading!

Since there is a large overlap between the hair and the body, the Puppet Warp function can only be used if the layers are separated by object.

If you look closely, you will find that the front left and right hair ends are connected.

This will create limitations when using Puppet Warp, so I will separate the two sides here beforehand.

*It's fine not to separate them, but the deformation result might become stiff.

🔧Steps

①Use the Lasso Tool to select one side of the hair →

②Cut and paste onto a new layer →

③Rotate or move slightly to separate them.

*It's also fine not to move the clipped part separately; you can simply use Puppet Warp twice, once for each part.

🔧Adjusting hair using the Puppet Warp function

①Use the Puppet Warp function →

Add pins to the top of the head (hair roots) and the 'expected starting point of hair end rotation' →

②Rotate or move the pins →

③Done!

Repeat the above actions on the separated hair ends:

Check the lighting, shadows, and hair edges to see if any touch-ups are needed.

For example, in the demonstration image, the following areas need modification:

[💡POINT]

Duplicate the hair layer as a backup before deforming to quickly fill in gaps caused by deformation.

[💡POINT]

You can also use the [Liquify] tool for further fine adjustments.

Complete!

[Conclusion]

Finally, let me summarize the advantages of Puppet Warp:

✨Advantages:

No need to worry about obvious fractures appearing in the image after adjustment
When adjusting a single joint, surrounding patterns are automatically adjusted, reducing stiffness
Multiple layers can be selected as transformation targets, making handling more flexible
Can quickly create differential images of characters or objects, speeding up the animation creation process

😃Recommended situations for use:

Small-scale adjustments to the local angle of an object
Areas where a certain degree of detailed structure or pattern needs to be maintained, such as hair, limbs, etc.
Objects with many protrusions or slender shapes (meaning, compared to circles, the advantages of Puppet Warp are more prominent on star shapes), such as flowing water or flames, cloth blown by the wind, etc.

☹️Situations not recommended for use:

Graphics that require large-scale adjustments
When objects on the canvas overlap front-to-back, and these objects are not drawn on separate layers
When objects on the canvas are positioned facing forward, such as a hand with an index finger pointing towards the camera