IntroductionWelcome| 00:04 | In this installment, I am going to talk
about the workflow that I employed in the
| | 00:07 | creation of the people that
populate the streets of Times Square.
| | 00:10 | And there's a few hundred people there,
of which 150 of them are recognizable.
| | 00:15 | I am going to zoom in right here to
the central area where I see myself.
| | 00:19 | I am taking a picture of my wife.
| | 00:21 | What I am going to teach you here is
all the steps that went in to creating
| | 00:25 | these people and making them look real.
| | 00:26 | Things like the hair, whether it's
loose and flowing, tied or heavily gelled.
| | 00:31 | All the tools and techniques that went
into that is what you're going to learn here.
| | 00:34 | I am going to talk about the eyes, how
to make them shimmer and come to life.
| | 00:38 | How to make the lips look moist.
| | 00:40 | How to get the contrast in the face,
which really describes the features of a
| | 00:43 | person and makes them look like who they are.
| | 00:46 | There clothing, how the folds of
the fabric just flows on the body.
| | 00:50 | These are all techniques that you
are going to learn in this installment.
| | 00:53 | Now keep in mind that the
techniques can be applied in other ways.
| | 00:57 | A slight change here and there
can totally change the effect.
| | 01:00 | So let's go in there and look at these
techniques, see the workflows,
| | 01:03 | see all the different tools that are
employed that make these people come to life,
| | 01:06 | and see what kind of population you can create.
| | Collapse this transcript |
|
|
17. The People of "Times Square"Creating the people of "Times Square"| 00:01 | Creating the people in Times Square
required really good reference material.
| | 00:04 | Why? Because it's important to get
those features just right to make them
| | 00:07 | look like who they are.
| | 00:08 | In fact, everything requires good
reference material, whether it's a car or just
| | 00:13 | a piece of litter on the street.
| | 00:14 | You want something that you can
follow, something that you can use for
| | 00:18 | reference so you can recreate
that scene as accurately as possible.
| | 00:21 | One of my favorite artists, an artist
named Maxwell Parrish, painted all these
| | 00:25 | fantastic landscapes.
| | 00:27 | There was one in particular I
always loved, which was a watermill.
| | 00:31 | I later found that in a book
that the watermill didn't exist.
| | 00:35 | He had created the trees from the
trees on his land but the watermill,
| | 00:39 | he actually constructed a little tiny
model out of cardboard, which he then lit
| | 00:43 | to see how the shadows fall and so on
and so forth, so he can recreate this
| | 00:47 | little mill out of this
little model that he had created.
| | 00:51 | I have created many models for myself
and had people pose for a lot of things
| | 00:54 | that I needed to do just so that I can
get things accurate, because if you
| | 00:58 | taking guess of what something's
going to look like, you could be wrong.
| | 01:01 | So it's good to have some reference so
you can get what really happens in real life
| | 01:05 | so you can recreate it properly.
| | 01:08 | In the painting here we'll look
at the a couple other people here.
| | 01:10 | I am going to zoom in right here to
this little area here and we see my nephew
| | 01:13 | Chris and his wife Jenny here.
| | 01:16 | Now the way that I started is I sketched a
little idea of where they were going to fall.
| | 01:21 | So you see the little sketch right here.
| | 01:23 | This is where Chris is, this is where
Jenny's going to be, right next to him, and
| | 01:26 | this is where they are walking.
| | 01:28 | Based on that, I then took
the photograph right here.
| | 01:32 | Now if you have the luxury of having a
photo studio, you can set something up
| | 01:36 | with the proper lighting and have it perfect.
| | 01:38 | I didn't have that luxury so this was
shot in my living room during some kind
| | 01:42 | of a dinner we had.
| | 01:43 | I think it was at Easter or something.
| | 01:44 | So we got everybody together.
I was able to get these shots.
| | 01:47 | So the lighting isn't perfect, but what
I am using this for is basically to see
| | 01:51 | the folds in the fabric,
to see their bodies flow,
| | 01:53 | see there size relationship to each other.
| | 01:55 | These are the points of reference
that were necessary with this photograph.
| | 02:00 | Everything else was going to be
recreated based on where they were in the scene.
| | 02:03 | Because sometimes I move people around.
| | 02:06 | I decided to put them here and then
always on later on I change my mind and
| | 02:08 | put them over there, which means the
lighting is going to affect them differently.
| | 02:12 | So I didn't really rely on
the lighting of the scene.
| | 02:14 | I relied on it for the details.
| | 02:17 | Based on that was where I them finally
went and created them in the overall scene.
| | 02:22 | Now talking about the lighting, we come
over here and look at John Knoll and his
| | 02:28 | brother Tom, the two guys
who originally wrote Photoshop.
| | 02:31 | Now John and Tom are standing in
front of this giant JumboTron and they're
| | 02:35 | being lit by that
JumboTron with this reddish glow.
| | 02:38 | Now when I shot the reference material
for John which you see right here,
| | 02:43 | he was in the office with fluorescent lights
and had very little control over the lighting.
| | 02:48 | But this gave me an idea of how the
hair flowed and so on, and the basic
| | 02:53 | features of the skin, so that when I
went ahead and did the painting I used
| | 02:58 | this as reference but the actual
colorization and everything else was then done
| | 03:02 | in the scene according to where they were
standing and what lights were affecting them.
| | 03:08 | But that reference material is really
important, because like I said, it gives
| | 03:11 | you a basis for what way things should look.
| | 03:14 | You could go ahead and say well, I am
going to have this person coming out of
| | 03:17 | stairs and there's a shadow. That's great.
| | 03:19 | But how does that shadow
follow along those steps?
| | 03:21 | So you need to construct yourself a
little tiny model, like you don't have a
| | 03:25 | staircase? Take a piece of paper, fold
it into a little staircase, put it down,
| | 03:29 | put some something in front of it,
light it, and see how that shadow is flowing.
| | 03:32 | That gives you a point of reference so
that then when you create your piece.
| | 03:36 | It will be accurate and things will
follow. Because if you guess at something,
| | 03:40 | it might look good to you but the
average person will look at that and say,
| | 03:43 | "Well, that looks phony."
| | 03:44 | They might not know why but
there is something wrong in there.
| | 03:47 | But if you use real-life reference,
you will get shadows and highlights and
| | 03:51 | things accurately, making something look real.
| | Collapse this transcript |
|
|
18. Facial FeaturesCreating eyes| 00:00 | There many people throughout Times
Square and one thing all people have is eyes.
| | 00:05 | And creating realistic eyes
requires quite a few little techniques.
| | 00:09 | Now I am going to cover a lot of
things that I've covered in other movies but
| | 00:11 | here they kind of come together
to form a realistic looking eye.
| | 00:15 | I am going to get a tone just as my
basic skin tone, so I am picking that color
| | 00:19 | right here, which I am going to
just fill background with that color.
| | 00:22 | Now right here I am going
to start the form the eye.
| | 00:25 | Using the Pen tool I am going to create an eye.
| | 00:27 | So I am going to go in here and create
this one path, which is basically going
| | 00:31 | to be the white of the eye.
| | 00:32 | So that's going to create this little
shape like this and then close it off
| | 00:37 | right here, like so.
| | 00:38 | So there's the white of the eye.
| | 00:41 | Using my Elliptical tool here set to Paths,
| | 00:44 | I am going to create a big oval right here,
which will become the iris of the eye.
| | 00:49 | And then a smaller one inside
which becomes the pupil of the eye.
| | 00:53 | Now let's take that one and just
put it in position so it's centered
| | 00:55 | right there, like that.
| | 00:57 | So there's the three paths that
are going to make up the basic eye.
| | 01:00 | So I go over here and save them and
make sure I have them. There's the path.
| | 01:06 | So now I am going to select the one path
that's going to be for the white of the
| | 01:10 | eye and I am going to create a layer
on top of this, which I'll call white.
| | 01:15 | And I am going to pick a color
that's going to be good for the white of the eye,
| | 01:20 | which is not exactly a pure white,
but slightly off white, like the gray.
| | 01:24 | click OK and then I'll fill that
path in that layer with that color.
| | 01:27 | Now I am going to pick the circle right
here, which is going to be the iris of
| | 01:31 | the eye, and I'll create a
layer for that-- the iris.
| | 01:37 | And I'll pick a color for the iris
to be. So we're going to say we're
| | 01:40 | going to say a blue eye.
| | 01:42 | So I'll pick a nice deep blue like this.
| | 01:44 | Click OK and fill that path in that layer.
| | 01:48 | And I'll pick the central path, which
is for the pupil. Go into my Layers.
| | 01:54 | Create a new layer. Call it pupil.
| | 01:59 | Return my colors to black-and-white
and fill that path with the black.
| | 02:03 | So there is the three basic
shapes which are going to be the eye.
| | 02:06 | So what I need to do right off the bat
is to go in here and clip these two so
| | 02:12 | they become parts of a
clipping group with the white.
| | 02:14 | Click here and click there.
| | 02:17 | I hold down my Option key, Alt on
a PC, so that I was able to do that.
| | 02:20 | And there are still individual layers
so as you could see I can then move them
| | 02:24 | around so that the eye can be looking around,
doing whatever it wants and ooh! Whatever.
| | 02:30 | So there it is. There's my eye.
| | 02:32 | So now I am going to start to make this
look dimensional and make it look real.
| | 02:36 | And I'll rake the pupil. I am going to
go in there and give it a little Outer Glow,
| | 02:40 | which I am going to change the
color to say something in the blues,
| | 02:44 | nice kind of a light blue like that and
increase the Size just a little and bring
| | 02:50 | down the Opacity, just a little
hint of a glow there, just like that.
| | 02:54 | And I am going to blur it a little bit.
So I get a little Gaussian Blur which
| | 02:58 | I'll just blur it just a little and
let's say then it looks good. Click OK.
| | 03:03 | The iris, I am going to go in
there and give it a couple of things.
| | 03:07 | I am going to give it an Outer Glow but
this Outer Glow is to be a little darker.
| | 03:12 | So I am going to a go in there
and go with a kind of a gray.
| | 03:15 | Not like that, a little darker than the
other one is, and put this to Multiply so
| | 03:18 | that that gray will show up. Maybe I'll
put it in Normal so that it'll show up
| | 03:21 | even more and put it out there
so it's just this little hint.
| | 03:25 | And spread it out so we have this
little hint of a gray along the edge.
| | 03:28 | Then I am going to give it an Inner Glow.
| | 03:30 | And the Inner Glow is going to be a deeper blue.
| | 03:32 | So I'll go with a nice deep blue like
this, maybe even darker, and set that to
| | 03:37 | Multiply so I can see that dark tone and
increase that size a bit like that, and
| | 03:43 | then we'll click OK. I am
going to go ahead and blur this.
| | 03:46 | The same blur that I gave to
the pupil, and there we see that.
| | 03:50 | Now we need that muscle structure in
here, all those little textures that we
| | 03:54 | see inside the iris.
| | 03:55 | So I am going to create a layer in
between the iris and the pupil, right there,
| | 03:59 | which will automatically be clipped
with the others in the clipping group.
| | 04:03 | And in that layer I am going to create a
nice big square just like that, kind of
| | 04:08 | center it inside the iris there.
| | 04:10 | I am going to fill that with-- doesn't
matter what color because I am going to
| | 04:13 | totally change it afterwards, but it
needs a color. So I am going to a black in
| | 04:17 | there and I am going to
give it noise. Add Noise.
| | 04:19 | And there's going to be a
lot of noise, just like that.
| | 04:22 | Then I am going to apply a filter to
that noise layer, a Radial Blur, which
| | 04:29 | has that Spin mode.
| | 04:30 | I am going to say Zoom mode at 100%.
| | 04:34 | And by the way, you can set where that
center of the spin and so on is going to be.
| | 04:38 | but I am going to want that Center.
| | 04:40 | Click OK, and I get that kind of a
spread which I am now going to go in there
| | 04:44 | and increase the contrast by playing
with Levels and bringing all the tones
| | 04:48 | into the visible area. So we could see there
we're getting these nice little streaks like that.
| | 04:53 | Click OK.
| | 04:54 | I am going to set that layer to
Multiply mode, so it simply applies those dark
| | 04:58 | tones over the blue.
| | 05:00 | Bring down their Opacity just a tag.
| | 05:02 | Now I could deselect it, and I
only want to see it inside the iris.
| | 05:05 | So what I am going to do is I am going
to turn the iris layer into selection by
| | 05:09 | Command+Clicking or Ctrl+Clicking on it.
| | 05:11 | And now that it's selected, I am in
that layer of the texture effect.
| | 05:15 | Let's call it texture.
| | 05:18 | And I say give it a mask.
| | 05:20 | Since the area is selected, it's going
to confine the mask to that area and we
| | 05:24 | see that we now have the
texture inside the iris.
| | 05:27 | So now we're going to go in there and
starting adding more dimension by going
| | 05:30 | into the white and taking my Burn tool.
| | 05:32 | I am going to set this to Highlights
and I am going to go in here and just very
| | 05:36 | lightly start to go in there and just
kind of paint in some dark tones along
| | 05:40 | these edges in here.
| | 05:41 | I'm going to go to the iris and kind of
darken the top part of the iris, maybe
| | 05:46 | darken a couple little areas here and there.
| | 05:48 | I am going to set this over to Shadows
so I am going to get deeper blues as well.
| | 05:52 | So I get some nice deep
blues in there like that.
| | 05:54 | And maybe I'll highlight a few areas.
| | 05:57 | So with the Dodge tool I am just going
to lighten a few right in there, just
| | 06:00 | lighting up that that little area.
| | 06:02 | Just add a couple little
highlights to the iris, just like that.
| | 06:05 | So now on top of this whole thing I am
going to add one more layer ,which I am
| | 06:09 | going to clip with the bunch and
we're going to call it a little sheen, or
| | 06:13 | reflection, or whatever you want to call it.
| | 06:15 | We'll switch to white and right in here
I am going to just draw in a couple of tones
| | 06:19 | and we just go and create a
couple little dots and little patterns and
| | 06:23 | little shapes and stuff like that.
| | 06:25 | That'll become the little reflections.
| | 06:27 | Now I'll go in there and blur
that, so we just blur those.
| | 06:31 | So let's just soften them up a
little bit, give them a little softening
| | 06:34 | right there like that.
| | 06:35 | And we'll set that to Screen mode and
bring down the Opacity just a little.
| | 06:40 | It just becomes a little
hint of some lights in there.
| | 06:43 | Now we need one more thing. So on top of
the white we're going to create another layer,
| | 06:48 | which automatically gets
clipped, and we'll call this one pink.
| | 06:52 | This will be the pink areas of the eye.
| | 06:54 | So I am going to pick a nice pink color.
| | 06:56 | Let's say we pick a pink like that
and I am going to get a soft edged brush.
| | 07:02 | I am going to go in here and make the
brush larger and I am just going to paint
| | 07:05 | in some little pink areas
right in here, like this.
| | 07:08 | Now that pink's a little strong so we
might want to adjust it later but I'll
| | 07:12 | just paint a little pink along
this edge here, just like that.
| | 07:15 | And to if it is a little too
strong, we can easily fix that.
| | 07:18 | We'll go into Hue/Saturation and bring
down that Saturation little bit, so it's
| | 07:21 | not so strong, and maybe
darken just a tad. There.
| | 07:25 | So now to that I am going to take my
Burn tool and make the tip much smaller,
| | 07:32 | and I am just going to add a little
darkening right along this edge here.
| | 07:35 | And let me set this to Highlight so
instead of intense kind of color I am going
| | 07:38 | to get some blacks going on in there,
and I am going to just kind of darken
| | 07:41 | certain areas just like this to just
start to give that a little dimension.
| | 07:45 | Now if you're not sure how this looks,
look at your eye in the mirror or ask
| | 07:49 | somebody to come over and pose for you
and you just go in there and just add a
| | 07:52 | couple little tones to darken that little edge,
and maybe even give it a little highlight.
| | 07:56 | So I am going to just make this brush
very small. I am going to Dodge tool
| | 08:01 | and just add a little highlight right in
there so we get this little sense of moisture.
| | 08:05 | And once again to the white, I am
going to just add a little more darkness.
| | 08:09 | A nice big brush right in to this area
here, just to darken that and make it
| | 08:14 | a little more rounded towards the edges, like so.
| | 08:16 | And there you see that we have the
basic shape of an eye, which we could take
| | 08:20 | further in one of the other tutorials
where we're going to start to add a little
| | 08:23 | more dimension to the actual
surroundings of the eye and add eyelashes and
| | 08:27 | eyebrows and the whole rest of the face.
| | Collapse this transcript |
| Looking around the eye| 00:00 | On a screen, we see the eye that
we created in another movie.
| | 00:03 | What we're going to do in
this movie is finish it off.
| | 00:06 | We're going to add all the tones around it.
| | 00:08 | The eyelid, the eyelashes, and the eyebrows.
| | 00:10 | So what we're going to do right now is
go over here and then I'm going to create
| | 00:14 | on top of all the layers,
| | 00:15 | I'm going to create a group.
| | 00:16 | I'm going to call it the eye, and I'm
going to take all those layers that make
| | 00:21 | up the eye and put them into that group.
| | 00:23 | Now I'm going to tell it to select the group.
| | 00:25 | So I got the group there.
| | 00:27 | I'm going to just move the whole
eye down a little bit like this.
| | 00:30 | So we have room for the eyebrow
and all the other parts that we need.
| | 00:33 | So now I'm going to do one thing to this.
| | 00:35 | I'm going to take the white of the eye.
| | 00:38 | I'm going to soften it a little bit,
because it's a very hard edge right now.
| | 00:41 | So I'm just going to go in there
and give it a little Gaussian Blur.
| | 00:42 | Just soften it up just a
little bit, like about maybe 1 just.
| | 00:47 | Now we could go little more. Let's go to 3.
| | 00:50 | That's a nice soft edge
right there. That looks good. Click OK.
| | 00:54 | So now what I'm going to do is I'm
going to create a path right above the eye
| | 00:59 | here, a small area right here like this,
and this is going to be the eyelid area.
| | 01:05 | Okay, this is the eyelid and I'm just
going to kind of get this big area, just
| | 01:09 | surround it like that.
| | 01:11 | So now I'm going to do all the
tonality right on to the flesh layer.
| | 01:16 | I could possibly do it in the couple of
different layers, but I'm just going to
| | 01:19 | do it right in one layer.
| | 01:20 | So what I'm going to do is I'm going to
select that background, which is where the tone is.
| | 01:24 | Now normally, you would
want to put this into a layer.
| | 01:26 | In fact, let's do that.
| | 01:28 | Let's put into a layer.
| | 01:29 | Okay and we'll call that layer the skin.
| | 01:34 | Now we're not starting from scratch here,
because we're starting with the file
| | 01:37 | that just had the eye.
| | 01:38 | So what we're going to do is
work with that existing file.
| | 01:40 | If we were starting it from scratch
everything would have been put into
| | 01:43 | an individual layer.
| | 01:44 | But right here, that's what we did.
| | 01:46 | We put the skin into its own layer.
| | 01:48 | So now I'm going to go in there and
take that path and turn it into a selection.
| | 01:52 | What I'm going to do is inverse that
selection, so everything else is selected.
| | 01:59 | So in the layer of the skin right here,
I'm going to take my Burn tool, which
| | 02:04 | right now is set to Midtones.
| | 02:05 | I'm going to bring down the size a little bit.
| | 02:07 | I'm just going to kind of darken
right into this area right in here.
| | 02:10 | I kind of see where it is, see where
that tone is, right in there like that.
| | 02:15 | I'm just very lightly just passing my
cursor over this area just to create that tone.
| | 02:22 | Then I'm going to make it smaller and darken
this little area right above the eye itself.
| | 02:27 | Now I'm doing it in small passes at a time.
| | 02:29 | I'm just going in and going over and
over, getting all these nice little dark
| | 02:34 | tones right in there into this area,
and again even darker over here, and come
| | 02:40 | back around, and I start to get
a little darker into this area.
| | 02:43 | Now I'm going to make it larger, and
kind of give this little hit right there.
| | 02:48 | I'm going to switch over to
Highlights, which is going to give me kind of
| | 02:51 | a black tone to this.
| | 02:53 | So I'm just going to darken through
there and darken right in here, and then
| | 02:57 | I'm going to hide those marching ants
for a second, and then with a much
| | 03:01 | smaller brush, I'm going to really
darken this little area right up in here.
| | 03:05 | Let's go right through
there and darken right in there.
| | 03:09 | Then I get this sense of
eyelid right above the eye.
| | 03:14 | Okay, so now I can inverse that selection back.
| | 03:17 | So I have this area here, and this
time I'm not going to switch back to my
| | 03:21 | Midtones and get a much larger brush,
and just kind of give this a little touch
| | 03:26 | right there and a little touch right in here.
| | 03:29 | Okay, now I can deselect that.
| | 03:31 | So now we're starting to get our eyelid
up on top, right, which I'm going to go
| | 03:35 | in there and I have this selected,
| | 03:37 | so I'm just going to give that a little
Gaussian Blur and just soften that whole
| | 03:41 | little area, but not so much.
Just a little bit, about 2.1. That's good.
| | 03:45 | Click OK.
| | 03:47 | Now with the Burn tool and keep in
mind I'm doing all this just by looking at
| | 03:51 | the eye and such.
| | 03:53 | It really helps to have some kind of a
point of reference so you could look in
| | 03:56 | the mirror, or look at a person's
photograph, or whatever, or just have the
| | 04:00 | person sitting there modeling for
you and look at the way the light is
| | 04:03 | hitting the different features so you
can start to go and create the effect
| | 04:07 | more realistically.
| | 04:09 | So I'm going to go here and reduce the
size of my brush and I'm just going to
| | 04:12 | start adding little dark tones along
the bottom here, just right in there like that
| | 04:16 | and these little dark tones, and
you can see it's a little uneven because
| | 04:20 | I'm working with the low opacity for my brush.
| | 04:24 | Now I'm going to go in
here and make my brush bigger.
| | 04:26 | I'm going to reduce this even more.
| | 04:28 | I'm going to bring this down to about 9.
| | 04:30 | So I want to very lightly slowly start
to build up the tones around these areas.
| | 04:36 | Okay so I'm just going to slowly
start to build up my tones right along
| | 04:41 | here, which is the bottom
part of the eye just like that.
| | 04:46 | Now I can go in there and get a much
smaller brush and start to create other
| | 04:50 | little details right in there, small
little touches, just tiny little touches,
| | 04:56 | a little one here, just a little line,
and again it helps to see or realize you
| | 05:01 | can start getting a feel of what
kind of things are going on in there.
| | 05:04 | So I'm just adding extra little touches,
just little creases in the skin, little
| | 05:09 | areas where I'm just going to
darken it just a little here and there.
| | 05:13 | So we're starting to get there.
| | 05:14 | Now a much larger brush and
increase that resolution to about 20% again.
| | 05:20 | I'm going to switch to my Highlights
and I'm just going to throw big dark
| | 05:24 | tone right across this whole top
portion, right through here like that,
| | 05:28 | right there, and along this bottom
part, and along the side, and I'm going
| | 05:33 | to get smaller brush and kind of
just start to darken this little edge a
| | 05:36 | little bit more, there.
| | 05:41 | I'm going to start to get this
little sense of what the eye looks.
| | 05:43 | And it's usually a little darker
in this little area right in there.
| | 05:47 | So now we start to add the hair.
| | 05:50 | So I'm going to switch to a black and
I'm going to get my paintbrush and I'm
| | 05:53 | going to get a hard edged brush,
bring it all the way down to 1.
| | 05:56 | So I'm going to go to my Brushes and I'm
going to make sure that the Spacing is down to 1%.
| | 06:03 | So it's a solid line. And I'm going to
add a Transfer mode so that I can have
| | 06:07 | a Flow Jitter set to Pen Pressure. Or I
might just do it as Opacity set to Pen Pressure.
| | 06:13 | Now keep in mind that a mouse
doesn't have pressure sensitivity.
| | 06:18 | This is for a tablet.
| | 06:19 | But what's happening here is as I'm
loosing up on the pressure, the brush is going
| | 06:24 | to start to disappear.
| | 06:25 | So now that I have that, I'm going to
create a layer above the whole thing,
| | 06:29 | above the eyes, and so on.
| | 06:31 | I'm going to create a layer up here,
which I call the lashes, and I'm going to
| | 06:36 | start to draw my lashes in, just
these little shapes that are going to come
| | 06:40 | up like this, and I'm going to draw
quite a few of them, and I draw a couple of
| | 06:44 | little ones, and usually the bottom
ones kind of have this tendency to make
| | 06:49 | little triangles on them and don't worry
about those ones that overlap on themselves.
| | 06:52 | We'll get rid of those in a second.
| | 06:54 | So I just drawn a couple on the bottom
and then we're going to go in here and
| | 06:57 | start creating these other ones.
| | 06:58 | So I'm going to just draw quite a
few up here of these thinner ones.
| | 07:02 | Now I'm going to make the brush a
little bigger. Go to a 2 and we start
| | 07:06 | getting thicker eyelashes.
| | 07:08 | So I'm just going to start to draw a
few and I'm going to start getting thicker
| | 07:11 | as I go into this area here, and
I'm going to start drawing more.
| | 07:14 | I'm just drawing a whole bunch of them
right up in this area and I'm going to
| | 07:18 | even thicker now with the three
and start to finish them off.
| | 07:23 | So now I'm going to start to
really thicken that area up.
| | 07:25 | Creating all these little
eyelashes right there and we're getting
| | 07:29 | all these little hairs, and the ones
in front here just kind of twirling
| | 07:33 | around, and a couple more, and a
couple of little ones stories at front here,
| | 07:39 | and let's fill these up.
| | 07:41 | There we have all the eyelashes.
| | 07:42 | Now once we've created this, now we can see
that we need to darken this area a little more.
| | 07:47 | So I'm going to go to my skin and get
a smaller Burn tool and just start to
| | 07:51 | darken this area a little bit more, just in
there where the eyelashes are coming out.
| | 07:56 | I'm going to just darken that area
up even more just through there like that.
| | 08:01 | Now you might want to do that
to the white of the eye as well.
| | 08:05 | So what I'll do is I'll go down here
to the white and just add a little more
| | 08:07 | shadow right under there like,
those little areas right in there.
| | 08:13 | So there we got that.
| | 08:14 | So now let's just on our eyelashes
just get rid of fun little things
| | 08:18 | that popped up there.
| | 08:20 | Bring the Opacity up and we can get rid
of all little doohickies that just jumped up on us.
| | 08:25 | So now back to our Paintbrush.
We've got a nice thick size.
| | 08:29 | So what I'm going to do is create the eyebrows.
| | 08:32 | So right on top of this, we'll call it the
eyebrows and we start to draw eyebrows,
| | 08:39 | and we're getting a
feeling of where it's going to be.
| | 08:41 | So we'll kind of create the first batch
right through here here like so, and
| | 08:44 | they're going to end right about here
so they start getting a little smaller.
| | 08:47 | They kind of follow the angles of the eye.
| | 08:51 | So I'm going to go in there and just
start to create all these nice little
| | 08:53 | eyelashes coming out.
| | 08:55 | These little basic ones and you
notice that as I loosen up at the end,
| | 08:58 | they start to get a little lighter, because
that's the pressure sensitivity at work.
| | 09:03 | So now once I've got the basic strokes
in there, I'm going to go in there and
| | 09:06 | start to thicken them up and have the
other hairs coming in from the side and
| | 09:10 | they just kind of fill up that whole
area just like that, and we start to
| | 09:15 | have our eyebrows, and you want to just
fill up those areas. Just don't do those last two.
| | 09:19 | That's the beauty of History.
| | 09:21 | You can go in there and say
let's not do those last few.
| | 09:24 | There we go. If I could just get
rid of that one too. All right!
| | 09:26 | So now let's go and redo those.
| | 09:29 | We get them right. And we just go in
there and just fill that whole area up,
| | 09:36 | and these are our eyebrows.
| | 09:37 | So now once we have the eyebrow in place,
we can now finish up all those tones.
| | 09:42 | So I'm going to go back to my Burn tool,
a nice big size, and I'm going to start
| | 09:46 | to darken underneath the eyebrow like that.
| | 09:49 | Or add a little dark tones
right in here and right in there.
| | 09:53 | And there you can see that
we have this finished eye.
| | Collapse this transcript |
| Adding eye makeup| 00:00 | Facial features like eyes, nose, and
mouth are important to get the character of
| | 00:04 | a person's face, but
sometimes makeup is a big thing.
| | 00:09 | If it's a cosmetic ad,
makeup becomes the focal point.
| | 00:13 | Now, the makeup on certain people in my scene
here is based on the make up that they wearing.
| | 00:17 | Like Carla here has got this slight
little eye shadow going on whereas my
| | 00:22 | daughter has no eye makeup.
| | 00:24 | Here is my daughter Erika. She has no makeup on.
| | 00:27 | So what we're going to do
is put some makeup on her.
| | 00:30 | Now I'm not going to say I'm a
beautician, but I'm going to show you how
| | 00:33 | that should be applied.
| | 00:34 | So I'm going to go in here and have
the file of just your face here and what
| | 00:38 | we'll do is put a little eyeliner on and
we're going to put a little eyeshadow on.
| | 00:42 | So let's go in there and do those.
| | 00:44 | So I'm going to go in here and create
a layer right on top of her face. This is the
| | 00:49 | finished face. I'm going to call this the eyeliner.
| | 00:53 | So the eyeliner, what I'm going to do
is I'm going to picked a dark color here.
| | 00:56 | Let's just pick a deep gray. And I'm
going to take a Paintbrush and I'm going to
| | 01:00 | very lightly just paint
right over this area in here.
| | 01:03 | Just going to very lightly paint into
this area right in there and that's going
| | 01:07 | to get it just right and we're just going to
go in there and just add a little eyeliner
| | 01:11 | right into this area.
| | 01:12 | I am just going in there and just add in
a little tone right into there for that
| | 01:16 | little eyeliner area right in there.
| | 01:19 | So now I want to set that into Multiply
mode so it just becomes little darker tone.
| | 01:24 | Now I can erase or soften it up,
but that's going to be good enough.
| | 01:27 | Let's make it a little smaller and just add
a little more right into this area here and
| | 01:32 | into this area there and maybe a
little line right along the bottom here.
| | 01:35 | Now I'm going to soften my brush a little more.
| | 01:37 | It's pretty soft here so what we're
going to do is bring down the Opacity a bit
| | 01:41 | and I have it set right and off to a
Transfer mode. Let's take that Transfer mode off.
| | 01:45 | I can just draw right into here and I
make it even smaller and just kind of draw
| | 01:49 | a little line right through here.
| | 01:51 | Now we can play with this line once
it's done. We can go in there with our
| | 01:54 | Smudge tool real small and just kind
of push that around until we have it
| | 01:59 | exactly the way we want it.
| | 02:00 | So we just kind of push that into
place just the way we want and then we have
| | 02:05 | the little eyeliner has been applied.
| | 02:07 | Okay, now I've gone ahead a little shadow to it.
| | 02:11 | So in another layer, and we call this one
the eyeshadow. Now I'm going to pick
| | 02:18 | a color that's going to be
good for this evening look.
| | 02:21 | Of course, I only do one eye and do the other
one. When you do yours you'll do both eyes.
| | 02:26 | So I'm going to pick kind of a nice
purplish type of color right here.
| | 02:30 | So I get my Paintbrush tool and I've
got the color that I want to choose here
| | 02:34 | and let's make it much bigger.
Really big here, a nice big brush.
| | 02:38 | Now we got the Opacity broke down.
Let's bring the Opacity back up.
| | 02:42 | It doesn't matter, because we will
need to play with this afterwards.
| | 02:44 | So just going to add a smudge of
color right in there, like that.
| | 02:47 | Wow that's pretty intense. But
that's okay, because we are now going to
| | 02:51 | manipulate this so that it starts
to look the way we want it to be.
| | 02:54 | So there is the dark shadow. I'm going
to bring the mode to a different mode.
| | 02:59 | We can try a few different modes like
Multiply, we can even to try Screen, and
| | 03:03 | we could try maybe a little Overlay
and Overlay might be the right color.
| | 03:07 | So what I'm going to do is I'm
going to bring down the Opacity a bit so
| | 03:10 | it's just as little hint of the tone right
in there and I'm going to give that a mask.
| | 03:15 | Now it has a mask and the mask is where
we're going to start to give it some shape.
| | 03:19 | So I'm going to go in there
and in the mask with black.
| | 03:22 | Black hides. I'm going to start to go in
there and start to shape this eyeshadow.
| | 03:26 | So I'm going to bring down the Opacity
a bit so I've a little more control so
| | 03:30 | it's not erasing it completely.
| | 03:31 | So there you can see where I'm starting
to soften up that edge right there and
| | 03:34 | make the brush smaller I'm
going to just protect the eyebrow.
| | 03:38 | So I'm going to hide it into that
area of the eyebrow as well as the eye.
| | 03:42 | I don't want it in any of this
parts of the eye right there.
| | 03:45 | So let's just get rid of it right in
that whole area there and then we make the
| | 03:48 | brush bigger and we just soften this
side just a little bit, just so we start
| | 03:52 | getting that little tone in there.
| | 03:54 | Now I'm back to the actual layer. Before
I was in the mask. Now I'm in the layer.
| | 03:58 | I might go in there and darken certain parts.
| | 04:01 | So I'm going to take Burn tool
and I got titset here to Midtones.
| | 04:04 | I'm going to just kind of darken
some of these tones right in here.
| | 04:07 | Just start to give the eye a little more shape.
| | 04:10 | You can see where I'm start to give
these dark areas right up in here a little
| | 04:13 | more tone right in there like that.
| | 04:15 | Now you can see that I start to add a
little more of this, a little makeup on her eye.
| | 04:20 | So it might be a little tacky, but
like I said, I'm not beautician.
| | 04:24 | But there you see where I've gone in
there and added some tones for the liner
| | 04:28 | and then added some color for the eyeshadow.
| | 04:31 | Now if you don't like that color and
once it's applied it's no problem, because
| | 04:35 | I'm in there. I can come here to one of
the adjustments like say Hue/Saturation
| | 04:39 | and I can say colorize it.
| | 04:41 | Let's punch up the Saturation a bit
and I can find a different tone that I want.
| | 04:45 | We are going to these blues here, we are
going to deeper reds, and if I found a
| | 04:50 | particular color that I want, say we
want to go to these darker tones here,
| | 04:53 | like to punch up the Saturation some more.
| | 04:55 | There you can see we're starting to get
those particular tones. I can darken them
| | 04:59 | and I can lighten them as well. Wow, very light.
| | 05:01 | So I can go in there and start to play
with all these different tones until I
| | 05:04 | have exactly the tone that I want for
this particular look, right in there
| | 05:08 | like that and there.
| | 05:10 | Now remember that this is a mask, so
if there's areas that I want to bring back, I can
| | 05:14 | click on the mask and I say use
white and I can start to paint in there.
| | 05:19 | Now you can see that the tones are
coming back into that area so that I can get
| | 05:22 | more of the eyeshadow happening.
| | 05:25 | Now she is ready for Mardi Gras.
| | Collapse this transcript |
| Creating noses| 00:00 | Creating portraits of people, you have
to really take into consideration all the
| | 00:03 | different features and exactly what it is
that's going on in there. Things like noses.
| | 00:09 | Everybody has a different type of
nose and how you pick that nose is
| | 00:13 | going to really capture
the character of that person.
| | 00:15 | So I am going to create a nose for
you here so you can see some of the
| | 00:18 | steps that went into it.
| | 00:19 | I'm going to zoom in right here
to this little area right here.
| | 00:22 | Let's zoom in on this one guy right there.
| | 00:24 | This guy, this guy we're going to get create.
| | 00:27 | Now, the actual file for him right
there, there is the actual file and we're
| | 00:33 | going to create this nose.
| | 00:34 | Now I've gone ahead and
selected the color of the skin here.
| | 00:37 | So we can start right off with that.
| | 00:39 | Right here, I have the Paths
that offered a basic head and nose.
| | 00:44 | So what I'm going to do is I'm
going to select those paths and fill them
| | 00:48 | in separate layers.
| | 00:49 | So right here I am going to create a layer
and I'm going to call it head and fill it.
| | 00:55 | I'm going to select the path for the nose
and in a separate layer, I'll call it nose,
| | 01:05 | I'll fill the path again.
| | 01:07 | Then there is a nostril right there.
| | 01:10 | So I'm going to select a third layer,
which we'll call nostril, and we'll pick up
| | 01:18 | much darker version of this skin
tone and fill that path in that layer.
| | 01:23 | So there we have the basic shapes
that are going to make up this nose.
| | 01:28 | So let's come in closer.
| | 01:30 | Now right now the hard edges and this
little curvature here is due to the fact
| | 01:34 | that there is a little refraction behind his glasses.
| | 01:37 | Now I'm going to go in here and
start adding definition to this nose.
| | 01:40 | Now to do that, I'm simply going
to use my Dodge and Burn tools.
| | 01:44 | So I'm going to pick my Burn tool here
and I'm going to do go along the edges of
| | 01:48 | this nose. I have a low exposure rate set.
| | 01:51 | So I'm going to go in here then,
select the layer with the nose, right there,
| | 01:55 | and just going to kind of darken that
tone right through there and then the
| | 01:58 | bottom of the nose.
| | 01:59 | And I'm going to follow the shape of his nose.
| | 02:01 | Now it helps to have reference, so
you can see which way this is going.
| | 02:06 | So I'm going to go in there and I will
start to apply all the different tones
| | 02:09 | that are going to be needed to
make this nose look realistic.
| | 02:12 | So I see right around the nostril
| | 02:13 | it gets a little darker and so on and
then we have this little indent right there.
| | 02:17 | So I'm going to add a little indent
right to this area right in there like
| | 02:21 | that and along the edges of the nose,
about like that, and maybe a little
| | 02:25 | darkening right along here.
| | 02:27 | Now keep in mind it's a hard edge.
We are to going to fix all that later and we
| | 02:30 | are just going to add a
couple of highlights now.
| | 02:33 | So with my Dodge tool, I'm going to
add a little highlight to this edge.
| | 02:36 | So I'm going to just add a little
highlight right in there. And then I've got a low
| | 02:40 | exposure set and this is now the Midtones.
| | 02:43 | And I am going to just add a little
highlight going right across the front part
| | 02:46 | of the nostril there. Over the tip of the
nose right there, we will add a little highlight.
| | 02:50 | And we even might add a little
streak right along that edge there.
| | 02:53 | So now, let's add some dark tones just
along the bottom here and maybe we'll
| | 02:58 | switch to Highlights,
| | 03:00 | which is just going to kind of give us
some gray tones right in there, you see.
| | 03:04 | We will really darken the bottom part of
the nose right through there like that.
| | 03:07 | So now we're going to go in
there and start to soften this up.
| | 03:10 | I'm going to select an area of
the nose with a feathered selection.
| | 03:14 | I'm going to feather it at 6.
| | 03:15 | Now feather that you use is based
on the resolution you're working at.
| | 03:19 | 6 is quite big, because I'm working at 72 dpi.
| | 03:22 | So I'm going to select this edge of the
nose right through here and the reason
| | 03:26 | I'm feathering it is so that where I
stop this selection it's going to be soft.
| | 03:30 | And right in there I'm
going to go ahead and blur this.
| | 03:33 | I want to give it a Gaussian Blur,
which right off the bat softened that edge
| | 03:37 | of the nose right there.
| | 03:38 | So now you see that the nose is
going to blend into the rest of the face.
| | 03:41 | Now comes the nostril.
| | 03:43 | Now the nostril is not just a big hole
like that. Look at your own nose or other
| | 03:47 | people's nose and you'll see that
there is skin going in there.
| | 03:50 | And then there is a
darkening in the area. Right?
| | 03:52 | So let's get real close on the
nostril and see what's going to happen here.
| | 03:56 | So now, what's going to happen in this
particular case is that I'm going to go
| | 03:59 | in to the nostril here and I'm
going to blur it just a little bit.
| | 04:02 | So I'm going to apply that same filter from
before to Gaussian Blur, but at a much lower rate.
| | 04:07 | And make sure we're into right
layer. There it is, the nostril.
| | 04:10 | I'm going to my blur and I'm going to
bring it way down, bring it down to just
| | 04:14 | about maybe 0.5 just to soften it a little bit.
| | 04:18 | Right there, that's good enough.
| | 04:20 | Pull back just a little and now
I'm going to give the nostril a mask.
| | 04:25 | And the mask is where we are going to
go in there and start to shape the nose.
| | 04:30 | So what I'm going to go in here and I
am going to use a soft edged brush, bring
| | 04:33 | it down in size, and I'm going to bring
down the Opacity down to about a 20%.
| | 04:39 | And I'm using black, because black
is what's going to hide in the mask.
| | 04:43 | Now I start to very lightly paint along
this edge, right through here. Make the
| | 04:47 | brush a little bit smaller and just kind
of soften this up and I start to paint.
| | 04:52 | And you can see where I'm starting to
just create this little shape of the
| | 04:55 | inside of the nostril.
| | 04:56 | So it's not that big giant
crater that was there before.
| | 05:00 | It's just a softening of these little areas.
| | 05:02 | Now that I have that, I'll go back to
the nostril itself and I might want to
| | 05:06 | darken certain parts.
| | 05:08 | I will go in there and get this really small,
| | 05:10 | I'm going to set this to Shadow, so I'm
going to effect all the dark tones and
| | 05:13 | really darken this top
part right in there like that.
| | 05:16 | Then I'm going to select this bottom
part of the nostril right through there.
| | 05:21 | There we go and I'm going to blur that.
| | 05:23 | I'm going to soften that up a little
more just about like that and there you can
| | 05:28 | see that as I pull back it's going to
start to look more like a real nose.
| | 05:31 | Now we got this bottom part here.
| | 05:33 | Well, we need to soften that up.
| | 05:35 | So what I'm going to do is I'm going to
select this little section right through
| | 05:37 | here and make sure I'm in the nose again.
| | 05:40 | And I go into my softening and soften
that up a little more, just so I have a
| | 05:45 | nice little softening of that
little edge right in there of the nose.
| | 05:49 | Click OK and there we can see that we
now have a realistic looking kind of a
| | 05:53 | nose on the side of a very plain face right now.
| | Collapse this transcript |
| Viewing a nose from the front| 00:00 | In the previous movie, we
saw how the nose was created.
| | 00:03 | That was a nose in profile.
| | 00:04 | Here we're looking at a nose straight on.
| | 00:07 | Now the techniques are pretty much the same.
| | 00:09 | However, there are a few little
changes that need to be added.
| | 00:12 | Here we have two different nostrils,
and you can see that because of the slight
| | 00:16 | angle that we're looking at them,
we see a different type of a view.
| | 00:20 | Now your particular person that
you're doing, if they are a real person,
| | 00:23 | well, you really have to look
at the structure of their nose.
| | 00:26 | If you're making them up, well,
they can have four nostrils.
| | 00:29 | There could be some kind of
an alien. It doesn't matter.
| | 00:31 | But if you're creating someone's face,
then it's very important to get all those
| | 00:36 | little indentations and such that
make up the character of that face.
| | 00:40 | Now when we look at this image here,
let's go in here and look at the layers
| | 00:44 | for it, and we see that we have
right here a group for the nose itself.
| | 00:49 | Now I'm going to turn off this top
layer, which is just a comp layer.
| | 00:51 | You can see there it was a little
modification done to the comp layer before it
| | 00:54 | was brought over to the other file.
| | 00:56 | Now right here, we see that we have
various layers and they all have masks.
| | 01:01 | So let's start looking at some of those.
| | 01:03 | Here is the nostrils themselves.
| | 01:04 | If I turn it off, there
it goes. She can't breathe.
| | 01:06 | So let's turn this back on so that
she can breathe again. And it has a mask.
| | 01:10 | What makes the entire shape of the
nostrils is basically the mask, because if I
| | 01:15 | turn off the mask right here, and I
hold down my Shift key to turn it off,
| | 01:19 | I click on the mask, and there you can see that
it's just shapes that were painted in there.
| | 01:23 | They're dark in the center and along
this edge, using the Burn tool, just to
| | 01:27 | create those darker edges, and
then here it's kind of rough.
| | 01:30 | It doesn't matter because it's a mask that's
going to set the final shape for the nostril.
| | 01:35 | So when I turned the mask back on right
there, you can see that it has now taken
| | 01:40 | on the form of the realistic looking nostrils.
| | 01:42 | Now, if you want to see the mask by
itself, you hold down the Option key, Alt on
| | 01:46 | a PC, and click on the mask. There is a
mask, and the mask looks little strange.
| | 01:50 | But I'm basically going in there and
painting with black to hide and soften
| | 01:54 | the edges that I want.
| | 01:55 | So there when you see the mask in place, you
can see how the nostrils have taken their shape.
| | 02:01 | The other areas like dark tones, here
we see some darks being applied and so on,
| | 02:06 | and then there is just little area,
this is actually down lower left down
| | 02:10 | here, and then you have these upper
darks, which is these other areas along the
| | 02:13 | eyes here, and then there is
that little highlight right there.
| | 02:16 | Its own little layer that creates this
little highlight that just adds a little
| | 02:20 | sheen to makes the overall scene look real.
| | 02:23 | So a nose is basically the same as the profile.
| | 02:25 | With the difference here that we're
seeing at a different angle and two nostrils
| | 02:29 | as opposed to one, but the
techniques are all exactly the same.
| | Collapse this transcript |
| Understanding the structure of the mouth| 00:00 | There are many people who populate the
scene of Times Square, and there is one
| | 00:03 | thing they all have in common.
| | 00:04 | They all have a mouth.
| | 00:06 | Now all the mouths look different, but
rendering that mouth is an important thing.
| | 00:11 | Here we see a mouth that lips are just
slightly parted, so you are exposing the teeth inside.
| | 00:16 | Here is a mouth where the
teeth are very predominant.
| | 00:19 | The mouth is wide open.
| | 00:20 | The teeth are completely exposed.
| | 00:23 | Then here is one where it's just a smile
and exposing just the top portion of
| | 00:27 | the teeth with all their
little highlights and so on.
| | 00:31 | Now just creating any one of these heads
creates a lot of different layers, as you
| | 00:36 | can see through here, and there is a lot
of subgroups that are closed. Like here
| | 00:39 | for hair, we have the hair on
the head, and the facial hairs,
| | 00:43 | eyelashes and so on.
| | 00:45 | Let's go in here and see
how this mouth is structured.
| | 00:48 | So right here, we see
that there is a folder mouth.
| | 00:51 | I'm going to turn on that folder right
there and there the entire mouth shows up.
| | 00:56 | Now you notice that there are
multiple layers in that folder, plus a
| | 01:00 | subfolder just for the teeth.
| | 01:02 | When you look at these individual layers,
the topmost layer is the upper lip, as
| | 01:07 | you can see right there.
| | 01:08 | Right beneath it, unnamed right now is just
this little highlight that shows up right there.
| | 01:13 | Then we have the lower lip.
| | 01:16 | Then there is the teeth and behind
the teeth all the way back is the gums,
| | 01:21 | which is this little area visible here,
and then finally the inside of the mouth,
| | 01:26 | which appears right
through those part of teeth there.
| | 01:30 | Then the folder of the teeth itself.
| | 01:34 | Now they like there are
numbered, but they are numbered.
| | 01:36 | There is a bottom 1, which appears
right there, and bottom 2, which is those two
| | 01:42 | teeth that appear there.
| | 01:45 | Then each one of these is an individual
tooth above because they're all going to
| | 01:50 | be handled independently,
as you'll see in the later movie.
| | 01:53 | Layer 1 is the first tooth on the far
left, then comes 2, 3, 4, and you notice
| | 02:02 | that now it jumps to 5. Why?
| | 02:05 | Because 5 is the next tooth visible
that falls behind number 4 but is in
| | 02:10 | front of 6, 7, and 8.
| | 02:12 | So that's why 5 came up here,
and then went to 6, 7, and 8.
| | 02:17 | So now you can see how many
different layers it takes to make up a mouth.
| | 02:22 | In another movie, we'll see how each of
these individual elements are generated.
| | Collapse this transcript |
| Creating lips| 00:00 | In this movie, we're going to
look at the creation of the lips.
| | 00:03 | Now there are a couple of different ways.
| | 00:05 | So we're going to explore a couple.
| | 00:06 | I have here some paths and you can see
that the lips and the teeth are separate.
| | 00:12 | So we're going to
concentrate on the lips for this movie.
| | 00:16 | I'm going to select the bottom lip,
and I have a pink color here and in a
| | 00:21 | layer, which I'm going to create a layer
right here, and we'll call it bottom lip.
| | 00:25 | I'm going to take that path
and fill it with the pink.
| | 00:32 | I am then going to select the upper
lip here and in a layer on top of the
| | 00:38 | bottom lip, I will call it upper lip,
and fill that path with that same pink.
| | 00:46 | Now I can say there is a couple ways
of creating the textures on the lips.
| | 00:51 | One quick way would be
to do something like this.
| | 00:54 | I'm going to create a layer right here
on top of this, put it right above the
| | 00:58 | bottom lip, and I'm going to call this
layer a texture, and these are for lips
| | 01:05 | that have a lot of texture to them. All right!
| | 01:07 | So I'm going to go ahead and fill
this with a pink. Doesn't matter.
| | 01:10 | So I just only have a color in there,
and then I'm going to go fill this bottom
| | 01:14 | color here, the background color, with a
darker version of that same red and I'm
| | 01:18 | going to give this filter of Fibers.
| | 01:22 | Fibers is going to go in there
and create this kind of a texture.
| | 01:25 | We'd bring down the Variance a little
bit and the Strength, so I get these nice
| | 01:29 | little tones like that, and I might
want to just blur those just a little bit,
| | 01:33 | so I'll give them a little bit of the Motion Blur.
| | 01:36 | That's going to go straight up and down.
| | 01:38 | So I set this to 90.
| | 01:39 | So it is straight up and down and
not so much of a Distance, just a little
| | 01:42 | bit so I just get a little
bit of a tugging on it like that.
| | 01:45 | Then I'm going to go ahead and clip it
with that bottom lip, just like that, and
| | 01:49 | then I'm going to warp it.
| | 01:51 | So I go in there and say warp it and I'm
going to make it match the angles of these lips.
| | 01:57 | You can see that I'm just kind of
bending these guys over and twisting them
| | 02:01 | around until I get this curvature
that I see on the lips like so and I can
| | 02:06 | really start to emphasize certain
areas more than others, just to get that
| | 02:10 | sense of that curve right in there, and we
start to get this nice kind of a shape like that.
| | 02:18 | I would then bring down the Opacity
of that layer just a bit and give it a
| | 02:22 | little layer mask so I can start to
slowly cover up certain parts that I
| | 02:28 | don't want to see as strongly, like
right down here along the bottom, and create
| | 02:33 | a texture kind of like that. Or if we
want simpler lips, we just throw that
| | 02:38 | one completely away.
| | 02:39 | I could do it with my Burn tool.
| | 02:41 | Now I am going to set this up to
Midtones right now and I am going to go in
| | 02:45 | here and just kind of darken certain
parts right along the edge of the lips
| | 02:49 | right through here like that.
| | 02:50 | Now keep in mind it is good to have
a guide of what this stuff looks like.
| | 02:54 | Some point of reference, even if it's
just looking in the mirror and looking
| | 02:57 | at your own lips, just so that you can
see how light hits in and where you get
| | 03:01 | little shadows and such, and we'll
throw a little shadow right along the bottom
| | 03:05 | of the lip like so.
| | 03:06 | Now we just darken those areas a little
bit more, and then I could go in there
| | 03:11 | and start to get a smaller brush, and
maybe bring down the Opacity of it to
| | 03:14 | about a 20, and I just start drawing
little lines right through here like this,
| | 03:18 | just small lines like so.
| | 03:21 | Now it doesn't matter if these lines
are perfect because what's going to
| | 03:24 | happen now is I'm going to take my
Smudge tool, the little finger here, and I'm
| | 03:28 | going to lock the transparency for this layer,
and now I'm going to start to shape those.
| | 03:32 | So I'll make a little bigger.
| | 03:32 | I'm going to start to move these around
so I can start to get more of a sense
| | 03:37 | of the kind of lines that
you actually see on the lips.
| | 03:41 | So they're just pulling out in certain
areas just like so, and I'm pulling out
| | 03:45 | these tones just to start getting that
nice little texture on the lips, like I could even
| | 03:51 | pull some up from these dark tones down here.
| | 03:54 | So I'm just kind of getting this
little texture happening to my lips.
| | 03:58 | Now I can go in there and again with the
Burn tool, I'll make it a little bigger.
| | 04:02 | I'm going to start adding little
tones in certain spots, and I've got the
| | 04:06 | Opacity way down so that it's not so strong.
| | 04:08 | I'm just going to start adding a
couple of little tones in certain areas, and
| | 04:13 | again, if you have a model of how
this looks, it makes it that much easier.
| | 04:17 | Once we have all these tones in there,
we will then go in there and with a Dodge tool,
| | 04:22 | I can go in there and
start to lighten certain areas.
| | 04:25 | Now I've got the Opacity pretty high
up on here, so I can just make it really
| | 04:29 | small and just add a couple of little
glistening, just a couple of little
| | 04:32 | sharp lights here and there, just so
it has a little moisture to the lips.
| | 04:38 | I just add little highlights in certain areas.
| | 04:40 | Then I can make a much larger brush and
bring the Opacity down to about say 20
| | 04:45 | and then I'll just lighten
certain parts of the lips.
| | 04:47 | So you notice I'm not doing
it across the entire lips.
| | 04:49 | I'm putting it within those areas inside
of those lines where you would normally
| | 04:54 | see highlights, and I'll throw a little
highlight right through here, which is just
| | 04:57 | a little lightning of the lips like so,
and then maybe little highlight there.
| | 05:02 | Once all those tones are in that
bottom lip, I will then select this whole side,
| | 05:07 | and I'm going real close along
the edge, and I'm selecting the whole side
| | 05:13 | of the lip right here.
| | 05:13 | I make sure the transparency is
unlocked, and I'll go in there and blur that.
| | 05:19 | We'll give it a Gaussian Blur.
| | 05:21 | We're just going to soften that edge
just like we see at the bottom of our lips,
| | 05:25 | unless there is a really
strong lipstick on there.
| | 05:28 | There isn't a hard edge
at the bottom of the lips.
| | 05:30 | So I'm just going to soften it
up just a little right in there.
| | 05:33 | Click OK, deselect it, and now you
can see that we have a really nice
| | 05:37 | looking kind of a lip.
| | 05:37 | Which at anytime you can go in
there and darken more areas if you want.
| | 05:42 | So I can go in here and let's
say I want some darker tones.
| | 05:45 | I'm going to switch this over to my
Highlights. We are just going to go in there
| | 05:48 | and add a darker tone to these areas.
| | 05:52 | So I'm going to in there and just darkening
it and that little smudge there? No problem.
| | 05:55 | I could go in and just give it a little
pull. Just with the Smudge tool I just
| | 05:58 | pushed it up underneath that lip there.
| | 06:00 | So I'm going there and I want some
harder areas, some brighter areas.
| | 06:04 | So I switch this over to Shadows and
I'll just add a little tones right here to
| | 06:08 | lips and you can see that here I'm
almost like saturating certain parts of the
| | 06:12 | lips to add a little more texture, a
little more sheen to them, and there you
| | 06:16 | can see that we have this
really nice looking lip.
| | 06:18 | The upper lip is usually much darker.
| | 06:21 | So what I'm going to is switch back to
Highlights and kind of just darken this
| | 06:26 | lip up here, just darken the whole
thing like that. Go to my Midtones.
| | 06:30 | So I'm going to get some nice
reds and start adding some texture.
| | 06:33 | I'm going to darken this side,
because this is going into shadow.
| | 06:36 | I'm going to darken real close to the
opening of the mouth like that, and then
| | 06:41 | make a really small brush, and then
add a couple of little lies just like we
| | 06:44 | did in the lower lip, and lock its
transparency, and again form those lines
| | 06:50 | just the way we want, just kind of push
them back and forth to kind of get the
| | 06:53 | right angles that we want just like that, and
we can add a little highlight to those if we want.
| | 06:59 | So we just add a little highlight to
the lip right there and there, and like we
| | 07:04 | did with the bottom lip, I'm going to
select the top portion of the lip and
| | 07:07 | sometimes it helps to
have a little bit of Feather.
| | 07:10 | An 8 is going to work
pretty well with this resolution.
| | 07:12 | So I'm going to go along the top of the
lip as I did with the bottom and I kind
| | 07:16 | of ended it about there, come around
and blur that as we did to the bottom lip.
| | 07:22 | Give it a little blur just to soften that.
| | 07:24 | Why isn't working? Because it's still is locked.
| | 07:27 | Let's check that off, go in there, and
get that Gaussian Blur, and soften the
| | 07:32 | top of that lip just a little.
| | 07:34 | Click OK and there we
see that we have our lips.
| | Collapse this transcript |
| Creating teeth| 00:00 | In this movie, we're going to create
teeth that go with the lips we created.
| | 00:04 | Now there are paths right here for
each of the teeth, but they will each be
| | 00:09 | created in their own layer.
| | 00:11 | I am going to start with the ones at the bottom.
| | 00:13 | There are two teeth visible down here.
| | 00:16 | Now they are just about touching so they
can actually you both be handled in one layer.
| | 00:21 | So I am going to select both of those
and I am going to create a layer right
| | 00:25 | here behind the two.
| | 00:26 | Let me go in here and I am going
to create a whole folder right here,
| | 00:30 | which we'll call teeth.
| | 00:34 | In there we'll create another folder,
which we'll put inside there and we'll
| | 00:38 | call this one bottom.
| | 00:40 | Since there are so many layers involved,
it's good to have them in little groups
| | 00:46 | so that will make it easy.
| | 00:46 | So I am going to go in there and create the
layer for those teeth and we can call it teeth.
| | 00:51 | I'll pick a color for our teeth, which
is going to be a slightly off-white, kind
| | 00:57 | of like a gray like that.
| | 00:59 | So I am going to go in there and I am going
to fill that path with those tones right there.
| | 01:05 | So now I am going to get slightly
lighter tone for the upper teeth.
| | 01:10 | Now all the darkening of these teeth is
going to be handled by dodging and burning.
| | 01:15 | We're not going to go and actually use
colors here because in fact that we want
| | 01:18 | to have full control over the
darkening and lightning of these regions.
| | 01:22 | So now I am going to start
with the furthest to left tooth.
| | 01:26 | Now the fact that it's
overlapping a little bit here.
| | 01:27 | It doesn't matter because that
could easily be masked out later.
| | 01:30 | So I've selected that tooth and I go
over to my Layers and I create another
| | 01:36 | group on top of this,
which will be the top teeth.
| | 01:39 | I'll create my first layer.
| | 01:44 | Now I'll call this 1 and I'll fill
that path right in that layer there.
| | 01:51 | I will now select the second tooth.
| | 01:53 | It overlaps on top of the other one, so
we want that to be in a layer above 1.
| | 01:58 | So I'll go in there and create 2,
and fill the path like that.
| | 02:05 | And in fact, let's keep this guy out
so that we can have quick access to the
| | 02:11 | paths as we need them.
| | 02:12 | And now I am now going to select the
third and in a third layer I'll fill that path.
| | 02:20 | Select the fourth.
| | 02:21 | We'll call this layer 3. There we go.
| | 02:25 | Now we select the layer on
top of that, which we'll call 4.
| | 02:29 | there it is and fill that path, and
then 5 right there. New layer, call it 5,
| | 02:39 | go in there and fill it.
| | 02:40 | Now this one is falling behind so I am
going to go in here, hold down my Command key,
| | 02:45 | Ctrl on a PC, and create a
layer behind 5, which I will call 6.
| | 02:52 | Select that layer and fill it
and right here we have number 7.
| | 02:57 | So behind this layer
I create 7 and go ahead and fill it.
| | 03:04 | Then finally, this tooth back here.
| | 03:06 | It's the last one, which we're going to
have to do a little masking of the lips
| | 03:09 | to have that tooth exposed.
| | 03:11 | So, we have that tooth and here we
create that last layer which we would call 8,
| | 03:18 | and we fill that path. so there.
| | 03:21 | Now we have all the teeth in place.
| | 03:23 | Again, I'll turn off the paths.
| | 03:24 | Don't need them anymore.
| | 03:26 | Now we're going to go in there and start to
give these teeth the depth that they need.
| | 03:30 | Now the bottom teeth, they're both
together, so I am going to handle my teeth
| | 03:35 | as one with the Burn tool.
| | 03:37 | And you notice that I have my Exposure down to
about 20%, so that gives me a lot of control.
| | 03:42 | And I am making the brush a little bigger here.
| | 03:43 | Now I am going to just start
to darken these teeth down here.
| | 03:46 | I am going to this darken one right
along this edge right there because it's
| | 03:49 | hidden behind that tooth, which is
casting a shadow, and right between them I'll
| | 03:53 | give it a little hit right there.
| | 03:54 | And then just kind of
heavily darken them right there.
| | 03:57 | Then we're going to go to the top teeth.
| | 03:59 | So we're going to start
right here with number 1.
| | 04:02 | It's the furthest and it's back.
| | 04:04 | So we're going to kind of
darken that tooth quite a bit.
| | 04:08 | Again, really dark it along this edge
because it's a little shadow being cast by
| | 04:13 | tooth number 2, which I am going to go
in there and just kind of darken this edge,
| | 04:16 | darken over here, and go along the
top because the lips are now casting a
| | 04:21 | little shadow on there as well. Just like that.
| | 04:24 | We'll throw a little
extra darkness right in there.
| | 04:26 | And the highlights will
come in second. So we got that.
| | 04:28 | There might be a little bit
of a highlight on this one.
| | 04:31 | So let's just switch to our Dodge
tool and make that brush really small and
| | 04:36 | we'll just throw a little
dab of highlight right there.
| | 04:38 | Just a little tiny highlight.
| | 04:41 | Tooth 3, we'll go in there with our
Burn tool, add the little shadow along the top,
| | 04:46 | shadow from the lip, add a little
shadow at that edge, a little shadow at
| | 04:51 | this edge, and maybe a little towards
the bottom. Maybe just a little hint of the
| | 04:54 | shadow towards the middle there, and
a little highlight, a little highlight
| | 04:59 | right through there.
| | 05:00 | Now we'll go to tooth number 4.
| | 05:05 | And we start to darken along the top,
creating that shadow from the lips, and
| | 05:12 | start darkening these edges and a
little shadow along the bottom, just a little
| | 05:16 | hint of a shadow, and maybe a
little darkening in the middle.
| | 05:19 | Again, a little hint of a
highlight right through there.
| | 05:24 | Now we'll jump up to number 5,
which is this guy right here.
| | 05:29 | And we get our Burn tool, shadow along
the top, along the side-- along this
| | 05:37 | side and along the middle.
| | 05:38 | Now if you look at your own mouth, you'll
see that there are slight indentations in
| | 05:42 | your front teeth, very slight, which
sometimes depending how well this thing is
| | 05:46 | being lit those shadows
could be accented quite a bit.
| | 05:49 | So we added that and here we're going
to start giving it little more highlight.
| | 05:52 | I am going to make my brush a little
bigger and I start throwing a bigger
| | 05:55 | highlight right through here, and maybe
make my brush smaller and throw a little
| | 05:58 | highlight right there, because now
we're started to really pick up some nice
| | 06:02 | little light from the source of
light in the room or whatever.
| | 06:05 | Number 6, we burn the edges and here
we've got this nice shadow happening and
| | 06:10 | that's how we want to make it darker so it
differentiates itself from the fifth tooth.
| | 06:15 | And we go to this side and we just start
to darken along of top, shadow from the lip,
| | 06:20 | and a little bit along the bottom
shadow from that lip as well, and maybe
| | 06:24 | just a touch right there where you could
add just a little bit of a highlight on
| | 06:29 | this edge right here, because now our
light sources are starting to match up.
| | 06:33 | See, give it a little more just
because it's kind of moist right there.
| | 06:37 | And tooth number 7, we'll go in there
and burn it, make it nice and dark along
| | 06:44 | that edge because not this tooth is
starting to go to into the distance there.
| | 06:47 | So we need to have them start to get darker.
| | 06:50 | They go into the shadow. Just
like the lips are going into shadow.
| | 06:52 | These teeth are going into
shadow right there. Finding number 8?
| | 06:56 | Now we're not seeing number 8.
| | 06:57 | So what I am going to do is I am
going to take the bottom lip right there.
| | 07:01 | I am going to give it a mask, then
I am going to take the eighth tooth.
| | 07:05 | I am going to make it a selection by
Command+clicking on it right there, and
| | 07:08 | there we see that little overlap.
| | 07:09 | So let's get in real close so we could see it.
| | 07:11 | So I am going to go in there and in
the mask, I am going to paint that.
| | 07:15 | I am going to make it a smaller brush
and just going to paint lightly in there,
| | 07:19 | just to expose that tooth right there.
| | 07:22 | And you notice I am not using a 100% brush.
| | 07:25 | I am just lightly doing it, just giving
me a little bit of an exposure at a time.
| | 07:29 | There we go.
| | 07:30 | So now I go to tooth number 8 and I burn
it along the top and make this one much
| | 07:38 | darker than the one before because
that tooth is way off into the distance.
| | 07:44 | There we see that we now have our teeth.
| | 07:47 | So now if I need to go in here to
number 1, give it a mask, and erase this part
| | 07:52 | that I don't want to see.
| | 07:53 | I don't want to see this part
that's sticking outside the mouth.
| | 07:56 | Same thing with number 2.
| | 07:57 | We'll give it a mask and we'll just erase
that little part right through there, like that.
| | 08:02 | Now we need some gums.
| | 08:03 | So behind the teeth,
| | 08:05 | we just close this whole
thing up, the whole layer.
| | 08:07 | Behind here we'll create two layers.
| | 08:09 | One will be the gums and
one will be the inside.
| | 08:16 | The gums, we'll pick a pink. Maybe we'll
pick this light pink right there, all right.
| | 08:21 | And I am going to select an area.
Let's bring this Feather down to about a 2.
| | 08:24 | I am going to select the area
right here between the teeth.
| | 08:28 | I am going to right between the teeth
and come around the lips right there.
| | 08:34 | It encompasses that whole area.
| | 08:36 | I am going to fill it in
the gums with that color.
| | 08:38 | So I am going to say Fill.
Foreground Color. Good.
| | 08:45 | Now I am going to give this just
a little burning here and there.
| | 08:48 | So I am going just burn it up here, and
I am going to switch here to Highlights
| | 08:51 | because I want to make it darker tones.
| | 08:53 | So I am going to go in there and
darken right along these edges, right along
| | 08:57 | the top, and give it a little darkening right
along here, just along this side right there.
| | 09:03 | And on the other side I am going to give
it a little highlight because there's a
| | 09:06 | little moisture on the gums right there.
| | 09:08 | We just add a little highlight right
through there and we darken this last one
| | 09:11 | here, right through there. We darken that.
| | 09:13 | Let's go in there and burn it right
through there, darken that whole thing.
| | 09:17 | Then the inside of the mouth, I am going
to select this whole section right here
| | 09:21 | which takes up that whole space, right there.
| | 09:24 | I got that pink and this darker tone.
| | 09:26 | Well, I am going to go in there and use those.
| | 09:29 | I'll use those with a radial gradient,
a little gradient right in there like
| | 09:32 | that, which I can then go
in there and darken that.
| | 09:36 | So I am going to go in to my
Hue/Saturation and darken that.
| | 09:39 | So I go in and I'll just bring down
that Saturation a bit and darken it.
| | 09:45 | Click OK, bring back our face and
there you could see that we have these lips
| | 09:50 | that we've created by just playing
around with the features in Photoshop.
| | Collapse this transcript |
| Creating ears| 00:00 | All the features that make up a person's
face can differ from one person to the other.
| | 00:05 | They have to have to.
| | 00:05 | That's what gives them the personality.
| | 00:07 | The eyes, the mouth, the nose.
| | 00:09 | They all have different shapes.
| | 00:11 | There's one that's similar in most
people and at the same time very complex and
| | 00:16 | very different, and that is the ears.
| | 00:18 | Ears can really define a person.
| | 00:20 | If a guy has been in a boxing ring
for 20 years, his ears are going to look
| | 00:23 | really weird, whereas somebody who's
just been playing in their garden there, ears
| | 00:27 | might be nice and clean and so on.
| | 00:29 | But the shape of that ear is important
and it is made up of many different shapes.
| | 00:34 | So what we're going to do is we're
going to come in close here on one of the
| | 00:37 | characters here, Russell Brown.
| | 00:39 | I am going to deal with his ear, okay?
| | 00:40 | There you could see quite a few
ears and they're all different.
| | 00:43 | So let's go and look at Russell Brown's face.
| | 00:47 | There's Russell Brown.
| | 00:48 | So if we look at the layers and here
is the head layers and we see there's the ear,
| | 00:52 | a bunch in, you see
that there's a few, all right?
| | 00:54 | There's the main drop shadow, but
there's the main, the inner ear, and the
| | 00:58 | inner 2, all right?
| | 00:59 | There are two inner ears
that I am dealing with here.
| | 01:03 | So what we're going to do is
we're going to turn off the ear.
| | 01:05 | Let's turn off that top
layer, which is a composite layer.
| | 01:07 | we're going to turn off the ear layer and
there he is, Vincent van Gogh, Russell Brown.
| | 01:12 | So what we're going to do now is we're
going to go in here and create our own ear,
| | 01:16 | our brand-new ear, right there.
| | 01:19 | So right here on top of this we're
going to create a new group, which will
| | 01:22 | be the Van Gogh ear. there we go.
| | 01:26 | And in there we're going to create
the first layer and this is the main.
| | 01:30 | I always call that main shape, like for
the nose, the main and then the other
| | 01:33 | parts whatever they are.
| | 01:34 | So I am going to look at the
different paths that make this up.
| | 01:38 | So let's go over to our Paths panel
and there we see all the different
| | 01:41 | shapes right there.
| | 01:43 | So let's pick up the color of his skin.
| | 01:45 | Let's pick up this color
right about there, all right?
| | 01:47 | That's a good color.
| | 01:48 | And I am going to select this main section
right there, the main section of the ear.
| | 01:53 | So in that layer I am going to go
ahead and fill that path with that tone.
| | 01:58 | So now I am going to select this
shape right here, which I am going to then
| | 02:02 | create another layer and call it inner1
and fill that path with that color.
| | 02:10 | And I am going to select this one here.
| | 02:12 | I am going to have three
different inner shapes here.
| | 02:15 | So I am going to go in here
and say inner2 and fill it.
| | 02:24 | And finally this one here which
we'll go and create that third layer which
| | 02:29 | we'll call inner3 and fill it.
| | 02:34 | So there, we now have all the
different layers set up in the ear.
| | 02:41 | If we want to look at them, let's just see them.
| | 02:43 | There is the main. There's
the inner1, inner2, and inner3.
| | 02:51 | Now we're going to start to give them
that feeling of depth and shape and so on
| | 02:55 | by using the Burn tool.
| | 02:57 | The Dodge and Burn tools are going to
give us all the tones that we want in there.
| | 03:01 | So let's start with inner1.
| | 03:03 | So what I do usually is I'll take a
nice big size tool there and just kind
| | 03:07 | of give it a touch. Just so I
| | 03:09 | see where it is. See there it is, right there.
| | 03:12 | So now I can bring down my brush
size and start to finesse the shape.
| | 03:16 | So I'll go in there and start to
darken all the different tones where I want
| | 03:20 | them to be nice and dark.
| | 03:21 | And it helps to have reference material.
| | 03:23 | If it's a person that you're trying to
duplicate then you definitely need to see
| | 03:26 | exactly where those dark tones
are for that particular person.
| | 03:30 | Now if you like it a little warmer,
I could set this up to my shadows.
| | 03:33 | Shadows are going to kind of warm up the way
the shadows are being applied. Se, right there.
| | 03:37 | If I want to make it little more muted,
I can go to Highlights, which is going
| | 03:41 | to give me more of a grayish tone like that.
| | 03:43 | But now that I've got those
particular tones, let's go in there and add a
| | 03:46 | little highlight to it.
| | 03:47 | So I am going to take my Dodge tool,
make it a little smaller, and just kind of
| | 03:50 | give it a little highlight right in that
little area right in there, just like that.
| | 03:54 | So now I am going to go to inner2.
| | 03:55 | I am going to again just
see exactly where that tone is.
| | 03:59 | So I am going to go in there and just
give it a quick touch. There it is.
| | 04:03 | So now I can go in there and start to
apply the actual effects that I need for this.
| | 04:08 | So I am going to bring my tool size down,
the Brush Tip Size, and I am going to
| | 04:11 | start to darken right along this edge
right in there like that, and right in
| | 04:14 | here I am going to start to add a
little darkening right into that area.
| | 04:17 | Now these are going to get softened later on.
| | 04:19 | So right now we're just working
with the hard edges, so there is that.
| | 04:23 | Then we have inner3.
| | 04:25 | Now we can kind of see where that is
so we don't have to play with that one.
| | 04:27 | So what I am going to do here is I am
going to just go in here and start to
| | 04:30 | darken those edges, right in here,
right in there and then this little indent
| | 04:35 | that happens in most
people's ears right about there.
| | 04:38 | I am going to start to really darken
these edges right in there like that, okay?
| | 04:41 | So now add a couple little highlights.
| | 04:44 | So I'll get my Dodge tool and we'll
add a little highlight right through here
| | 04:48 | and a little one right through there,
just to start to add to those little effects.
| | 04:52 | There's one right here is extending beyond.
| | 04:54 | So what I am going to do is I am going
to turn the inner2 into a selection by
| | 04:59 | Command+clicking on it and then with the
inner3 selected, I am going to say give it a mask.
| | 05:05 | And there that mask automatically
trapped it inside of that area there.
| | 05:10 | Now let me undo that for a second.
| | 05:12 | Let's take that mask away.
| | 05:14 | Why? And I am going to show you why.
| | 05:16 | Because of the fact that I am going to
soften this and that gave me a hard edge.
| | 05:19 | So what I am going to do is I am going
to go in there that inner2 and soften
| | 05:23 | it just a little bit.
| | 05:25 | So I go into my Gaussian Blur
and soften this just a little.
| | 05:28 | Let's just say about 2.
| | 05:31 | There's that nice soft edge.
| | 05:33 | So now we have the soft edge, so if
I make that a selection now and go to
| | 05:37 | inner3 and say give it a mask, now you see that
the mask is soft as well, which is what we want.
| | 05:43 | So now go to the inner3 right
here and I am going to blur that.
| | 05:47 | So I'll go in there and give it that
same blur filter and I am going to soften it,
| | 05:52 | but this guy is going to get
softened a little more than the other was.
| | 05:55 | Click OK and we have that.
| | 05:56 | So now I have to go in
there and finesse it even more.
| | 05:59 | So I am going to switch back to my
Burn tool and I need to darken in here, so
| | 06:03 | that becomes one complete
lip over the area of the ear.
| | 06:07 | And maybe darken some of these edges a
little more right through there like that, okay.
| | 06:12 | So now going back to our inner2 right
here, I could start to play with that a
| | 06:16 | little more just to finesse it, just
to soften it, get it a little darker in these
| | 06:21 | areas just where I need it,
right in through there, like that.
| | 06:24 | Now down here it should get much softer.
So what I am going to do is I am going
| | 06:28 | to select it and I am going to
feather my selection a little more so that I
| | 06:32 | could just select this area right down
here, for the inner2 and I am going to go
| | 06:36 | in there and blur that a
little more than the rest.
| | 06:40 | And you could see that it now starts to
soften it up as it gets a little further down.
| | 06:43 | Then inner1, that right now is very
hard. So I am going to go in there
| | 06:47 | and soften that one.
| | 06:48 | So I'll go in there and just bring down this
Opacity a little bit, near about like that.
| | 06:52 | And I could start to play with
that a little more if I want.
| | 06:55 | Add a little more shadow
in these areas and so on.
| | 06:57 | Now this little hard line right there?
That little hard line is being caused by inner2.
| | 07:02 | So what I am going to do is I am
going to select this area of inner2 and
| | 07:06 | soften that even more.
| | 07:07 | So you could see I am working with
individual areas and just blurring certain
| | 07:11 | parts just to give me
just the effect that I want.
| | 07:14 | So once I have that I am going to go
to the main and I am going to start to
| | 07:18 | darken those in certain areas.
| | 07:20 | So we'll just give it a little darkening
through here and there's a little edge right there.
| | 07:24 | Right now making it up. You know, I am
not looking at any reference material.
| | 07:27 | I am just kind of playing around and
trying to get my own look that I want.
| | 07:30 | And add little tones along the bottom here,
just along the bottom, right in there like that.
| | 07:35 | And a little dark tone right
through there, and then a little dodging.
| | 07:40 | Add a little highlight there, a little
highlight right here, and maybe a little
| | 07:43 | highlight right along this edge where
it's just picking up some lights from
| | 07:46 | somewhere else, and then a little
highlight right here, little highlight there
| | 07:50 | add that along like that.
| | 07:52 | And a little bit darkening in that area too.
| | 07:54 | We just darken little tones here and there
just to add a little more definition to it.
| | 07:59 | And once we have that, I am going to
go in here and give the main a mask.
| | 08:03 | And in that mask I am now going to go
ahead and cover up some of these hard
| | 08:08 | edges that we have here.
| | 08:09 | So I am just going to go in there and
start to soften this up so the ear starts
| | 08:12 | to blend in with the rest
of the head just like that.
| | 08:16 | And there we see that
Russell Brown has a brand new ear.
| | 08:19 | Pulling back and we see that we have
this nice ear. We can give him a little
| | 08:23 | earring or whatever, but there's his ear.
| | Collapse this transcript |
| Creating the contours of the face| 00:00 | Creating the porches of all the people on the
streets, there are many things to keep in mind.
| | 00:04 | The hair, the eyes, the lips.
| | 00:06 | All the things are very important to
get the features just right to make
| | 00:10 | people look like who they are. Equally as
important of course as the contours of the face.
| | 00:15 | I am going to zoom in here my
daughter Erica's face right there.
| | 00:18 | And we see that there are all these features.
| | 00:19 | There's the nose, the types of eyebrows,
and so on, but things like cheeks and
| | 00:24 | the little tones underneath her eyes,
these are very crucial to get the full
| | 00:28 | character of the face.
| | 00:29 | So let's see how some of
these features were created.
| | 00:32 | I have here the file of just her face.
| | 00:36 | This is the file where her face was created.
| | 00:37 | Let me go in here and just
look at these little cheek areas.
| | 00:40 | When we look at the overall layers, see
at the top there's the Composite layer.
| | 00:44 | That's the one where I bring it into
the main file where I add the hair and
| | 00:47 | the other features.
| | 00:48 | But we're going to go down here to the head.
| | 00:51 | We're going to look at just the head.
| | 00:52 | We see that there's a lot of
dodging and burning that went into that.
| | 00:55 | What we're going to do is we're going
to create a layer on top of that and that
| | 01:00 | I have the color selected for the skin tones.
| | 01:03 | So what I am going to do is I am going
to fill that particular path and you see
| | 01:07 | all the paths there for the different shapes.
| | 01:09 | I am going to select that path, which is
the overall shape of the head, and I am
| | 01:12 | going to fill it in that layer.
| | 01:15 | So there, now we see that it just
flattened up because all the features have
| | 01:18 | gone away because they were
created in that one layer.
| | 01:21 | So let's go see how those were then generated.
| | 01:24 | There are things like for instance here,
| | 01:26 | we have the cheek area right there.
| | 01:28 | This little, slight little, darkened
tones that just show where the skin has
| | 01:32 | folded over to form the lip area and such.
| | 01:35 | Well, there is a path for that specific area.
| | 01:38 | So when we go look at the
paths, we see that there is a path right
| | 01:41 | there for one cheek and there's path
for the other and a little tiny indent for
| | 01:45 | little features she has in there.
| | 01:47 | So what I am going to do is I am
going to select this path which is for the
| | 01:50 | cheek right there and let's
get a little closer on it.
| | 01:54 | And I am going to turn it into a selection.
| | 01:55 | So I am going to make that
path a selection right there.
| | 01:59 | Now we turn off the paths and what's
going to happen is I am going to take my
| | 02:02 | Burn tool and I am going to select the
much smaller size and I am going to work
| | 02:07 | with my midtone areas.
| | 02:09 | I am going to very lightly go right
along this edge and just add a little tone
| | 02:13 | right through there, add a
little tone right through here.
| | 02:16 | Now I've already
delineated where these things are.
| | 02:19 | So now what I could do
would be to hide the edges.
| | 02:22 | So I am going to just hide the
selection edges, so there I can see the basis of
| | 02:26 | my little cheek area.
| | 02:27 | So now I can go in there and darken
even more big areas that I want and soften
| | 02:31 | other areas just like that.
| | 02:33 | Now I can get a larger brush.
| | 02:35 | I am going to bring down the Exposure
to about 10% so it's real light and just
| | 02:40 | very lightly start to darken that
area a little more just like that.
| | 02:43 | Now I am going to inverse the selection,
at which time I could start to add some
| | 02:48 | of those darker tones on this area here.
| | 02:50 | So now I could deselect it.
| | 02:52 | And there we see that we have the basic cheek.
| | 02:54 | So what I am going to do now is I am
going to select that area that I just
| | 02:57 | created right there.
| | 02:59 | And I am going to blur it.
Give it a little Gaussian Blur.
| | 03:02 | And I'll go in there and just soften
that up until I have it just the way I want
| | 03:07 | it, about like that.
| | 03:11 | Now I could've gone in there and
feathered the edges of the original selection,
| | 03:15 | but that wouldn't give me the exact
control that I want, because sometimes I
| | 03:17 | want some areas to be even softer like here.
| | 03:20 | I might want that to be a little softer.
| | 03:21 | So I am going to give this selection of
Feather and then select this area right
| | 03:25 | up here, blur it even more so
that area becomes even softer.
| | 03:31 | And there we see that we have
this continuous cheek coming down.
| | 03:34 | Now areas like around the eyes, I'll
go in there and do something like this.
| | 03:38 | I'll increase the exposure on this
just a little and I'll make the brush a
| | 03:42 | little smaller and I'll start to add these
tones right into that area there like that.
| | 03:48 | Now we could see how
they're starting to form inside.
| | 03:50 | I can go in there and pick my Smudge
tool and we'll make it a little bigger and
| | 03:54 | I'll start to just kind of push these
around to get the exact shapes that I
| | 03:58 | want, just like that.
| | 04:00 | Then when I get to a certain point,
we see that this is kind of hard here.
| | 04:03 | So what I am going to do is I am going
to select that area right in there like
| | 04:07 | that and blur that.
| | 04:09 | And in the process of blurring it, as
you can see right there, it's going to
| | 04:13 | blend it into the rest of the face,
giving me a nice soft transition.
| | Collapse this transcript |
| Creating skin| 00:00 | Textures come in many forms, even
on our bodies. The skin texture.
| | 00:05 | Now it's very obvious in this
one particular image way up here.
| | 00:09 | I am going to zoom in on this arm here
and when we look at it, we se that there
| | 00:13 | is a skin texture to the arm.
| | 00:15 | Now, I didn't create it like here.
| | 00:18 | Of course, I always work at higher
resolutions in much larger files when I need, so
| | 00:23 | when I shrink them down to the
size that I need for the final image,
| | 00:26 | they rasterize and look nice and sharp.
| | 00:28 | If we want to look at the original of
that arm, I will come right down here to
| | 00:33 | the poster art and there you can see
that I have this area right here, come in
| | 00:37 | real close, and you see
there's the skin texture.
| | 00:39 | It's a skin texture that is basically
just copied off the skin on my arm and I
| | 00:44 | duplicated what I saw there
to create the skin texture.
| | 00:47 | Now, how did I do that?
| | 00:48 | Well, let's go and look at it.
| | 00:49 | At here on the untitled file right
here and I want to create a skin texture.
| | 00:55 | Now, I do it all in separate layers
because I want the space between the lines
| | 01:01 | that I am about to create to be transparent.
| | 01:04 | So, I'll get a very small brush.
| | 01:06 | That's a good size right there and I
am going to bring the Opacity up to 100%
| | 01:10 | and I am going to rough it up just a little bit.
| | 01:14 | So, instead of being just a solid line,
I wanted to have a little bit of a
| | 01:17 | nuance to it so I am going to turn off
my Pen Pressure, but I am going to set
| | 01:21 | the size. I just kind of break it up a little.
| | 01:23 | See, so it's not such a hard line anymore.
| | 01:27 | So, now I'm getting this kind of a rougher line.
| | 01:30 | So, now that I have that, I am going to go
in here and start to create my skin texture.
| | 01:34 | Now, looking at my arm, I have just
started to create these little shapes
| | 01:38 | that are started to kind of overlap
each other like this and I started creating
| | 01:42 | all these little tones, all these
little crevices and stuff which made up the
| | 01:46 | skin the way I saw it on my arm and so on.
| | 01:50 | So, when we come down here and we look at a
whole section put together, here we see it.
| | 01:54 | Now, it looks like a large section,
but what I really did was only this
| | 01:59 | small piece right here.
| | 02:01 | I just created this little section.
| | 02:03 | Now, I need it to be perfectly symmetrical
for the point of step and repeat of a pattern.
| | 02:10 | So, I made a copy of it and I put the
copy right next to it and then I connected
| | 02:15 | those particular lines, see. So, I
took this section, brought it over, made a
| | 02:20 | copy, and then connected those little
sections through here with the little
| | 02:24 | pieces that we're missing.
| | 02:26 | So, now in essence I have a continuation.
| | 02:28 | You notice that these two little
segments right here are right here.
| | 02:33 | So, now I've got this big section here.
So what I did is I took the entire thing
| | 02:38 | and duplicated it down below.
| | 02:40 | So, now I have the beginnings of my
continuous pattern here, because we see that
| | 02:45 | we have this box, which continues down
here with this one right below it and
| | 02:49 | there is the tool that are going in four places.
| | 02:52 | So, now I have to go in
there and select my pattern.
| | 02:56 | So, I need to find a place where I can
easily select these that it will be seamless.
| | 03:01 | So, I call up my rulers
and I bring out some paths.
| | 03:05 | I am going to go in here.
| | 03:05 | I am going to grab a path.
| | 03:07 | I am going to find a place where I can
kind of clearly see an area of ending and
| | 03:11 | starting right there.
| | 03:12 | I'm looking at this little area right
here and I am placing my guide right at
| | 03:16 | the beginning of those boxes right there.
| | 03:20 | Now, those boxes are on the outside, which
means on this side, they have to be on the inside.
| | 03:25 | So, I am going to grab another guide
and I am going to bring it in and put it
| | 03:28 | right on the same position on this side.
| | 03:30 | Now, if it's not exact, well I can go
in there and get real close and get
| | 03:35 | real close on this and I see that
there is my guide right at the beginning of
| | 03:39 | those two little boxes.
| | 03:40 | So, on this side, it has
to be in the right place.
| | 03:43 | So, I am going to go in there and grab
that handle and just drag it right there.
| | 03:46 | So, now it's in the exact
same spot as on the other side.
| | 03:50 | So, now I am going to do that
fourth portion horizontally.
| | 03:55 | So, I can go in there and find again a
place where I can easily see some kind of
| | 03:59 | a shape like right here, this straight line.
| | 04:01 | So, I am going to drag the handle
straight down and place it right above
| | 04:06 | that line, right there.
| | 04:07 | So, now I look for that same little
box down here and I put that line in the
| | 04:13 | same spot for this one down here.
| | 04:15 | I come down here and I put it right there.
| | 04:17 | So, now I have my boundaries for my
selection. Because the step and repeat,
| | 04:24 | where it ends here,
| | 04:25 | it picks itself up back
over here. Where it ends here,
| | 04:29 | it picks itself up back down here.
| | 04:31 | So, now that I have that I am going
to turn off my background so I have
| | 04:34 | transparency between these and when I
pull back, I can now make this selection
| | 04:39 | right within those guides.
| | 04:41 | It's going to snap to the guides and I
just make it select right that and I say
| | 04:45 | Define Pattern and we will call it skin.
| | 04:51 | Now that I have that, I'm done.
| | 04:53 | So, I can deselect it and I
can go over to another file here.
| | 04:57 | There is my hand where I am
going to be putting the skin.
| | 05:01 | So, let's first create the pattern, so
we can have it as a file we can take and
| | 05:05 | put in other places.
| | 05:06 | So, I am going to go right here to
this Untitled file where I started this
| | 05:09 | little piece here and let's
throw that away. We don't want that.
| | 05:14 | But in that layer, I'm going to
fill it with that pattern we created.
| | 05:18 | So, go in there and say Pattern and
my skin should appear right there.
| | 05:23 | There is the skin, click OK, and there
we see that we have this nice continuous
| | 05:28 | pattern that seems seamless.
| | 05:30 | There are not little places where you
see those harsh lines going across to
| | 05:33 | where it stops and starts up again.
| | 05:35 | No, it's fairly seamless.
| | 05:37 | But the beauty is that now I have this
file, which has this pattern already in place,
| | 05:42 | which I can just copy and
drag somewhere else, and so on.
| | 05:46 | So, I am going to select all here.
| | 05:47 | So I am going to just go up here and say Copy.
| | 05:51 | Then I go to that other file where
I have the arm by itself right here.
| | 05:56 | Now, it's going to paste it right here
on top of this layer with the arm, so
| | 06:00 | I am going to say Paste and there
it pastes this little file here.
| | 06:05 | Now, I only want it in
sections. I wanted it in pieces.
| | 06:08 | If I wanted it bigger, I would have
created a much larger file and filled it or
| | 06:13 | I could do that here.
| | 06:14 | Let's say we dump that and since we
still have the pattern in memory there,
| | 06:19 | we can go in here and say let's fill this,
fill this entire layer with that pattern.
| | 06:24 | Now, we have a larger piece
that goes all the way across.
| | 06:28 | Now, I want this to follow the arm.
| | 06:30 | So, I am going to pull back a little bit,
pull back so I can see the whole area.
| | 06:35 | And I am going to take my Warp tool
and I warp this pattern into shape.
| | 06:39 | So, I want it to kind of follow my arm, like so.
| | 06:43 | So, I am going to grab these handles
and start moving them around so that this
| | 06:50 | pattern is now going to follow the contour of
the arm itself, as you can see it happening here.
| | 06:57 | Let's grab this guy, bring it in,
bring this guy up a little, bring this guy over,
| | 07:03 | and there we can see that we are
starting to get that wrap around the
| | 07:06 | arm the way it should.
| | 07:08 | It's just a question of studying the
shape and then just having everything just
| | 07:14 | wrapped around, so there it is.
| | 07:17 | Make it happen and then I just
clip it right onto here, right there.
| | 07:21 | It's clipped with that bottom arm,
so it's only visible in the arm.
| | 07:25 | So, now when I come in and look at it,
I could bring down the Opacity for it,
| | 07:29 | but not really.
| | 07:30 | I am going to bring the Opacity back up
to 100 because of the fact that I want
| | 07:33 | to give this little kind of a
texture to it, a little sense of depth.
| | 07:37 | So I am going to give it a layer style.
| | 07:39 | I am going to give it a little Bevel and Emboss.
| | 07:42 | The Bevel and Emboss is just going to add
this little texture in there, so I am
| | 07:45 | going to bring this down to about one
and I am going to bring up the Highlights,
| | 07:49 | so I get a really strong highlight and
have the light coming from right about
| | 07:52 | here and then increase my Darkness as well.
| | 07:56 | And then I am going to bring down the
Fill Opacity so that the actual black
| | 08:00 | lines start to go away and I am going
to be left with this nice little texture
| | 08:04 | right in there of the
highlights and shadows. And I click OK.
| | 08:09 | I can now bring down the
Opacity for the overall arm.
| | 08:11 | So, I just start getting this
little hint of the texture on the arm.
| | 08:16 | And then the final thing I'll do is
I'll give it a mask and then I start to go
| | 08:20 | in and paint up the areas
that I don't want to see.
| | 08:23 | So, I get nice big brush with a
soft edge, make it really big here, and
| | 08:30 | I'll start to paint.
| | 08:30 | I'll lower my Opacity for my brush so
I don't get a really strong brush and
| | 08:34 | let's just start to paint away certain
areas where I don't want to see the skin,
| | 08:37 | because I don't want it all over the place.
| | 08:39 | It's just in certain areas where you
have seen those highlights in particular.
| | 08:42 | That's where I want the
skin to show up the most.
| | 08:44 | And here you can see that we
started to get this natural kind of a skin
| | 08:47 | texture onto our skin.
| | 08:50 | Now, how you apply this can be kind of a
nice way of getting effects in other places.
| | 08:55 | Let's go and look at another place
where that exact same skin texture was
| | 08:58 | used, like right here.
| | 09:01 | He's got some on his skin but when I
zoom in right here to his hand, we will see
| | 09:06 | that here it is on his hand,
but look it's also on the watch.
| | 09:12 | So, if I go in here and look at that
watch skin, I am going to hold on my Ctrl
| | 09:16 | key and click to say there is watch
skin and there is the skin right there.
| | 09:21 | In this particular case, I gave it a
drop shadow so we are seeing this little
| | 09:24 | shadow underneath that texture.
| | 09:27 | We are just giving those that
nice little effect in there.
| | 09:29 | So, there is the same skin texture.
| | 09:31 | Except here now it starts to look like leather.
| | 09:33 | Same texture, two different
applications for it, and you get the effect that
| | 09:38 | makes it look realistic.
| | Collapse this transcript |
| Creating fingernails| 00:00 | There are many hands that are visible
in the overall painting of Times Square.
| | 00:04 | To get really close of, let's just say
we want to do an image of just a hand,
| | 00:09 | I am going to look way up here at this
billboard because there we are getting
| | 00:12 | real close on a hand.
| | 00:14 | So, I got a close-up here of it.
| | 00:16 | And we can see that the
fingernails are very detailed.
| | 00:20 | That's what we are going to create in
this particular movie is a fingernail.
| | 00:24 | Let's pull back a little bit again,
so we can just see the overall hand.
| | 00:28 | Let's create that fingernail.
| | 00:29 | So, since we don't have anything to start
with, I am going to have to go in there
| | 00:34 | and create some shapes, so this
is going be our thumb right here.
| | 00:37 | This is the edge of the thumb and
then it goes in a bit like that and comes
| | 00:42 | down and round like so and then it
comes over to here and here this little
| | 00:48 | lump around it then it comes over here and it
goes around to the tip of the thumb like that.
| | 00:53 | All right, so we can always refine this
after the fact, so we will just go in there and do that.
| | 00:57 | We will just kind of curve it out a
little bit and there is our basic thumb.
| | 01:02 | And on this thumb, there will be a fingernail.
| | 01:05 | So, I am going to go in
here and draw my fingernail.
| | 01:08 | So, here is the shape that goes round,
goes in here, goes around the edge of the thumb,
| | 01:14 | comes around, and
goes out here and closes it off.
| | 01:18 | Now, once again I'm going to go in
there and modify it after the face to get it
| | 01:23 | just the way I want it.
| | 01:24 | So, I want this thumb to kind of appear
like that and soften these areas to make
| | 01:29 | it more round, and there we have
the basic shape for the thumbnail.
| | 01:35 | Now, we are going to go
in here and render these.
| | 01:38 | So, I'll pick a color for my flesh tone
and just go in here and pick kind of a
| | 01:42 | color that looks kind of
fleshy like that. That looks good.
| | 01:45 | I am going to select this path that
makes up the thumb and let's go in there
| | 01:49 | and save those paths and we will create a
layer and we will call that layer the thumb.
| | 01:57 | And I fill that path right there with
that color and this will be the fingernail.
| | 02:05 | So, I will create a layer and we will
call it nail and we will pick a different
| | 02:12 | color, more in the pink vein in
like that and a little lighter.
| | 02:15 | A lot of the tones will be added
aftereffect and in that layer, we will go ahead
| | 02:20 | and take that path and fill it.
| | 02:23 | So, now we don't need the paths
anymore, there they are. We have our basic
| | 02:26 | shapes that are going to
be the thumb and thumbnail.
| | 02:29 | So now, it helps to study reality.
| | 02:33 | You have a hand right there.
| | 02:34 | You can look at your hands and see
how that thumb is structured and so on.
| | 02:38 | Some thumbs are different than others,
the shapes of hands are different, but if
| | 02:41 | you want a nice, lean, simple hand,
just look through any fashion magazine.
| | 02:46 | You will see all kinds of pictures of
hands and you will see how they are structured.
| | 02:49 | So, now I am going to go in here and
start adding some tones to this to give
| | 02:53 | it a little dimension.
| | 02:54 | On the thumb itself, let's go to that layer.
| | 02:56 | I am going to get my Burn tool and I am
going to make it a nice large size here.
| | 03:01 | And I've got the exposure down to about to 20%.
| | 03:03 | I am going to just kind of darken
some of these tones right in here.
| | 03:06 | I am going to set it to Midtones now.
| | 03:08 | So it's going to warm them up a
little bit and I am just going to add some
| | 03:11 | tones right through here.
| | 03:12 | So it's just giving a little dimension
and a little bit tone through there and a
| | 03:17 | little bit of tone right here at the
edge where the nail is being formed.
| | 03:21 | I will go right along the
edge of nail just like so.
| | 03:24 | Then I am going to make it a really small
brush and just add a couple of little lines here.
| | 03:29 | These are little lines that you
would normally see on the thumb.
| | 03:32 | Let's undo that last one and you will
see these little lines right there and
| | 03:35 | maybe add a couple of
little tones right in there.
| | 03:38 | Now, I am going to do a highlight.
| | 03:39 | A really small brush
about the same size, add just a little
| | 03:43 | highlight right along the top part of these
lines here just to give them a little dimension.
| | 03:47 | Now, after they are done, I am going to
go in there with my Finger tool and then
| | 03:51 | I'm going to make it larger and I am
just kind of push these around just so that
| | 03:54 | they blend into each other a little better.
| | 03:56 | So, I am just getting that little tone.
So there we see that we have these
| | 03:59 | little lines on the thumb.
| | 04:01 | Now, what I can add is
little texture at this point.
| | 04:04 | So this is so close, we can go
in and just give it a filter.
| | 04:07 | We will give it one of the Texturizer filters.
| | 04:10 | So, we go in there and just to add a
little texture. Scaling is way down.
| | 04:14 | We will bring the Relief
down a little bit and click OK.
| | 04:17 | Now, we just have a
little tiny bit of a texture.
| | 04:19 | Now comes the nail.
| | 04:22 | So, we have our fingernail there, so
what I am going to do is create a layer
| | 04:27 | right above it, right here, and this
is going to be the texture of our nail.
| | 04:33 | I am going to fill it with that same
color that we had before. That same pink.
| | 04:36 | And I am going to go in here and switch
to a black and white and right in here
| | 04:41 | I'm going to give it a filter of
Render > Fibers. Because if we look at the
| | 04:48 | fingernails, there is kind of
all these little ridges in it.
| | 04:50 | So, I am going to bring up the
Variance so I get really strong little ridges.
| | 04:53 | Bring down the Strength or
maybe increase the Strength.
| | 04:56 | There we can see we are
getting all these nice little ridges.
| | 04:58 | So I am going to click OK and I get
all these little lines, which I am going
| | 05:02 | to stretch out a bit.
| | 05:03 | So, I am going to go in there
and give it a little Motion Blur.
| | 05:07 | Straight up and down. I need to
increase the distance there so I get all these
| | 05:10 | nice little streaks like that. Click OK.
| | 05:14 | Deselect it. I am going to put that layer
in Multiply mode and then bring down the
| | 05:20 | Opacity considerably.
| | 05:22 | So, I just got this little hint of
these little lines just like that.
| | 05:25 | Then I am going to go in there and I
am going to clip it. Holding down my
| | 05:29 | Option key, Alt on a PC, I am going
to click right there on the nail, which
| | 05:33 | I'm now going to warp it.
| | 05:34 | So, it takes the shape of our nail.
| | 05:37 | I am going to warp it. I am going to
grab the four handles and make them
| | 05:41 | parallel to the shape of
our nail, just like that.
| | 05:45 | Now, I am going to take
these handles and bring them in.
| | 05:50 | Bring this one up, bring this
one up, bring this one over.
| | 05:53 | So, you can see that I am restoring
their directions the way they should be, but
| | 05:57 | now they are following the shape of our nail.
| | 05:59 | I am going to curve these that way so
that they follow again the shape of our nail.
| | 06:06 | Bring this in, bring this out just a
little, and there we have that. We are now
| | 06:13 | starting to get this nice curvature
to our little pattern and I am going to
| | 06:17 | straighten these out, so we are starting to
get that little bit of a curve just like that.
| | 06:22 | And there we start to have
the little texture on the nail.
| | 06:25 | Now, if you look at your nails, there
are some light-colored tips, like there'sthis
| | 06:28 | this white section right in here.
| | 06:31 | So, what I am going to do is I am going to
go in and just create that white section.
| | 06:34 | I am going to create a little oval right
inside here like so, close it off, and I
| | 06:40 | can always modify it after I have done it.
| | 06:42 | So, I want to just bring
this in about like that.
| | 06:44 | That looks good and just straighten this guy up.
| | 06:47 | And right below this texture here,
I am going to create a layer.
| | 06:51 | So, I am holding down my
Command key, Ctrl on a PC.
| | 06:53 | So, I created a new layer underneath
and we will call this white area and I am
| | 06:59 | going to fill it with that
white right there. We got a white.
| | 07:02 | So, I am going to take that path and fill it.
| | 07:05 | Now, it's a little stark right now. No problem.
| | 07:07 | Let's save that path. Remember that
everything gets modified after the fact and
| | 07:12 | also the tip of the nail.
| | 07:14 | So, I am going to go in here and just kind
of follow this edge just about like that.
| | 07:18 | Now this could be a French manicure or
whatever, but I'm just going to get a
| | 07:22 | little white tip along this edge here.
| | 07:24 | So, I am going to go in there and just
straighten this out a little bit more,
| | 07:27 | maybe add a little more to it. About like that.
| | 07:30 | That looks good.
| | 07:31 | Save that path and we are going
to call this the tip of the nail.
| | 07:36 | Again right above the white area, we
will just create a new layer and we will
| | 07:39 | call it tip and fill that with the white.
| | 07:45 | So, now we have all these tones in place.
| | 07:47 | Now, I am going to go in here
and start to play with them.
| | 07:49 | So, I am going to go to my layers and I
am going to take the white area, which
| | 07:52 | I am going to blur.
| | 07:52 | We give it a little Gaussian Blur just to
soften that up, soften it up about like that.
| | 07:57 | That looks good.
| | 07:58 | I am going to bring down the Opacity for it.
| | 08:02 | So I don't want it so strong.
| | 08:03 | I just want it to be a little
hint of a white tone in there.
| | 08:06 | For the tip, I am going to go
in there and do that same blur.
| | 08:10 | So, I give it the Gaussian Blur and
this one I will make a little sharper.
| | 08:14 | I don't want it to be so soft. About like that.
| | 08:17 | And that we are going to leave nice and strong.
| | 08:19 | Now, our texture, our texture is
little too strong and too predominant.
| | 08:23 | Let's bring down the Opacity just a
little more about like that and I am also
| | 08:26 | going to give it a mask because now in
the mask, I am going to eliminate certain
| | 08:30 | sections that I don't want.
| | 08:32 | So, I got a nice big brush here, make it
really big, set it to 20% and black, so
| | 08:38 | I am going to start hiding.
| | 08:39 | I am just going to very lightly dab in
certain areas just to lighten up that
| | 08:44 | texture, just like that.
| | 08:47 | So, now it's not so predominant.
There are just little hints of that texture
| | 08:50 | in different places.
| | 08:52 | Now to the nail itself, I am going to do
a little lightning and darkening there.
| | 08:56 | I am going to take my Dodge tool and
just going to just give it a little
| | 08:59 | lightning right in this area here
just to lighten that up a little bit.
| | 09:02 | Then I take my Burn tool and make it a
little larger and kind of just darken
| | 09:08 | right along here and right
along this whole side here.
| | 09:11 | Let's pull back a little bit here
and get a much bigger brush. I am just
| | 09:14 | going to darken this whole side here so that
the nail starts to become a little darkened.
| | 09:19 | And there you just start
to get the feel of the nail.
| | 09:21 | I am going to come in here and darken
this edge right here, just darken this
| | 09:25 | little area right in here where the nail
is coming out of the skin and there you
| | 09:30 | see that we have this very
realistic looking kind of a fingernail.
| | Collapse this transcript |
|
|
19. HairUsing a Cintiq to create realistic hair| 00:00 | Creating hair requires long fluid
movements of your hand, something that the
| | 00:05 | mouse doesn't quite let you do because
for one thing with the mouse, you're going
| | 00:10 | to make a little movement and then
you are run out of space on your desk.
| | 00:13 | You have to lift the mouse up
and go back to top and continue.
| | 00:16 | So, it breaks up that hair
whereas you need a long fluid movement.
| | 00:20 | This is where things like the tablet
or the Cintiq come in. First of all you
| | 00:24 | are working with stylus, which right off
the bat is an advantage because you are
| | 00:27 | holding it the way you were taught to
hold the crayon back in kindergarten,
| | 00:30 | rather than this bar soap.
| | 00:31 | So, it's a little more natural because
you are holding it the way you're used to.
| | 00:35 | And what happens is that the tablet
is synchronized to the size of your
| | 00:38 | screen, so if you go over the entire
tablet, you have gone over the entire
| | 00:42 | screen, unlike the mouse which is limited to
the space on your desk where that mouse is living.
| | 00:48 | So, the other advantage of the Cintiq
is the fact that you're working directly
| | 00:52 | on the screen and there is something to
be said about that hand-eye coordination.
| | 00:56 | Because with the mouse, you find
that starting point and you do a stroke.
| | 01:00 | Now, you got to find that cursor
and move it around until you get to
| | 01:03 | that starting point and make a
stroke, whereas here that whole process
| | 01:08 | becomes transparent.
| | 01:09 | Wherever you place your hand, that's
where cursor is. You don't have to go in
| | 01:13 | there and figure out, oh, where is that curser?
| | 01:15 | No, it's right there and your
movements are far more fluid and more natural.
| | 01:19 | You don't have to think
about what you are doing.
| | 01:21 | And no matter how fluid is the stroke,
as long as your hand is moving smoothly,
| | 01:26 | the stroke is going to be smooth.
| | 01:28 | And wherever you place it,
there is there is that curser.
| | 01:30 | Go in there and it's a much more
natural way of painting than painting with
| | 01:34 | that little bar of soap.
| | 01:36 | These are the tools you get to trace.
| | 01:37 | So, I will strongly suggest that you
look into getting these types of devices
| | 01:41 | because they really will improve your workflow.
| | Collapse this transcript |
| Creating hair| 00:00 | Hair seems like a very complicated
thing to render and it can be, but with a
| | 00:04 | little care and the right brush it
becomes a real easy task in Photoshop.
| | 00:09 | Let me show you few of the people that
make up the scene in Times Square. I'll start
| | 00:13 | off with my daughter here, my
daughter Erica, and you can see the hair.
| | 00:17 | I am going to come in a little closer
to see some the kind of strands of hair
| | 00:21 | that make up her little coif over here.
| | 00:23 | You can also see that there are small
hairs, the eyelashes and eyebrows and all
| | 00:28 | the different parts that make up the hair.
| | 00:30 | We will go in my friend Colleen and
there you can see in other sets of waves
| | 00:36 | going in all different directions and so on.
| | 00:39 | Now she has less detail because
she's actually much smaller in the scene.
| | 00:44 | The size of person would determine how
much detail I would put in because most
| | 00:48 | of it would end up getting lost.
| | 00:49 | There is another a main character,
which is Carla, my son's girlfriend.
| | 00:54 | And again we can see all the
different strands of hair and eyebrows and so
| | 00:58 | on that make this up.
| | 01:00 | And then there is people who are
somewhat more complicated, like my good friend
| | 01:04 | Jeff Schewe, a photographer out of Chicago.
| | 01:06 | He is hiding most of his head here,
thank God, but look at this beard,
| | 01:10 | pretty involved beard.
| | 01:12 | So let's look at how the hair was
created using Photoshop brushes.
| | 01:18 | So the hair pretty much starts out by
creating a brush that's going to be very
| | 01:23 | specific for creating the hair.
| | 01:24 | Now we have various brushes that I
will create to do a single head of hair,
| | 01:30 | starting from a group of strands of
hair to fill up the barriers, getting to
| | 01:35 | smaller groups of hair for final
details, going down to a single hair for the
| | 01:41 | little wisps and little light hairs that
are just kind of blowing in the wind and
| | 01:45 | so on like in the case of Jeff's beard.
| | 01:48 | Most of that beard was done
with single pixel brushes.
| | 01:52 | Let's go in here and create
the first of the strands of hair.
| | 01:54 | Let me start with black, because as I
said before black will determine that the
| | 02:00 | brush tip will be completely opaque, and
I will chose a hard edged brush like this
| | 02:04 | one and I will bring the Size
considerably down to about four points and I am
| | 02:10 | going to go in here and I am tapping.
| | 02:11 | Now I have a pressure sensitive tablet.
| | 02:14 | So you can see that they are coming out with
different sizes, big ones and some smaller ones.
| | 02:18 | I can even make the brush even
smaller and just make a couple of tiny dots
| | 02:22 | right in between there.
| | 02:24 | That is a good clump of hair.
| | 02:27 | I am going to select that group
right there and Define Brush Preset.
| | 02:33 | And we are going to call this hair 1.
| | 02:39 | So now right off to this side here, I
am going to create another little group,
| | 02:44 | about five little hairs,. These are
small. I want to create that, and now I am
| | 02:49 | going to say Brush Preset and
we will call this one hair 2.
| | 02:53 | All right so now we can dump them. We
don't need them anymore. Everything is fine.
| | 03:00 | So now, here is the way the hair was structured.
| | 03:03 | I am going to go in here create a layer.
| | 03:05 | I am going to call this layer the base.
| | 03:08 | This is the base of the hair.
| | 03:11 | Now I will pick a color
that I want that base to be.
| | 03:14 | So I am going to say it's going to be a
brown hair. So I am going to pick a nice
| | 03:18 | dark brown like this and I am going to
go in here and with my brush, and a nice
| | 03:24 | soft edged brush rather, a nice size,
I want to go in here and start to kind of
| | 03:27 | draw in the basic shape
where the hair is going to go.
| | 03:31 | Now that's just a background.
| | 03:33 | One top of this I am going
to start to build the hair.
| | 03:36 | Now I am going to start off with the dark hairs.
| | 03:39 | So I am going to pick a much darker
version of that brown and I am going to pick
| | 03:42 | the first of the hair brushes.
| | 03:44 | That one, the one that's pretty dense.
| | 03:45 | So right now it's going to do that.
| | 03:47 | So I am going to go into my Brush panel
and right off the bat I am going to go
| | 03:52 | to Brush Tip Shape and say reduce the
Spacing down to 1%, which makes solid lines
| | 03:57 | just like that and you can
see it's starting to happen.
| | 04:00 | I am also going to go down here to my
Transfer modes where I am going to set the
| | 04:04 | Opacity and the Flow
Jitter both to Pen Pressure.
| | 04:07 | Now your mouse doesn't have pressure,
but what happens in this particular case
| | 04:12 | is that as I loosen up on the
stylus these strokes will get lighter.
| | 04:17 | So as you could see now they start off
soft and become harder as I press harder.
| | 04:22 | All right, so now that I have that, I
am going to go in here and make the brush
| | 04:25 | much smaller and in a layer on top of
this one, which I am going to call darks.
| | 04:33 | In darks I will start to draw all the
strokes that are going to make up the
| | 04:37 | darker tones of that hair underneath.
| | 04:40 | Now you can see I am just going in
there and just very loosely going in and
| | 04:43 | starting to build up what this hair is
going to look like. I might throw a couple
| | 04:48 | of more on the outside areas like so
just to start to build up this tone.
| | 04:53 | Now I am going to pick up a
color that's lighter than the brown.
| | 04:57 | So I am going to pick the brown itself.
There is the brown that I had originally.
| | 04:59 | I am going to pick a much lighter
version of it like that and I am going to
| | 05:04 | create another layer, which I'll call midtones.
| | 05:07 | I am going to reduce the size of the
brush again and I am going to start to go in
| | 05:12 | there and start to stroke on top of that.
| | 05:14 | So you can see where I am starting to
get lighter tones on top of that original
| | 05:18 | hair right there like that.
| | 05:21 | Then on top of that one, I will create
one that's called highlights and now I am
| | 05:28 | going to pick something that's really light.
| | 05:29 | Let me go into my blondes and
go way up into this light tone.
| | 05:33 | Now here in this particular layer, I am
going to go very lightly. So I am going
| | 05:36 | to just very lightly go in there and
start drawing a couple of highlights right
| | 05:40 | through there like that.
| | 05:41 | Now I am going to switch to that
brush that was less dense, this one here.
| | 05:45 | Now I have to go in there
and make the adjustments.
| | 05:47 | So I am going to go in there and into
Brush Tips, bring the Spacing down to
| | 05:50 | zero, Transfer modes, they remember
what I had set before so there they go.
| | 05:55 | And then I am going to go in here and
make the size much smaller and I am going
| | 05:59 | to start to go in there and just start to
draw in little highlights in little spots.
| | 06:03 | Now I don't worry about those little
extra things where I hit a little too hard.
| | 06:08 | I can fix those later. I'll add a couple of
highlights right through here and so on.
| | 06:14 | Now I do have an eraser and this is a layer.
| | 06:18 | So I can go in there and erase some of
the stuff that I don't want down here.
| | 06:24 | Now I can take the eraser
with one of these hair guys.
| | 06:29 | I can do it there too and sure enough
I would go in there and make the same
| | 06:33 | controls and set up the Transfer modes
and I will reduce the size and kind of
| | 06:40 | sweep into those highlights just like
that to kind of loosen them up and I can
| | 06:45 | bring down the Opacity of the
eraser so it's not so strong.
| | 06:48 | I just kind of light those up, just like that.
| | 06:52 | Then I will take my Paintbrush and a single
pixel brush. Go way down, hard tip, single pixel.
| | 07:01 | All right, now pick up one of these
dark tones from right there and I go to my
| | 07:06 | brush engine and bring the Spacing down
and the Transfer modes and with this one
| | 07:11 | I will then go in there and create
the little hairs that are just kind of
| | 07:14 | blowing in the wind, that are loose ones
here and there, and creating this little
| | 07:19 | wisps along the sides, just like that
and I might even want to go in there and
| | 07:25 | get my really bright one and in the
layer with the highlights, which I am still
| | 07:30 | there. I might go in there and just add
a couple of little streaks in a couple
| | 07:34 | of little spots where the light is
just hitting this hair just right, creating
| | 07:41 | these extra little highlights
all through here like so. Oops!
| | 07:44 | Let's forget those last one that we just
saw there. Make believe they are not there.
| | 07:49 | So there we see that we are just adding
all these nice little highlights right
| | 07:51 | along the edges here and we
can see that we have the hair.
| | 07:54 | In the case of Jeff's beard, I
used that single brush with a Black.
| | 07:59 | In that case it was a little bit of white.
And I just drew all these loose hairs,
| | 08:03 | going in all different directions like
that to create that scraggly beard that
| | 08:06 | he has, but in this case, soft
hair, it looks just like that.
| | 08:10 | And you can see the layers, the way they
are broken down is the base, the dark,
| | 08:13 | the midtowns, and the highlights.
| | 08:15 | Back to one of my daughter here, we will
look at the actual layers for the hair.
| | 08:20 | We will come in closely and we
will break down the hair here.
| | 08:23 | Now this top layer is the composite where
I have assembled all the different pieces.
| | 08:27 | We will just turn those off for now and we
will start to look at these different hairs.
| | 08:30 | Here is the hair base, which is just a
dark tone on the bottom, which also has a
| | 08:35 | few loose strands along the edges.
| | 08:37 | There is that blacks on top of
that and you can see them build up.
| | 08:40 | There is a layer called hair, which
just brought in a couple of grays. Here are
| | 08:43 | the light hairs on top of those.
| | 08:46 | Here are the red sheens that she has on
top of that and then here are the light
| | 08:50 | sheens on top of that.
| | 08:51 | So here you could see the buildup of the
individual layers that make up the hair
| | 08:56 | that then becomes the final image
that we see up here on top where we've
| | 09:00 | assembled it altogether to get all
the nice strands of hair in place, all
| | 09:05 | following to flow and so on.
| | Collapse this transcript |
| Creating gelled hair| 00:00 | Creating hair can be a tough process
especially since it's so important to get
| | 00:04 | the flow just right.
| | 00:06 | We can zoom in over here on
some flowing hair like right here.
| | 00:09 | There we see some nice soft
hair flowing around and so on.
| | 00:13 | And in the movie about beards, we
have talked about the complexity of the
| | 00:16 | beard. Being short hair,
| | 00:18 | it's so crucial to get the direction right.
| | 00:20 | Well, there is one other type of hair
here that's important and that is hair
| | 00:24 | like this one right here,
hair that's been gelled.
| | 00:28 | Because once you put gel on the hair, all
of a sudden the hair becomes very distinct.
| | 00:33 | It becomes individual shapes that really
tell the character of the person's face.
| | 00:38 | There are a couple of people in the Times
Square scene that have this kind of hair.
| | 00:43 | One of them is my son Shaun.
| | 00:44 | You can see that his hair is gelled.
| | 00:47 | We get in close-up here and we will
see that his hair has got all of these
| | 00:50 | little spikes going all through it.
| | 00:52 | Now, his actual face was a compilation
of a couple of different reference shots.
| | 00:57 | The first one was this shot here,
which is an early shot of him and he has
| | 01:01 | the spiky gelled hair.
| | 01:03 | I chose this one but the look on the
face wasn't quite the way I wanted it, so
| | 01:07 | he posed later for a second set in
which I shot these and there is the
| | 01:12 | expression that I wanted.
| | 01:13 | However his hair was a shorter, so I
used the hair from the first one and then
| | 01:18 | the face of this one to become the final image.
| | 01:20 | Now, in the case of John Knoll,
let's go and look at his reference shot.
| | 01:24 | There is the shot that I shot.
| | 01:26 | Now, the lighting is not a concern
for me here because of the fact that it
| | 01:30 | isn't lit properly.
| | 01:31 | It's just shot at the Adobe offices and
the lighting wasn't controlled and the
| | 01:36 | eventual scene you can see is much
darker and warmer because he's under the
| | 01:39 | lights of a billboard
that's flashing in front of him.
| | 01:42 | So, here we can see the hair.
| | 01:44 | Coming closer, we see that we have all
this gel going through there and we have
| | 01:49 | these very distinct shapes.
| | 01:51 | Now, it's not as complex as it sounds.
| | 01:53 | In fact in some ways it's easier.
| | 01:55 | Because when you are creating that
flowing hair, you have all these individual
| | 01:58 | strands, but in the case of gelled
hair, you have thick strands like here.
| | 02:02 | You see these thick white
strands and these thick dark strands.
| | 02:07 | So, instead of dealing with a lot of
individual strokes, you are dealing with
| | 02:10 | lesser strokes and thicker, to
determine these individual shapes.
| | 02:15 | So, when we go and look at his final art,
there is his art and you can see that
| | 02:21 | the colorization is a little bit
different, but when we come in here on the hair,
| | 02:24 | we will see that there are all
these individual little shapes, thick
| | 02:28 | whites, thick blacks, and grays
throughout all over the place.
| | 02:33 | So, let's go and see how this hair was built up.
| | 02:36 | The process is similar.
| | 02:37 | You are using a small brush and in
some cases a thicker brush, but the flow
| | 02:42 | is very similar to the movies on creating
hair that we've seen throughout the series.
| | 02:47 | Here is the section for hair. I am
going to open it up and you see that
| | 02:50 | it's broken up into two.
| | 02:51 | We have got top hair and side.
| | 02:53 | So, we are going to look at
the top section right here.
| | 02:56 | There's one here called
top and we will turn that on.
| | 02:58 | You see it's just a bunch of little
loose hairs that appear, just a bunch of
| | 03:02 | little stragglers all through there,
and that's that one layer up there.
| | 03:06 | Now, if I turn off all these layers
for the actual hair, I turn all these off
| | 03:10 | and you can see that it's
going to look pretty strange there.
| | 03:13 | These individual hairs that are
falling into place here are basically in this
| | 03:17 | side set. I just went ahead and threw
them in there later on, but let's just
| | 03:22 | look at these that make
up the actual top section.
| | 03:25 | So, we have first the dark and there
you can see it's just little wisps
| | 03:30 | that came in here, some little dark
tones and they are more dominant in this
| | 03:33 | area here, but we see some little dark tones
that came into play. And we have the top mask.
| | 03:38 | Now this one has a lot. You can see
that it has a really dark set right here,
| | 03:44 | which is kind of like the base and
then a bunch of little wisps that were
| | 03:47 | started to be created for this particular layer.
| | 03:50 | The next one we see is the main swirls.
| | 03:53 | And here we see that the swirls
have just came into play right here and
| | 03:57 | along the side here.
| | 03:58 | Let's turn these off so that you can see
all these main swirls that just came in.
| | 04:02 | And there is a mask as well. So if I
turn off the mask, we will see that certain
| | 04:05 | parts of his head right in
there have been masked out.
| | 04:09 | So, if I turn the mask in, there
you can see that they are masked away.
| | 04:12 | Now, the reason for that is that I can
go real quick and easy with my strokes
| | 04:16 | without being concerned of the fact that
they are falling behind the hair. These
| | 04:20 | are flowing from the front
and going behind his forehead.
| | 04:23 | So, the purpose of the mask is so
that I can just very quickly do my little
| | 04:27 | strokes and then just mask
up the parts to go behind.
| | 04:30 | So, there is where the layer mask came in.
| | 04:32 | Then we have some others that
are going to start to appear.
| | 04:34 | We have these swirls here.
| | 04:36 | Right there is a gray swirl that
appeared right in there then we have some light
| | 04:40 | wisps, a bunch of little tiny light
hairs that will appear all throughout.
| | 04:45 | You can see them starting to
appear in the sides as well.
| | 04:47 | All these little white wisps that just
kind of fall into the hair, start to give
| | 04:52 | its shape and direction.
| | 04:53 | And we have some blacks and
whites that appeared through there.
| | 04:56 | It is whole blacks but there is also
some whites that were thrown in there on
| | 04:59 | top of that same layer, just to cover-up
some of the blacks that were flowing in.
| | 05:04 | Then we have some highlights.
| | 05:05 | Now, the highlights, as you can see
there is a bunch of them came through here.
| | 05:09 | Highlights are starting to really give
a sense of the shape of the way the hair
| | 05:13 | has been gelled and again there is a series of
thin lines and thick lines that are forming this.
| | 05:19 | Then we have the darks on top of that,
which is just a series of grays, very
| | 05:23 | light grays that are just appearing
throughout the whole thing and then comes the
| | 05:27 | big set on top, which are the thick whites.
| | 05:30 | Let me turn that one on and you can see
that there they came in, all these thick
| | 05:34 | whites, which are going to complete the
look of the gelled hair reflecting all
| | 05:38 | the lights from the billboards that
are in front of John, casting all these
| | 05:42 | highlights in his hair.
| | 05:43 | There is also a mask here.
| | 05:45 | If I turn off that mask, you will see
that there are hard edges to some of these.
| | 05:50 | Turning that mask on, it just softened
up those edges just to make them look
| | 05:54 | like they blend a little
better into his final hair.
| | 05:57 | So, when we look at the overall scene,
we see that now his hair looks like it's
| | 06:01 | gelled and it's shiny because of its
gel, so it's picking up all these nice
| | 06:04 | highlights and giving you the sense
that his hair has been gelled as opposed to
| | 06:09 | just soft flowing hair.
| | Collapse this transcript |
| Creating hair with texture| 00:00 | Now, I've created a few movies where
I'm talking about the creation of hair.
| | 00:04 | What we see on the screen now,is the
image for the head of my good friend and
| | 00:08 | neighbor Carl Lumley, the actor.
| | 00:10 | He's an African-American and his
hair, well, let's go close and look at it.
| | 00:15 | It's got that curliness to it.
| | 00:17 | Now, one would think well, that's a
little bit more complicated to do.
| | 00:20 | Actually it's a lot easier.
| | 00:22 | When you look at my wife's hair right
here, its got all this nice flow to it and
| | 00:27 | you will say well, that's a lot simpler.
| | 00:28 | No, quite the opposite, because she
have to have a lot more control over how
| | 00:33 | you're creating those strokes
to keep that flow of the hair.
| | 00:36 | Whereas in Carl's hair it's just a
question of just going in there and having a
| | 00:40 | good time and just scribbling around basically.
| | 00:43 | We look at the basic
shapes out of this hair here.
| | 00:45 | We see that there is a file way
back here called hair in back.
| | 00:50 | And I turn that one off and that's
the hairs that are coming of from behind
| | 00:53 | his head right there.
| | 00:54 | Then we look up here and there is a
folder called hair and in hair we have well,
| | 00:58 | of course the eyebrows and stuff
like that, but here is the base hair,
| | 01:01 | hair_black, hair_white.
| | 01:03 | Base hair, that's this one. You see it's
this one big black chunk that takes up
| | 01:08 | the main part of the center.
| | 01:10 | And there is the hair_
black and then the hair_white.
| | 01:13 | And that's what Carl will
look like without any hair.
| | 01:15 | But putting back all these little
layers you see that it's just basically,
| | 01:19 | three quick layers.
| | 01:20 | Now doing that is not as hard as it seems.
| | 01:24 | Let's go in there and turn on
that back hair again, there they are.
| | 01:27 | So there is his full head of hair.
| | 01:29 | So what we'll do is just create a file
and you'll see how that hair was created.
| | 01:33 | I'll create a layer right here, which
we'll call hair base, and all of the files
| | 01:40 | with peoples has have a hair base
where the basic colors are laid down, which in
| | 01:44 | this case will be just a large black shape.
| | 01:48 | Now I usually will create that black
shape, there it is, and I've got the opacity
| | 01:53 | set up by pen pressure.
| | 01:54 | So I have to go over a few times there
like that and there's the top at head.
| | 01:59 | I usually like to blur this a bit.
| | 02:01 | I like to give a little bit of a
Gaussian blur just to go in there and soften
| | 02:05 | that edge, so I don't get
such a hard edge underneath.
| | 02:07 | So I go in there and
soften this up just like that.
| | 02:11 | So now, on top of that I'm
going to start to create the hair.
| | 02:13 | So I'm going to create we'll say black
hair and I'm going to get my brush down to
| | 02:21 | that small size again. In fact, we'll
make it a little thicker right there, 3.
| | 02:25 | Actually we'll come down at 2
and let's get a little closer.
| | 02:28 | So what happens now is I start to
create the basic hairs that are sticking out.
| | 02:33 | So I'm going to create these little
hairs that are just towards the top, they
| | 02:37 | are just kind of coming out of the top
hair, and make it a little curlicues here
| | 02:41 | and there and so on.
| | 02:42 | So we have all these little hairs on top.
| | 02:44 | Now the stuff underneath here that's
going to connect the base to that here,
| | 02:48 | I basically just scribble.
| | 02:50 | It makes it really easy to just going
and just start to scribble away and have a
| | 02:53 | good time with this.
| | 02:55 | So it's a lot more fun than regular hair.
| | 02:57 | So I just go in there and start doing
this and I start playing around and start
| | 03:02 | doodling. Then, when I'm done, I'll
just go in there and clean up a few little
| | 03:05 | areas by add in more
little tones on top of that.
| | 03:09 | More little hairs that just are
sticking out beyond the area of the edge.
| | 03:13 | Now in the cases of certain people
where they might start going a little gray
| | 03:17 | or little highlights here and there,
I'll create another layer where I'll call
| | 03:22 | grays or highlights.
| | 03:23 | Let's call it grays and I'll pick a
lighter shade out of the back right there
| | 03:28 | just something light and again depending on
your printer and how much it's going to
| | 03:31 | be able to hold, you might
not want to go too dark.
| | 03:34 | So I'm going to go in there in that
layer I'll just start to create extra little
| | 03:38 | hairs here and there.
| | 03:39 | Just little hairs that are just going
to picked this little sense of lighter
| | 03:43 | tones of hair inside of the main thing.
| | 03:46 | And again you can see that I'm just
very quickly just going in there and doing
| | 03:49 | little doodles which make it a lot
easier to do than that long strands of hair
| | 03:53 | that have to follow a flow
and require a lot more control.
| | 03:57 | Here I could just go in
there and start playing around.
| | 03:59 | I usually what I do is I put on some
music that just makes you want to dance and
| | 04:03 | I just let my hand dance all over the canvas.
| | 04:05 | And I start to create this
little effect like you see there.
| | 04:07 | So the end result of something like
that becomes this head of hair like right
| | 04:12 | there where he actually has
little white going on in the temples.
| | 04:16 | So there you see the hair.
| | 04:17 | It's not as complicated as it looks.
It's actually a lot more fun to create
| | 04:21 | as you see it there.
| | Collapse this transcript |
| Creating ponytails| 00:00 | All the people throughout the scene
have different types of hairstyles.
| | 00:03 | Some have it moussed, some have it flowing,
some have it tied back, some have it very short.
| | 00:09 | They all have different types of hair.
| | 00:11 | Now creating those effects
require different types of techniques.
| | 00:14 | Like in this particular case you see
that the hair is flowing and it's going all
| | 00:18 | over the place, nice and soft looking and so.
| | 00:21 | And it's the same thing over here, for
instance right there, nice soft flowing hair.
| | 00:25 | But some people, like this person way
back here, has tied into a ponytail.
| | 00:29 | There's one other the person in
this scene that has a ponytail and
| | 00:32 | that's myself right here.
| | 00:34 | That's me right there.
| | 00:35 | And you see I have a long
ponytail with a lot of different ties.
| | 00:39 | Now those ties will
control the flow of the hairs.
| | 00:41 | It's not as free flowing as say this one here.
| | 00:44 | These are controlled by the ties.
| | 00:46 | So you could see that it's being
pulled tight to that first tie and then it
| | 00:50 | curves around, then it's pulled tight again.
| | 00:52 | There's a few little loose hairs and so on.
| | 00:54 | And then at the end they just kind of flow out.
| | 00:57 | So here we have a little more control in
how we're going to have to get the hair
| | 01:01 | flowing to make it look right.
| | 01:03 | So let's go in there and create a hair
with some ponytails, with more than one tie.
| | 01:07 | All right, so right here, on a blank
screen, first thing I am going to do is I
| | 01:11 | am going to create a little guide for myself
so I know where the hair is going to flow.
| | 01:15 | So in a new layer, I am going to call
it guide and I am just going to use a
| | 01:21 | really bright red color
just so it's easier to see.
| | 01:24 | And I am going to go in here and
draw myself a little guide of where the
| | 01:27 | head's going to be.
| | 01:28 | The head is going to flow like this
and then I am going to have a tie right
| | 01:33 | there with a little piece coming down like this.
| | 01:37 | And then the end is going
to just flow out right there.
| | 01:39 | So there's my guide.
| | 01:41 | That's good enough.
| | 01:42 | Now that I have my guide I am going to
create a layer behind this and it's going
| | 01:45 | to be the base of my hair.
| | 01:48 | Now, so that we can see this clearly
on the screen I am going to use some
| | 01:51 | kind of light colors.
| | 01:53 | So what I am going to do is I am going to
do a person with graying hair, all right?
| | 01:56 | So we're going to go in here and for the
base we'll pick a nice medium gray like this.
| | 02:01 | That's the base.
| | 02:02 | So right here I am going to get my
brush a little bigger and I'll make the
| | 02:05 | edges soft and just going to kind of draw in
the area right here where my hair is going to be.
| | 02:11 | This is the base now.
| | 02:12 | This is just the bottom part of our hair.
| | 02:14 | Right through here we create this
little shape right through there, like that.
| | 02:17 | So make the brush a little smaller and just
kind of fill these little spaces in there.
| | 02:21 | And then down here we're just kind of
throw in some tone, all right? So there.
| | 02:25 | We got that.
| | 02:26 | So now we don't need the guide any more
as we got the basic shape for our hair.
| | 02:30 | We might want to even connect this
a little bit right through there and
| | 02:32 | right through there.
| | 02:33 | All right, so now that we have that
we're now going to create the brush with the
| | 02:37 | effects that we're going
to need for the actual hair.
| | 02:40 | So I am going to go in here
and pick that hard edged brush.
| | 02:42 | I am going to bring the Size way down to 1.
| | 02:45 | Now I am working at 72 dpi here so 1
is going to be fairly thin, as thin as I
| | 02:50 | can possibly get it.
| | 02:51 | If you're working at 300 dpi, a
1 pixel is going to be really fine.
| | 02:55 | So I am going to pick right now a
darker tone, so let's go almost to black.
| | 03:00 | And I am going to create a layer on top
of the base, which we'll call hair dark.
| | 03:09 | Those are my dark tones.
| | 03:09 | Then based on where these things are
tied I am going to start to draw out my
| | 03:13 | shapes, but the first I am going to go in
there and modify the brush a little further.
| | 03:17 | I can go into my Brush Tip Shape and
bring the Spacing down to 0, so that it's a
| | 03:20 | solid line, just like that.
| | 03:23 | Then I am going to go in to my Transfer
modes where I've got the Opacity and the
| | 03:28 | Flow set to Pen Pressure.
| | 03:29 | Now a mouse does not have a Pen
Pressure but a stylus does, which means that now
| | 03:33 | the Opacity and the Flow are
going to change based on my pressure.
| | 03:36 | So when I draw a line now you could
see that the line is much thinner.
| | 03:40 | And if I even press hard you can see that
it's disappearing at the ends and so on.
| | 03:44 | So it starts to look more like real hair.
| | 03:46 | Now that I have that, I make sure I am
in the right layer, hair dark, and I'll
| | 03:50 | start to draw out all the little
shapes that are going to be the hair flowing
| | 03:54 | from that little end right there.
| | 03:55 | So I just draw a bunch of these
little shapes just flowing out and I am not
| | 03:59 | going to be extremely careful because
we're just demoing here and we just want
| | 04:02 | to get the basic feel.
| | 04:04 | And there we could see we're
getting all these little hairs.
| | 04:06 | Now here we got a curl.
| | 04:07 | So here we're going to just do some
curls this way and do some curls this way.
| | 04:13 | And in the middle they're
going to be kind of straight.
| | 04:15 | So we draw a few more and then down
here they're going to just flow out from
| | 04:20 | that end and just kind of flow in
different directions out like that, okay?
| | 04:24 | Now that we have those established
right through there, let's throw a few more
| | 04:29 | in here and a few more up here just
to fill it up nicely, just like that.
| | 04:33 | So now we have that we're going to
create another layer on top of that.
| | 04:37 | We'll call this one hair light.
| | 04:42 | And here we're going to use white.
| | 04:44 | And again, I am going to start to draw a
couple strands right through here, like
| | 04:48 | this so you could that we're just
following almost like the black one before and
| | 04:51 | we're just coming out from
those areas and then through here.
| | 04:54 | If you're going down this way and if
you straighten the middle and then if
| | 04:58 | you curl on this side and then down
here they're just going to flow out from
| | 05:02 | that bottom down there.
| | 05:03 | So there you could see that we have
all the little hairs going in all the
| | 05:08 | directions that we need,
coming out from those edges.
| | 05:11 | Then we need little ties.
| | 05:13 | So in a layer right on top of this
we're going to throw in the little ties.
| | 05:16 | So what I am going to do is I am
going to pick a nice dark gray.
| | 05:21 | If you want colored ties, okay.
| | 05:22 | Let's say Valentine's Day ties or something.
| | 05:24 | So we'll pick a nice red like that.
| | 05:27 | And then I've got my brush.
| | 05:29 | it's got those same settings.
| | 05:30 | I am going to make it a little
bigger so it's a nice size about like that.
| | 05:33 | I am going to go into my ties.
| | 05:34 | I am going to make sure I am
going to turn off that Transfer modes.
| | 05:38 | I want it to be nice solid lines.
| | 05:40 | So now that I have that in that layer
for the ties I am going to just draw a
| | 05:43 | couple little ties going
right across here like this.
| | 05:45 | I give a little separation to them.
Why? Because you'll see in a second.
| | 05:49 | There we've got a couple little ties.
| | 05:51 | We might want to do a second batch, so we'll
create one behind here and say ties in back.
| | 05:59 | Now the reason for that is because I am
going to draw another one right through
| | 06:01 | here and maybe one right in there and
one coming out that way, all right, so
| | 06:06 | that they're a little thicker.
| | 06:07 | I am going to take those ties in back and
I am going to darken them just a little.
| | 06:11 | So I've got a lot of
different ways of darkening.
| | 06:14 | I am just going to use a simple.
| | 06:15 | I am going to go in there and say
Hue/Saturation and I am going to say
| | 06:19 | darken those in back.
| | 06:21 | Punch up that Saturation a
little bit just like that.
| | 06:23 | So there we could see that now we have
a little different tonality happening.
| | 06:27 | I am going to go to my ties and I am going
to say give them a little Bevel and Emboss.
| | 06:32 | Bevel and Emboss is going to start
to make them look three-dimensional.
| | 06:34 | Starts to give them that nice little
tone there and they start to have a little
| | 06:37 | more of a dimensional feeling, making
it look like they're standing out there.
| | 06:41 | And I can go in there and copy that
effect right over to the ties in back so
| | 06:45 | they have a little dimension as well.
| | 06:47 | There we see that we now have the little ties.
| | 06:49 | We want to go in there and you know what?
| | 06:50 | I am going to just pick up that color
from there in the ties in back and I am
| | 06:53 | just going to fill that area
right in there. So there we go.
| | 06:56 | So that was nicely filled.
| | 06:57 | Now going back to the hair base, I am
going to go in there and darken right in
| | 07:02 | here. I am going to take my midtones
with my Burn tool and just going to darken
| | 07:07 | right into that area right in there and
right under here, where the tie is right
| | 07:11 | through there and then right
in here and right on there.
| | 07:15 | So you could see I am starting to get
all those nice little dark tomes looking
| | 07:18 | like the little shadows are happening.
| | 07:21 | So when you'll go back and look at the
main piece where the time has been taken
| | 07:26 | to do it right. You can see
there's the little tiny ties.
| | 07:28 | you could see the little darkening in the areas.
| | 07:30 | When we get in real close you could
see all the little hairs coming right out
| | 07:34 | from underneath the ties and little
darkening in the certain areas where it
| | 07:37 | needs it, little highlights in the
other areas. The areas that are closer to us
| | 07:41 | that expose the light are lighter and
the ones that are underneath are darker.
| | 07:46 | And there you could see all of the
different little hairs following the flow
| | 07:49 | based on the ties and then ending up
in the loose fit down at the bottom.
| | Collapse this transcript |
| Creating beards| 00:00 | Hair is a complex thing to deal with,
but even more complex is a beard.
| | 00:05 | More complex because the beard really
tells the character of a man's face.
| | 00:10 | In the case of a woman I don't think we
have to worry about beards, but men, when
| | 00:13 | they support a beard, that beard
says something about their face.
| | 00:16 | It really creates character.
| | 00:18 | Zooming in on the image here we'll see
like right here the Knoll brothers, one
| | 00:22 | has a goatee, the other has a full beard.
| | 00:24 | There's a little goatee
there, another goatee there.
| | 00:28 | Coming across this way we see another
goatee, two more right there, and then
| | 00:32 | a full beard there.
| | 00:34 | We have some other full beards like right there.
| | 00:37 | Looking at a couple other people in the
scene we'll look at their hair and see
| | 00:41 | why it's so important, like right here.
| | 00:44 | And this doesn't have as much detail
because it's a smaller face further back
| | 00:48 | in the background, but you see that
it's very important that all the different
| | 00:52 | little movements of the hair, all the
little angles that they hairs take are
| | 00:56 | important in order to be able
to get the right personality.
| | 00:59 | Look at another person here and we
see that again there are areas of white,
| | 01:06 | areas of dark, all these different
parts to the face that are crucial to get
| | 01:11 | right in order to make it
look like the right person.
| | 01:13 | Now, going to get really
complex, like this one right here.
| | 01:18 | And here we can see that this beard
is all over the place because of the
| | 01:21 | helmet's bending hairs and so on, but it has
to capture the character of the person's face.
| | 01:26 | So when we get in close and look at
the face there we see all these little
| | 01:29 | hairs that are falling in different
directions and coming around and so on and so forth.
| | 01:33 | It is important that when you're
creating this that you're going to get those
| | 01:37 | same little twists, the same little
turns, and the same little colorizations
| | 01:41 | to make it look right.
| | 01:42 | If we were to look at this particular
file, the original file for it, we'd see
| | 01:46 | that there is the head, all right?
| | 01:48 | And when we look at the layers we'll
see that the beard right there, which is
| | 01:53 | its own little group, is made
up of many different layers.
| | 01:57 | Now let's get a little closer here and
look at those individual layers and you
| | 02:00 | see how they start to make up the full beard.
| | 02:02 | We'll go all the way down here to the
base one which is called the back beard.
| | 02:07 | And you could see there's
just this little tone back there.
| | 02:09 | If I turn it off you see that
it's just this whole thing now.
| | 02:12 | There is another set of beard,
which is in back of the head here.
| | 02:15 | That's these little loose hairs here.
| | 02:17 | We're just going to look at
the front part of the beard.
| | 02:19 | And there we see that we have this
back beard and basically, it's just a tone
| | 02:22 | that's going to kind of make
it look like a solid beard.
| | 02:25 | Then we have with some little
beards that are behind the band again.
| | 02:28 | These little hairs back there.
| | 02:30 | Then we have the neckband.
| | 02:31 | There's the neckband and then we have
some loose hairs right on top of that,
| | 02:34 | and we have the blacks.
| | 02:36 | There's a whole series of hairs that are
just forming the black parts of the beard.
| | 02:41 | And you could see that they're all
in individual layers, making it easy to
| | 02:44 | manipulate and control.
| | 02:45 | Now we have the back grays.
| | 02:47 | There you could see bunch
of grays that just appeared.
| | 02:49 | The browns, bunch of
little brown hairs every now.
| | 02:52 | And then the main grays right there, the
whites, which is the majority of the beard.
| | 02:59 | And then the final, which is the top
grays, a couple little loose grays on top
| | 03:04 | which complete the whole beard.
| | 03:05 | Now to create the beard, it's not as
complicated as it sounds except for the
| | 03:09 | part of getting the angles and shapes right.
| | 03:12 | So let's go in here and see
how the actual beard is created.
| | 03:16 | So basically, all you need is a brush.
| | 03:17 | Now in the case of a beard, because of
the closeness of the face that you're
| | 03:22 | getting into there, you'll really want
to work with a single brush so you're
| | 03:25 | basically going to
create single strands of hair.
| | 03:29 | Every individual hair is going to be
painted in, which is why the base is so
| | 03:34 | important because you set up that base
and that kind of eliminates the need for
| | 03:37 | a lot of hair underneath.
| | 03:39 | So you create a base for the beard and it
could be any color that you want it to be.
| | 03:45 | Let's just say it's going to be a red beard.
| | 03:47 | So what we're going to do is go in here
and get kind of a brown tone like this,
| | 03:51 | which we'll just fill into that base area.
| | 03:53 | And I usually like to use a soft edged brush.
| | 03:56 | That way it'll be easy to go in there
and just blend out all these center areas.
| | 04:00 | So I'll go in here and I'll just kind
of fill this in and let's give this a
| | 04:04 | little more spacing here just to soften
up that edge a little more. there we go.
| | 04:08 | Now we have a softer edge.
| | 04:10 | And we get this little beard going like
this and there's the chin area and then
| | 04:14 | I'll make it a little smaller and we'll
just make a little area here, which is
| | 04:18 | going to be the mustache area.
| | 04:20 | And that's basically it
for the base of the hair.
| | 04:23 | Now I want to go a little bit up
in here to the little part where the
| | 04:25 | sideburns would be and so on.
| | 04:27 | Now the head hair will be a totally
separate set of layers but we're dealing
| | 04:32 | with just the beard here.
| | 04:33 | So now on top of that we're
going to start to add the tonalities.
| | 04:37 | So I am going to go in here and
create my light browns, all right?
| | 04:43 | So I'll pick a much lighter version of
that same brown, somewhere in that area here.
| | 04:47 | In fact, for the sake of video I am going
to go much lighter, go with a very light tone.
| | 04:51 | Then here's where I am going to go in there and
I am going to bring the size all the way down.
| | 04:55 | 1 pixel would be good because I am
working at 72 dpi here so 1 pixel is
| | 05:00 | the smallest I can get.
| | 05:01 | I am going to bring the Hardness all the
way unto 100% so I get a solid line like that.
| | 05:06 | I am going to go into my brush engine
where I am going to set up my Spacing down
| | 05:10 | to 1%, which is the tightest
so I get a nice solid line.
| | 05:14 | And then I am going to go into
Transfer modes where I am going to set Pen
| | 05:17 | Pressure for both the Flow and the Opacity.
| | 05:19 | Very much like I do for the head
here because this is still hair.
| | 05:23 | It's just the way it's going to
be rendered is a little different.
| | 05:26 | On top of this now I am going to
start to create all my little tones.
| | 05:30 | So I could start to just draw in and
I create all these little soft hairs
| | 05:34 | that are just falling through
here and it really helps to look at a
| | 05:37 | reference at this point.
| | 05:38 | I am just doing it blindly but you
need to see the actual person's face that
| | 05:42 | you're painting here so that you can go
in there and establish where these hairs
| | 05:47 | are traveling and which
direction they flow and so on.
| | 05:50 | Now if you're just making up a face, then you
can just do this yourself, like I am doing here.
| | 05:54 | I am just going in there and just
creating all these loose hairs that are just
| | 05:57 | flying all through here, all of
these individual little hairs.
| | 06:01 | And then over here they're just going to
kind of pop out here and just fall down
| | 06:05 | a little shorter, right here by the mustache.
| | 06:08 | And I just start to fill this whole area in.
| | 06:10 | You can notice that the edges here I
start to go in there and just very loosely
| | 06:14 | start to add all these little hairs
right in here so that that base hair
| | 06:18 | underneath starts to get kind of covered up.
| | 06:21 | So it starts to just fill in and
looks like all these loose hairs.
| | 06:25 | Now on top of this I am going to just
move forward now and just create one more.
| | 06:29 | This is an older person so you might
have some highlights or white hairs, but I
| | 06:32 | am going to just say some highlights.
| | 06:35 | And what's going to happen here is I am
going to get a very light version of this color.
| | 06:38 | This color a little warmer here
and a very light version. I like that.
| | 06:44 | And then I am going to go in here and
let's get a little closer here so that we
| | 06:46 | see what's going to start to happen here.
| | 06:48 | I am going to start to draw
all these nice little highlights.
| | 06:50 | Now the highlights have to be very
specific to your lighting in your scene.
| | 06:54 | So you can't just throw highlights all
over the place, unless it's very heavily lit,
| | 06:57 | but you start to throw in all
these little highlights where you might see
| | 07:01 | that the beard is kind of
jumping up a little bit.
| | 07:03 | I've got a couple little
pieces there that got messed up.
| | 07:06 | No problem, just erase them out
because we are in separate layers.
| | 07:09 | It's the beauty of the separate layers
is that we have full control over where
| | 07:13 | these little hairs are going to fall.
| | 07:15 | And I start to create all these little
tones all through here to start getting
| | 07:19 | all these little highlights
start to happen all through there.
| | 07:22 | And again, when I get these weird little
things that might happen I could just erase those.
| | 07:27 | So as you start to continually draw on
top of this, you start to build up the
| | 07:31 | beard so that your end result can be
something as complex as the one that we see here.
| | Collapse this transcript |
| Creating stubble| 00:00 | There is one feature of a man's face
that comes into fashion every now and then,
| | 00:04 | that is that little 11 o'clock shadow or
stubble that shows up in quite a few of
| | 00:09 | the young people in Times Square,
display that little stubble, and we see it here.
| | 00:14 | I'll see it in this guy here,
little stubble tight there.
| | 00:19 | That's what we are going
to cover in this tutorial.
| | 00:22 | How to create this little bit of a peach fuzz
on the areas of the chin and under the nose.
| | 00:28 | Looking at the Layers, we see that of
course at the top is the comp layer that
| | 00:34 | has taken all the layers and put them
into a single layer to be transported into
| | 00:37 | another file, but we come down here
and let's start closing some of these
| | 00:41 | folders, and right here we see that we
have, right about the head being clipped
| | 00:46 | by the head, we have the
Fuzz Shadow and the Fuzz.
| | 00:49 | So there go off the Fuzz Shadow, and
that's the dark tone, and then the Fuzz and
| | 00:54 | you use that it's a nice clean smooth face.
| | 00:57 | Now, they both have masks as you can see.
| | 01:01 | So let's go in here and create this look.
| | 01:03 | In fact, we'll do it right here on this face.
| | 01:06 | I am going to take these two away.
| | 01:07 | They no longer exists. We
are going to create our own.
| | 01:10 | The first one I am going to do is right
on top of here we are going to call this
| | 01:14 | the shadow, FS for the
Fuzz Shadow, just like here.
| | 01:17 | What I am going to do in this layer
is I am just going to take black and a
| | 01:22 | Paintbrush that's really nice and soft
and large, go even bigger, here we go.
| | 01:27 | That's a nice big size.
| | 01:29 | I am going to draw in here, and I am
going to lower the Opacity right off the
| | 01:31 | bat so it won't be so strong.
| | 01:33 | I am going to throw in there some tones.
I am going to make sure that there is
| | 01:36 | no activity at all on the brush except a
straight brush. I will make it a little bigger.
| | 01:41 | I am just starting to draw some grays in
these areas here, right in through there.
| | 01:46 | You notice that it's been clipped.
| | 01:48 | That's because if you noticed, when it
was created it was automatically being
| | 01:51 | clipped by the face.
| | 01:52 | All right, so I am going to go ahead
and just going to draw some tones right
| | 01:55 | where I want these tones to appear.
| | 01:57 | Right through here.
| | 01:59 | Nice, big, darker tones right in there.
| | 02:01 | So there is our basic fuzz, right,
this is the shadow of the fuzz.
| | 02:05 | So, I am going to bring down the
Opacity for that considerably so there's just
| | 02:09 | this little hint of the shadow.
| | 02:11 | And there are certain areas where I
might want to lighten it up a little bit so
| | 02:15 | there is where the mask comes in. So I
created a mask and using that same brush
| | 02:19 | with the same Opacity I am going to very
lightly touch certain areas that I want
| | 02:23 | to lighten up. I'm going here, reduce
that Opacity even more to about 20%, and
| | 02:26 | which is very lightly hit certain areas
that I want to lighten it up and kind of
| | 02:31 | shape it, right about there like that.
| | 02:33 | So there we have that shadow there.
| | 02:35 | That fuzz, all right.
| | 02:37 | So now, on top of that we're
going to create the stubble.
| | 02:40 | I will call it stubble.
| | 02:43 | So I am going to create a selection
right there for that area of the stubble and
| | 02:48 | I am going to fill that with any color,
white or black, in this case white, and
| | 02:52 | what I am going to do is I
am going to give it noise.
| | 02:55 | Give it a lot of noise, Add Noise, a whole
lot of noise. I may give it even stronger.
| | 03:01 | Click OK.
| | 03:03 | Now, let's get in close on this noise.
| | 03:05 | It's just a bunch of black-and-white
noise, so what I am going to do is I
| | 03:09 | am going introduce a little bit of gray by
giving it just a little blur, just a blur.
| | 03:14 | That will introduce a little gray into
that fuzz, which will allow me to then go
| | 03:19 | into Levels and reduce that noise.
| | 03:24 | So I am going to go in there and I am
going to start pulling these things down,
| | 03:28 | bring it away down to about like that.
| | 03:29 | See I am going to bring my whites in so
you can see I am getting those stronger
| | 03:34 | whites and really strong blacks.
| | 03:36 | Bring it way down, about like that,
click OK, and there it has created that.
| | 03:41 | Now, it's still not enough so I am
going to blur it again, just a little,
| | 03:45 | introduce more grays, and go into that
Adjustments one more time and to Levels.
| | 03:50 | Now if this was a low-res file you
wouldn't have to do the second step but since
| | 03:54 | this is a very high-res I am going
to have to do it in a couple of steps.
| | 03:58 | So here I am going to go in again and I
am going to push in my blacks, so that's
| | 04:01 | going to minimize the amount of black,
making the whites a little more visible.
| | 04:06 | So there we go and I am
getting those whites very strong now.
| | 04:09 | Bringing them in and bring those blacks down.
| | 04:11 | Click OK and there we can see that
we're starting to minimize the amount of
| | 04:15 | Noise that we have there
and we'll try one last time.
| | 04:18 | Again we'll blur it to introduce grays.
| | 04:20 | Those grays allow us to go in
there and really manipulate it.
| | 04:23 | In fact we'll do the blur twice.
| | 04:25 | And then go back in one more time to our Levels
and really push those blacks all the way down.
| | 04:32 | See how we've really got it toned down.
| | 04:35 | And then we bring those whites in and I
am going to bring back some of those blacks.
| | 04:40 | There we go.
| | 04:42 | Click OK and there.
| | 04:43 | Now we have this effect going on here,
which I am now going to take that layer
| | 04:48 | and I am going to invert it, so
I'll go in there and I'll say Invert.
| | 04:53 | So that now you notice that the dots
are black and the rest is white, because
| | 04:57 | we wanted to emphasize the dots and
since we were toning down the dots we were
| | 05:01 | increasing the black and making the dots
white where what we really want is black dots.
| | 05:06 | So now that we have this, I am going
to change the mode of that layer to
| | 05:10 | Multiply, and there is our little
stubble which I can now pull back and we can
| | 05:17 | de-select it, and I will
give the stubble a mask as well.
| | 05:21 | And now that I have this mask I can
select that entire area like right up here.
| | 05:26 | We'll just select this whole area
right through here and in here and just
| | 05:31 | immediately fill that with black to
have to have this foreground color.
| | 05:34 | So I am just in the mask. I'll just go
ahead and fill that with 100% of the
| | 05:39 | black, the foreground color, 100% normal.
| | 05:42 | And they are completely
disappeared in that area.
| | 05:44 | So now, with the Paintbrush with
lowered Opacity and a smaller size I'm
| | 05:49 | going to slowly start to soften up
that stubble and get rid of it in places I
| | 05:54 | don't want it and just slowly start to
shape the stubble into the area of the
| | 06:00 | face where I want it.
| | 06:01 | I get rid of it in places I don't. But
you notice that since I'm not working with
| | 06:05 | a fully opaque brush I am doing it gradually.
| | 06:08 | As I applied brushstrokes I'm just
getting rid of it in certain areas more
| | 06:13 | than others and soft.
| | 06:14 | It's a soft transition that I want to get.
| | 06:16 | I don't want it immediately make it
disappear; I want to soften it so I
| | 06:20 | am slowly doing it.
| | 06:21 | Changing the size of my brush where I
need to, and I am just going to in there
| | 06:25 | and slowly eliminating the parts of
the stubble that I don't want, leaving
| | 06:30 | behind just the area that I wanted and
there we have this unshaven young man,
| | 06:36 | the way it should look.
| | Collapse this transcript |
|
|
20. ClothingCreating fabric texture| 00:00 | The various garments through out this
scene in Times Square are made up of many
| | 00:03 | different types materials.
| | 00:05 | There is one in the movies that deals with denim.
| | 00:07 | In this one we are going to have a
simplified version of that denim material.
| | 00:11 | I am going to go in here and zoom
in on this little guy in the SUV right here.
| | 00:15 | And you see that his garment is
little more of a coarse type of material.
| | 00:19 | That's what we are going to
cover in this particular movie.
| | 00:21 | So we are going to go in
here and brand new file.
| | 00:25 | And I am going to create a little swatch,
just a little swatch right, which is
| | 00:28 | going to be the fabric.
| | 00:30 | And in a separate layer, everything
goes into its own layer, I am going to
| | 00:34 | fill it with a color that I want this
fabric to be. So let's just say we go
| | 00:37 | with that grey color.
| | 00:38 | Just go ahead and fill it with the grey.
| | 00:40 | And now we have that, we're going to
apply a Filter to that swatch of material.
| | 00:45 | And it's a simplified filter. It's right here.
| | 00:48 | It's under Sketch.
| | 00:49 | It's called the Halftone Pattern, which
was one of the filter that was used in
| | 00:52 | creating the denim but here it's the
only filter that's going to be used.
| | 00:56 | Click down Halftone Pattern.
| | 00:58 | We see that right now it's set to Lines,
so we are going to change that to Dots.
| | 01:03 | You could also have circles.
| | 01:06 | That's not quite what we want. We want dots.
| | 01:09 | And it creates this whole series of little dots.
| | 01:11 | We can increase the size of those
dots like so, and I can go in there and
| | 01:15 | play with the Contrast.
| | 01:16 | So if I bring the Contrast all the
way up, it's going to sharpen them up, a
| | 01:19 | bunch of little circles like that.
| | 01:20 | I could bring it down just a little
so that they go back to being squares
| | 01:23 | and then bring it way down so that it just
become a kind of blurry squares like that.
| | 01:27 | Click OK.
| | 01:28 | And there we see that we now have
this kind of a material right there.
| | 01:32 | Now, being a material, I can go in
there and create all these nice little folds
| | 01:36 | and stuff to it and that's
what I am going to do right now.
| | 01:38 | So I am going to go in here and just do
a little Warp on it. So go in there and
| | 01:42 | just kind of bring this guy over,
bring this in like this, and twirl his guy in,
| | 01:47 | and bring this guy over like that,
and bring this over, and just kind of
| | 01:53 | pull this guy out, and kind of bend it like so,
and we'll been this one in, and bring this up.
| | 01:59 | So there we can see we've added some
movement to this fabric, which now we have
| | 02:03 | to add a couple of little
Highlights and Shadows to it.
| | 02:06 | So what we are going to do is go in there
with our Burn tool and start to add some tones.
| | 02:10 | Now we can kind of darken these areas
right in here, as you can see that I am
| | 02:14 | doing just very lightly, just darkening
all those little tones right into that
| | 02:18 | area here, and maybe get larger areas
into this right here. We'll just add a
| | 02:22 | little darkening right
through this area right in here.
| | 02:25 | Now we can increase the Exposure
so that it will get a little darker.
| | 02:29 | There you can see that we are adding all
these nice little with dark tones along
| | 02:31 | here and so on, and a little
darkening right up into this area here.
| | 02:35 | And maybe some Highlights in a couple of spots.
So we'll go to our Dodge tool and we set it out.
| | 02:41 | Midtones is good, increase
that Exposure, and a bigger brush.
| | 02:45 | And we'll just throw a couple of
the highlights right through here and
| | 02:48 | right through there.
| | 02:49 | Now you can see we start to get
this sense of this fabric but it's just
| | 02:53 | one single filter that was used in this
particular to create that slight texture there.
| | 02:58 | Once it's put in to all the appropriate
folds and such you can even do a little
| | 03:01 | Puppet Warping in here to
really get some creases happening.
| | 03:05 | That's how you'll get that final
effect that you saw in the painting.
| | 03:08 | Now if you want to see that in
tighter detail, we'll zoom in on this fabric
| | 03:12 | right here and there you can see
a same fabric but there it's got a
| | 03:15 | little more control to it.
| | 03:16 | And a little tighter, the dots, so
that they start the form that kind of feel there.
| | Collapse this transcript |
| Creating stitching on cloth| 00:00 | There is another brush that made an
appearance several times throughout the
| | 00:03 | entire painting of Times Square and that
is a brush to create stitching, because
| | 00:07 | stitching appears in many places
and I'll show you a couple of them.
| | 00:11 | Here is my friend John.
| | 00:13 | I am getting in real close so you'll see
some of the stitching in this piece.
| | 00:16 | So we're getting close here on his arm.
| | 00:17 | You see the stitching on his shirt there,
and we see the stitching on the wristband.
| | 00:21 | And we come over here and see John
Knoll. If we get in close down here,
| | 00:24 | you'll see that there's stitching on
his shirt, stitching on his jeans, all
| | 00:28 | over the place there, and my wife on
her jacket, and so this jacket you see
| | 00:33 | there's stitching all through it in all
different parts, and even some of the billboards.
| | 00:38 | Like for instance we looked here way
back here in the central area you see there
| | 00:42 | is billboard right there, this little billboard.
| | 00:45 | If we go look at the billboard
itself, the billboard looks like this.
| | 00:50 | If we look at one of these boots,
I'll open up one of the boots themselves,
| | 00:53 | there is boot number 2, and if we get
in close in that, you'll see that there's
| | 00:57 | stitching all through that as well.
| | 00:59 | Even though in the actual painting this
doesn't even show up as anything, I created
| | 01:04 | it so it will be as close to
the real thing as possible.
| | 01:07 | So let's go in here and create a stitch.
| | 01:08 | Now to create a stitch like in any other
brushes that I've created I'm going to use black.
| | 01:14 | But what I am going to do is I am
going to start off by creating a little
| | 01:17 | elliptical selection right there like
that, and let's zoom in on it, so we can
| | 01:21 | see how it is going to look.
| | 01:23 | I am going to go ahead and fill that with black.
| | 01:25 | So just go in there and say Fill with the
foreground color at 100% Normal and fill it.
| | 01:30 | I am not going to duplicate it
straight across, holding down my Shift key to
| | 01:34 | constrain that and go straight
across and I can deselect it.
| | 01:38 | So now I have got two circles.
| | 01:39 | Using the Rectangular Marquee tool,
I am going to connect the two circles
| | 01:43 | by selecting the area right between
the two of them like that, and filling
| | 01:47 | that with black as well.
| | 01:48 | There you can see that I have this
long shape, little lozenge kind of a thing
| | 01:53 | right there, pulling back.
| | 01:55 | There we see that little lozenge.
| | 01:56 | So what I am going to do is I am going to
select that and say Define Brush Preset.
| | 02:04 | I can now throw it away.
| | 02:06 | Let's fill it with the background
color which is white, and we're done.
| | 02:10 | I am going to create a path myself here.
| | 02:12 | This is the path that the stitching is
going to travel along, okay? So it goes.
| | 02:17 | I like that.
Here is my stitching.
| | 02:19 | So we will go to Path and we
will save that path for later.
| | 02:23 | Now in my background I just throw a
color in here, just throw any kind of a
| | 02:27 | color, kind of like beige in there like
so, just fill that in there and then the
| | 02:32 | layer on top of this is where
we're going to create our stitch.
| | 02:35 | So we will call it Stitch.
| | 02:39 | So now I get my Paintbrush and I pick
up that brush right there which is at the
| | 02:44 | end of our little stack
where we recently created it.
| | 02:47 | I am going to go in here and I am
going to pick a deeper color that's going to
| | 02:50 | be the actual stitching.
| | 02:51 | So we'll go with say about like that.
| | 02:52 | There's a nice color right there.
| | 02:54 | So now, the brush does that.
| | 02:57 | So by going into the Brushes panel
we'll be able to go in there and modify it
| | 03:01 | so it looks like an actual stitch.
| | 03:03 | I am going to go in there and
let's bring the size down considerably.
| | 03:07 | That's a good size for our stitch.
| | 03:08 | Make it just a little bigger so we are
going to see the difference between what
| | 03:11 | we're going to do now, and I am
going to increase the spacing on it.
| | 03:14 | So it has enough spacing between it so
it looks like it's gone into the fabric
| | 03:18 | and out of the fabric, into
the fabric, like a regular stitch.
| | 03:22 | I am not sure what it looks like.
Look down at the shirt you're wearing.
| | 03:24 | There's probably stitching on there somewhere.
| | 03:26 | It's always good to refer to
reality to know how to recreate it.
| | 03:30 | Look at how things work and then you
can figure out how to do it in Photoshop.
| | 03:33 | Now that we have that, the brush is doing that.
| | 03:35 | So the last thing we have to do as we've
done in the previous brushes is go into
| | 03:39 | Shape Dynamics, turn off the control
for Size Jitter, and set the Angle Jitter,
| | 03:45 | Control to Direction.
| | 03:47 | Don't change any size on it, no
Size, no Angles, no Roundness.
| | 03:51 | You could change you Roundness if you
want to just stitching to be a little
| | 03:54 | squatter. See I can go in there and do that.
| | 03:58 | But you see how it's doing
that to individual strands.
| | 04:00 | Here is a case where I would control
the Roundness globally by going back
| | 04:04 | over here and dragging this guy over,
so I can make really thin strips or
| | 04:09 | wider strips and so on.
| | 04:10 | So now that I have all that, that's the
only changes I am going to make because
| | 04:14 | now you can see that it's
starting to take on the right form.
| | 04:17 | So what I am going to do here is I am
going to go to my path. I am going to take
| | 04:20 | that, make sure I am in layer, I am in
the layer Stitch, yup, take that path, I
| | 04:25 | am in the brush and I go ahead
and stroke it. Turn off the path.
| | 04:29 | Now there, now we've got the
basic stitch going into the fabric.
| | 04:33 | We want to go in there and give the
illusion that this stitching has caused a
| | 04:37 | dent into the fabric.
| | 04:39 | So I am going to go into my layer
styles and I need to have a nice even dark
| | 04:43 | color along the entire edge.
| | 04:46 | So I am going to give it an outer glow
because that's the only one that's going
| | 04:48 | to give me a color around the entire edge.
| | 04:51 | Increase the size a bit
like that and I'll change that from that
| | 04:56 | color to a deep version of this color
here because I am going to go to a really
| | 04:59 | deep version like that, way down here
like that, and change the mode from Screen
| | 05:05 | to Multiply, which is giving
me that dark tone that I want.
| | 05:08 | So I am going to go in there and
increase the size a little bit and maybe
| | 05:11 | lower the Opacity just a little bit.
| | 05:14 | Now, I am going to go to the actual
stitches and say give it a Bevel and
| | 05:17 | Emboss, which is going to give it that
nice little raised section right there.
| | 05:20 | And that white is a little too
strong so I am going to pick up this color
| | 05:23 | here and lighten it up just a little bit,
just so I get a little bit of a highlight there.
| | 05:28 | Bring the Size down just a little
so it becomes just a little edge.
| | 05:31 | Bring it down to about say 2 so I
get just a little edge on the string and
| | 05:35 | click OK and you see that we
have this nice kind of a stitch.
| | 05:39 | By creating a single tip that was
just two rounded edges with a straight edge
| | 05:43 | in between and it gave us our stitch.
| | Collapse this transcript |
| Creating a fabric design | 00:00 | Sometimes a stitch is a part of the
design, in which is not just a thread going
| | 00:05 | through fabric but it is
woven into the fabric itself.
| | 00:09 | In the Times Square, I'm in the center
of the painting here, taking a picture of
| | 00:13 | my wife, right there. That's me.
| | 00:15 | I am going to go to the actual
high-res version where we can see the detail
| | 00:19 | of the stitching here.
| | 00:21 | I am going to come in real close and
we see that the fabric has a design made
| | 00:25 | up of these little stitches that you see there.
| | 00:28 | So I am going to create that
kind of a thing for you right now.
| | 00:32 | Now let me pull back first and we'll
see that there are various paths for all
| | 00:36 | those different lines
that we see throughout here.
| | 00:39 | Let's get a little closer here.
| | 00:40 | And in our Layers, we just turn on the
background here and just see that by itself.
| | 00:45 | And we'll look at the Paths.
| | 00:47 | There is the path for the shirt.
| | 00:48 | There is pants down below.
| | 00:50 | Here is the lines on the collar,
which you see right up there.
| | 00:53 | Here is the lines on the
yolk of the shirt right there.
| | 00:57 | And here's the lines on the back.
| | 00:59 | All the lines that make up the
pattern on the back of the shirt.
| | 01:03 | There's lines on the front of the shirt.
| | 01:05 | Lines on the arm. Quite a few lines there.
| | 01:08 | Now these paths are all going to server as
guides to make a brush do what we want it to do.
| | 01:14 | So now I am going to go in
here and create a new file.
| | 01:16 | Where we're going to create that particular brush
that made those little designs in the fabric.
| | 01:22 | Now what it is, is just a
little rectangular shape like that.
| | 01:26 | Let's make it little thicker like that,
and I'm going to make it black, there it is.
| | 01:32 | So now, I can select that and
turn that into a brush preset.
| | 01:37 | We'll call this Design Stitch.
| | 01:42 | So now I throw it away.
| | 01:43 | And we are going to make that
brush behave the way want it to.
| | 01:50 | If I go in here and pick up that little
stitch right there, which right now is doing this.
| | 01:56 | So what we are going to do is we are going
to go into the panel and give it some Spacing.
| | 02:00 | There is that Spacing just like we did
with the embroidery and some of the others.
| | 02:04 | But here we are going to work
globally now. I'm not going to go into Shape
| | 02:08 | Dynamics and play around the angles, no.
| | 02:10 | Here I am going to set this to Direction.
| | 02:13 | I am going to bring the Size and the
Angle down, but I am going to set the
| | 02:16 | Angle to Direction.
| | 02:18 | And I am going to go back to Brush Tip
Shape where I am going to play with this
| | 02:22 | angle here, and I'm going to move
those guides so that they are in angle see.
| | 02:27 | They are all working globally because
I'm working with this control rather than
| | 02:30 | the individual tips that
you find under Shape Dynamics.
| | 02:33 | Here under Brush Tip Shape, it's
working with all the strokes together, so you
| | 02:38 | can see that they are all moving in
that same direction. There we go.
| | 02:42 | Bring that back down as I saw a couple were
touching. They shouldn't. So there we go.
| | 02:46 | That's down to zero.
| | 02:48 | So now that we have that we can go in
there and create the shapes that are
| | 02:51 | going to be our pattern.
| | 02:52 | Now the way it was done on the
shirt is I have these shapes like so.
| | 02:57 | So what I am going to do here is I am
going to modify these just to make it look
| | 03:01 | like what I had in the shirt.
| | 03:02 | So I am going to take three, right
there like that, and I am going to select
| | 03:06 | the two out of ones and this one here.
Those three and I am going to pick
| | 03:13 | kind of a grayish tone like this.
| | 03:15 | And I got the brush, which I am
going to reset its size, make it a little
| | 03:19 | smaller, about like that.
| | 03:21 | And in a layer, I'll go
ahead and stroke that path.
| | 03:27 | There it creates that shape.
| | 03:28 | Then I am going to get kind of a beige
tone about like this and select that
| | 03:33 | last path and go ahead and stroke that one.
| | 03:36 | And there you could see that there we
have the pattern that was woven into the
| | 03:39 | fabric made up of all these little stitches.
| | Collapse this transcript |
| Creating denim| 00:00 | There are many materials in Times
Square and one material in particular which
| | 00:04 | is pretty predominant in
our society is blue jeans.
| | 00:08 | Now we come in close, we see that quite a
few people are wearing blue jeans. There's some there.
| | 00:13 | These two people are wearing blue
jeans, here's more blue jeans, blue jeans here.
| | 00:18 | I am going to zoom in on this one here.
| | 00:19 | This is John Knoll, one of the co-
authors of Photoshop with his brother Tom.
| | 00:24 | And right here, we have the original
file that was created for the painting.
| | 00:28 | Let's zoom in down here on his jeans, and
we can see the denim material right there.
| | 00:33 | So what I am going to do is I am going to
show you how this denim material was created.
| | 00:37 | We have a new file here.
| | 00:39 | And I am going to fill this
file with a color for our denim.
| | 00:43 | So we'll pick a blue like that and
I am just going to go ahead and fill
| | 00:45 | that with that color.
| | 00:47 | Fill Foreground Color there.
| | 00:50 | So in the layer on top of this, I
am going to fill that layer with a 50%
| | 00:55 | gray, a neutral density.
| | 00:57 | Now I am going to return my colors to
black-and-white and I am going to use a
| | 01:01 | filter on this layer.
| | 01:04 | And I am going to go in there and
choose a particular filter that's going to
| | 01:07 | give me what I need, which is
Halftone Pattern under Sketch.
| | 01:12 | Now, I have quite a few things that I
can choose from. I am going to go in
| | 01:16 | here and choose Line.
| | 01:18 | I am going to bring the Contrast down 0
and I've got the Size to the default of 1.
| | 01:23 | I am going to click OK and that's going
to give me a bunch of nice little lines
| | 01:28 | based on my two colors of black and white.
| | 01:29 | I am going to give this another filter. I am
going to go in there and give this a filter.
| | 01:35 | Under Pixelate we'll find Mezzotint.
| | 01:38 | I am going to give it a Mezzotint,
which is set to Fine Dots as a default.
| | 01:43 | That's what I am going to use.
| | 01:43 | And you can see that it's going to
create a texture to my little lines.
| | 01:47 | Click OK and I now have
a texture to those lines.
| | 01:51 | I am going to duplicate that layer,
so now I have a duplicate of it.
| | 01:55 | I am going to pull back a little bit.
And I'll take that layer and I'm going to
| | 02:00 | rotate it 45 degrees.
| | 02:02 | So I am going to go in there and say
Rotate and holding down my Shift key to
| | 02:06 | constrain it, I am going to give it
a 45 degrees angle, just like that.
| | 02:09 | I'm now going to enlarge it.
| | 02:11 | Let's turn this off so
we can see the blank area.
| | 02:13 | I am going to enlarge it so
that it covers up the entire space.
| | 02:17 | I am holding down my Option key and my Shift.
| | 02:20 | That's Alt and Shift on a Windows machine.
| | 02:23 | I am going to pull out until I just
cover the entire area of the canvas, as you
| | 02:28 | see there, to make that happen.
| | 02:30 | I am going to come in real close and look
up this texture that I have created so for.
| | 02:35 | I am now going to turn on the one
behind it, which we don't see it because it
| | 02:38 | effect that these layers
are covering each other.
| | 02:40 | I am going to change the mode for these layers.
| | 02:42 | I am going to change this one here to a
Soft Light and I am going to change this
| | 02:47 | one here to a Multiply.
| | 02:50 | And there we see that the resulting
effect is that we have a denim type of
| | 02:55 | material that we can then use for our images.
| | 02:58 | I'm going to select the top layer here
and holding down my Option key, I am
| | 03:03 | going to say Merge Visible.
| | 03:06 | That's going to give me a layer that's
a composite of the three layers beneath it,
| | 03:10 | which has the entire fabric,
which I can now call it denim.
| | 03:17 | And I can use this file and drag this
layer over to every other file where I
| | 03:21 | need this denim material and
then use it from there on.
| | Collapse this transcript |
| Creating the look of stitched denim| 00:00 | What we are going to do here is
create the jeans that John Knoll is wearing
| | 00:05 | right here and create it complete with the
stitching and all the worn effects and so on.
| | 00:11 | So right here we have a blank screen
and I am going to go in here and create
| | 00:16 | the basic shape that's going to be the jeans.
| | 00:18 | So right here is going to be the
pocket, this is the pocket area, and we are
| | 00:22 | going to come over here and create this
little down here and just come over and
| | 00:27 | up and this is going to be a
little irregular through here.
| | 00:32 | And then close it off right there.
| | 00:33 | Right so this is the just basic
shape of what's going to be the denim.
| | 00:37 | Now, I am going to go in there and
create a series of lines which are going to
| | 00:41 | kind of follow this edge a little bit,
slightly different in certain spots.
| | 00:46 | So it starts to not look so rigid and
basically what this is going to be is the stitching.
| | 00:52 | So, I am going to go in here and
just let me grab these points down here.
| | 00:55 | Bring it down and then just continue.
| | 00:57 | We are just going to go in here and
just follow along this edge, like so.
| | 01:03 | Fairly close but not exact
because I want it to look a little off.
| | 01:06 | All right, there we go.
| | 01:10 | I am going to do the same
thing around the pocket here.
| | 01:12 | So I am just going to go in here and
just create a series of lines, two lines
| | 01:16 | here that just kind of follow the edge of
the pocket and double back on itself, like so.
| | 01:24 | These are going to represent this
stitching on the jeans, just going to
| | 01:28 | move these over a little bit, get them a
little closer and there is all our basic shapes.
| | 01:32 | That's it. So let's
save that path, so we have it.
| | 01:37 | So now I am going to go in here and I
have another file where I created some denim.
| | 01:42 | I am going to select this and make
sure I am in the right layer that has the
| | 01:47 | composite and I am just going to
copy it, go over to the file where I am
| | 01:52 | creating the jeans, and I am going
to paste it right here, there, and
| | 01:57 | we will call it material.
| | 02:02 | And I am going to duplicate it.
| | 02:03 | I want two of them.
| | 02:05 | So now right here I am going to create a layer,
background and this is going to be the jeans.
| | 02:12 | And in there I am going to take this path.
| | 02:13 | It is my basic path and let's turn off
these other two layers, so you can see
| | 02:17 | what I am doing here.
| | 02:18 | I am going to select this path right
here, which is the basic shape of my jeans,
| | 02:22 | right there and I am going to go in and
fill that with a color. It doesn't matter
| | 02:27 | what color because it's just going to
be active pixels which are going to be a
| | 02:31 | mask for the material.
| | 02:33 | So I am going to go in there and fill
that path with whatever color which right
| | 02:37 | now happens to be black
and I can turn off my paths.
| | 02:41 | Go over to my Layers and I am going
turn on the material and I am going to
| | 02:44 | clip it with the jeans.
| | 02:46 | Options/Alt, and click between the
two of them and there we see that we have
| | 02:49 | now put the material inside that area there.
| | 02:53 | Now, I am going to take this material
and put it behind the jeans back here.
| | 02:58 | I want to see just this area here so
what I am going to do is I am going to
| | 03:01 | select-- let's just turn
this jeans off for a second.
| | 03:06 | I am going to select this area right
here with my Lasso and when I have that I
| | 03:10 | am going to turn this layer
back on and I am going say mask it.
| | 03:13 | So now I am only seeing that
within that area because I masked it out.
| | 03:19 | So now I am going to take these jeans
right here and I am going to darken this.
| | 03:23 | I am going to select the actual layer
and with my Burn tool, I am going to go in
| | 03:26 | there and kind of just start to
darken this area, so it looks like it's the
| | 03:30 | recessed part of the pocket
or the jeans just like that.
| | 03:34 | So I am adding some tone there
which now I can see where it is.
| | 03:38 | So now I am going to add some stitching to this.
| | 03:41 | So right here to the top of my material
I am going to add my stitching so we
| | 03:45 | will call it stitching.
| | 03:46 | I am going to use a brush for stitching,
which is outlined in the chapter on brushes.
| | 03:51 | So I am going to go in there and I am
going to select the paths that make up the
| | 03:55 | stitching, which are this one and that one.
| | 04:00 | I am going to pick a color which is
good for denim stitching, which is somewhere
| | 04:04 | kind of beigey tone like that and I am
going to get my brush which is my stitch
| | 04:09 | brush right here, which right now is pretty big.
| | 04:12 | So if you know how to adjust it, I am
going to go in there and bring the size
| | 04:16 | down, give it a little spacing.
| | 04:18 | So we have a nice little spacing in
there about like that and make sure that I
| | 04:23 | have this off and Angle is off has
changed its size. We don't want any change
| | 04:27 | in the size but we do want the Angle
Jitter to be Direction. There we go.
| | 04:32 | So now that we have that, we are
going to take that, make sure we are into
| | 04:34 | right layer, yeah the stitching layer, take
that path and stroke it with that paintbrush.
| | 04:39 | Now we have the little stitching.
Let me undo that because I just noticed
| | 04:43 | something that my brush, the Opacity is lowered.
| | 04:47 | Bring that back up to 100% and I will
take that path again and let's go ahead
| | 04:52 | and stroke it with our brush.
| | 04:56 | Now we have the stitching. Now it's
overlapping. So it is a layer, I am going to
| | 05:00 | go ahead and clip that
one into the jeans material.
| | 05:03 | Now we see the stitching only where we want it.
| | 05:06 | So I am going to add a little detail
to that stitching. If I go in there and
| | 05:09 | give it a little Bevel and Emboss,
bring this down to about 1, increase the
| | 05:13 | Depth on it so we get some nice
lights and darks going on there, and give a
| | 05:16 | little Outer Glow, which I am going to
change to a dark tone, a deep blue like
| | 05:21 | that and set this to Multiply.
| | 05:24 | So I have a little indent into the
fabric and let's bring up that Opacity little
| | 05:28 | more so we have a little indent into the
fabric where the strings are going into
| | 05:32 | the fabric and I am going to click OK.
| | 05:35 | So now we got the little
stitching going on there.
| | 05:36 | Now we need to wear the fabric. So I am
going to go in there and I am going to
| | 05:40 | take the material off the jeans
themselves and I am going to add a little
| | 05:44 | dodging and burning.
| | 05:45 | I am going to go in here and just burn
right through here. I am going to add a
| | 05:47 | nice long strip right here. I am going
to kind of darken it and basically I am
| | 05:52 | looking at kind of the folds
that I created with the stitching.
| | 05:55 | You can see where it's going in there?
So I am going to add a little shadow right
| | 05:57 | in there, brush little smaller, little
shadow in there, little shadow in here,
| | 06:02 | and we can make our brush bigger and we
will darken this even more and then we
| | 06:05 | see a little one right here. We are
going to darken that and we started adding
| | 06:09 | some folds to this fabric.
| | 06:11 | Now I am going to go into my Dodge tool and
add a couple of highlights in certain spots.
| | 06:16 | Like right above those basic folds, so
I am going to go in here and just add a
| | 06:20 | little highlight right across there
like that, right across this top part there
| | 06:24 | and maybe a little one right
through here and right through there.
| | 06:27 | So now we started adding the little
folds to our fabric and we will even lighten
| | 06:32 | this area down here to just give
it a little wear kind of a look.
| | 06:36 | We are going to do the same thing to
this layer. We will add a couple of little
| | 06:40 | highlights right in here and add a
couple more little dark tones where we want it,
| | 06:46 | a little darker along the pocket
there and add a couple of little lines right
| | 06:50 | across there, so it's worn.
| | 06:52 | Now, the final touch to really make
it look worn is we are going to kind of
| | 06:56 | wear the fabric away.
| | 06:57 | I am going to pick a light blue, pick
a very light blue like about like that,
| | 07:02 | and a layer on top of the jeans, right
here on top of the material but below
| | 07:07 | the stitching, I am going to create a new layer.
There is a new layer. Right now it's blank.
| | 07:12 | I am going to take that path, the path
that's the basic shape of the jeans right
| | 07:17 | there and I am going to get my
paintbrush and I am going to choose a soft edged
| | 07:21 | brush like this one and make it
a little bigger, about that size.
| | 07:25 | That's good, right there.
| | 07:26 | I am set it at 100%.
| | 07:27 | I am going to go ahead and
stroke that path in that new layer.
| | 07:31 | So I am going to say stroke it and
stroked it with that light colored tone,
| | 07:36 | which I am not going to go into that layer.
| | 07:38 | It slipped inside there but I am going
to get rid of parts of it. So I am going
| | 07:41 | to get rid of this part. I don't want
this area in here and I don't want this
| | 07:46 | area down here. I am just erasing that part out.
| | 07:48 | I am going to soften up my eraser so
I can get real soft into these areas in
| | 07:53 | here and down in here, and we are going
to erase it right up here, this area here.
| | 07:59 | And then with my little Smudge tool
I am going to kind of just pull some of
| | 08:03 | these out in certain spots. I am going
to pull them out, make them a little more
| | 08:08 | irregular, just like so.
| | 08:10 | I'm just pulling little threads out,
just to kind of roughen that up a little
| | 08:15 | bit, right through here like that.
| | 08:17 | I am going to set that to the Screen and
lower the Opacity just a little bit like that.
| | 08:23 | Now with that same color, I am going to
create another layer and with my brush
| | 08:28 | I am going to go in here and start
adding small tones right in between the
| | 08:31 | stitching, right in here like that.
| | 08:32 | Let's turn off that Pen Pressure and I
am just going to add a couple of light
| | 08:36 | tones right through these little areas here,
which starts to give it that worn look.
| | 08:40 | You are not sure how these things
look? Go to your closet, look at your
| | 08:44 | jeans and see how they are worn and you can
get an idea of how these things should work.
| | 08:48 | So I am going in there and adding
these little tones and I am going to bring
| | 08:51 | down the Opacity for my brush down to about 70%.
| | 08:53 | I am just add a couple of
little tones in these areas here too.
| | 08:57 | I am just adding a couple of little
wears into all these areas, just messing it
| | 09:01 | up like that, and maybe a little
line going like that and I am going to go
| | 09:06 | in there, and I am going to blur this
whole layer that I just created, so I am
| | 09:10 | going to give it a little Gaussian Blur
just to soften it up a little more like
| | 09:15 | so and like that and change its Opacity,
bring it down just a little and set it
| | 09:21 | up to Screen also so that it's just
going to lighten those areas just slightly
| | 09:25 | like that and you can see that now we
have this nice denim material that's worn
| | 09:30 | into right places and gives
you the feeling of real jeans.
| | Collapse this transcript |
| Creating fabric folds| 00:00 | One of the most complex parts of doing
all the people in Times Square is not
| | 00:04 | really the hair, the eyes, or the faces.
It's actually the clothing, because of
| | 00:08 | all those pleats, and folds, and fabrics
is so crucial to get them right so that
| | 00:12 | they look like so a fabric
| | 00:14 | that it requires a lot of
care and attention to detail.
| | 00:17 | Even if the fabric is something really
soft like let's say let's zoom in on this
| | 00:22 | soft T-shirt type material right here,
a lot of folds that are going on there,
| | 00:26 | this denim back here has it's own
set of folds and so does that shirt.
| | 00:30 | Even if the shirt is nicely pressed
like these two right here, there is still a
| | 00:35 | series of folds that go into it and so on.
| | 00:37 | Let's get in closer, so you could see
there is all these intricate folds and stuff
| | 00:40 | that are happening through there.
| | 00:42 | Getting those folds just right is
important to make it look like real fabric.
| | 00:47 | Now it does help to have reference material.
| | 00:49 | If you want it to really look accurate
like, let's just say it's a client piece
| | 00:53 | and it needs to look right, it helps to
have some kind of reference material.
| | 00:57 | Easy to get. Just have your friend or
spouse put on a shirt and sit down or
| | 01:01 | whatever the pose going to be and
look at the way the fabric is moving.
| | 01:05 | Now to create those effects,
let's see how those are done.
| | 01:09 | Right here I have my friend John's
file right here and we're getting to close
| | 01:13 | on this you see that there are all these
little twists and turns to the fabric and so on.
| | 01:18 | Now this is a low-res file so we have
lost a lot of the detail in it, but there
| | 01:22 | is a lot of little fabric and
folds that are happening through there.
| | 01:25 | So what's going to happen is we'll see
that there are all these individual paths
| | 01:28 | for the different parts.
| | 01:30 | There is the paths for the shirt itself.
| | 01:32 | So I'm just going to turn this off for
now and look at those individual paths.
| | 01:36 | You are going to have the seam, the
cuffs, the two arms, and the body.
| | 01:40 | So that's what we are going to create here.
| | 01:42 | I've got the color of the
shirt already selected here.
| | 01:45 | So what I'm going to do is I'm
going to start to create these elements.
| | 01:47 | I'm going to start from the back forward.
| | 01:49 | So I'm going to select this back
arm right here and create a layer and
| | 01:53 | we'll call it back arm.
| | 01:55 | And I will go ahead and
fill that path with that color.
| | 02:00 | There is a cuff right there.
| | 02:03 | Now we are not going to get that far
so we don't need to do it so we are just
| | 02:05 | going to jump ahead to the body.
| | 02:07 | So I'm going to go in here and say the body.
| | 02:10 | Now we'll take that path and fill it as well.
| | 02:17 | And then the front arm right here.
| | 02:19 | So we'll go in there and create one
more layer and we call it front arm and we
| | 02:27 | fill the path with that color.
| | 02:28 | So there we have the three
basic shapes for our fabric.
| | 02:35 | Now you could go in on top of this and
add other colors with the mixer brush and
| | 02:40 | so on, but what I'm going to do is
actually kind of work with light itself.
| | 02:44 | I'm going to go in there and use the
Dodge and Burn tools to start getting the
| | 02:48 | dimension that I need.
| | 02:49 | So I'm going to turn on the paths. I see
where those shapes are and I'm going to
| | 02:53 | start with the body.
| | 02:54 | So I'm going to go to layer of the body
here and using my Burn tool I am going
| | 02:58 | to go in there and start to
darken certain areas that I need.
| | 03:01 | I'm going to select my Midtones here.
| | 03:02 | I am going to start to darken right in
there and underneath the arm where it's
| | 03:06 | going to go, right through here.
| | 03:08 | Now if I had a model here and I saw
exactly how it worked, I could create my
| | 03:12 | folds accordingly, but I'm just
going to kind of fake it and just make my
| | 03:16 | brush a little smaller and just going to drag
out a couple of dark tones right through here.
| | 03:20 | And out the hair like this and a
couple out there just like that.
| | 03:23 | So there is the body.
| | 03:25 | So now I'm going to go to the front arm.
| | 03:28 | I'm going to draw a bunch of little
tones right in through here and a bunch of
| | 03:31 | little ones right into this area here.
| | 03:33 | I'm going to see there is a fold there
and a fold... I'm going to kind of follow
| | 03:37 | the folds that are in here already.
| | 03:39 | So we're going to just kind of travel
along the arm here and just create all
| | 03:42 | these little folds right through here like so.
| | 03:45 | Then the back arm. I'll just make a
big dark tone right through here and a
| | 03:50 | bunch of small ones right through
there, following those individual little
| | 03:54 | folds right through there.
| | 03:56 | Now back to the front arm, I'm going
to add a little darkness to this edge.
| | 04:00 | So it's starts to give it a little more
dimension and make the body a little darker.
| | 04:03 | Now that I've done that I can see there
I need to make the body a little darker.
| | 04:07 | So now we can take the paths away.
We see where those individual shapes are and
| | 04:11 | now comes the real magic to
start to make this look realistic.
| | 04:15 | We've got the dark tones and let's
make sure we're in the front arm.
| | 04:19 | I might want to go in there and darken
the few more just darken this little more
| | 04:22 | darken this, darken in
there and start to refine
| | 04:26 | now that I'm getting in close and start
to really darken some of those edges to
| | 04:30 | see where I'm going and so on.
| | 04:32 | So now that we have these additional
dark tones added, all through these little
| | 04:36 | folds right in there.
| | 04:37 | And don't worry that they look sloppy.
| | 04:38 | We're going to finesse this in the few minutes.
| | 04:41 | I am going to add a couple of a larger
dark tones right up in this area here and
| | 04:44 | just kind of traveling with that shape there.
| | 04:46 | Now we're going to add some highlights.
| | 04:48 | So I'm going to go in there with my
Dodge tool and bring it down a little bit
| | 04:53 | and I'm going to just kind of right
along the top of these little edges here I'm
| | 04:56 | going to through a couple of
highlights in certain spots.
| | 04:59 | Maybe a bigger spot right inhere and
highlight right through there and maybe a
| | 05:03 | couple little small ones right in here.
| | 05:06 | And now comes the touches where we're
going to start to make this look realistic
| | 05:10 | and basically what we're
doing is finger painting.
| | 05:12 | Remember back in kindergarten when we
used to love finger painting? That's what
| | 05:16 | we're going to do here.
| | 05:17 | I am going to lock the transparency for
that layer so that nothing is going to
| | 05:21 | move beyond that and when we use the
Smudge tool to start to create our effects.
| | 05:26 | And let's get real close on this and
then I am going to bring down the size of
| | 05:30 | that tool to a small size and start to
push these tones around, back and forth.
| | 05:36 | So they start to smoothen out.
| | 05:38 | You can see I'm just kind of pushing
it around and I bring in different tones
| | 05:42 | and I start to get these sense of
the actual curvature of the fabric.
| | 05:46 | And in some case it kind of bends back
on itself so I can start to get a little
| | 05:50 | extra dark tone happening in there.
| | 05:52 | So I am just kind of moving these around
and I'm starting to create all these little
| | 05:56 | folds that are starting to happen.
| | 05:58 | Come down here and start pushing
these, so I'm pushing this around and I'm
| | 06:02 | starting to create all these little
soft edges that are starting to get that
| | 06:07 | sense off an actual fabric.
| | 06:08 | And let's give it this a little bend
here by going to back and forth between
| | 06:11 | the light and the dark.
| | 06:12 | And we get this little
bend in there in the fabric.
| | 06:15 | Then up, bring this one around.
| | 06:18 | And if I come in from the outside
here, sometimes you'll bring in some white
| | 06:21 | if there is white, even though the
area is locked, but in this case it's not
| | 06:25 | picking up anything so we're fine.
So we're just kind of push these guys
| | 06:28 | around back and forth.
| | 06:29 | Just kind of pushing things and I'm
playing with these and this is fairly freehand.
| | 06:34 | As you can see me doing here I'm
doing it fairly freehand so that it
| | 06:37 | doesn't require precision.
| | 06:39 | In fact, the fabric is so soft that if you
get too precise it's going to look too hard.
| | 06:43 | Even if the shirt is very starched and
pressed, it's still going to look too hard,
| | 06:48 | if you're not just giving a nice
soft feel as you move things around. Here we
| | 06:53 | got too far so let's push
back some of those dark tones.
| | 06:56 | And then the same thing here. I can start to in
the body go in here and lock the transparency.
| | 07:01 | I'm going to get here a bigger brush and
start to push these tones in and out so
| | 07:06 | it starts to sharpen that up a little
bit like in there and start the sharpen
| | 07:10 | these guys up and just like so.
| | 07:12 | And we're going to sharpen this guy up,
bringing some other tones and kind
| | 07:16 | of break it up a little, bringing
some of these darks, push a little bit of
| | 07:19 | this dark out here.
| | 07:20 | Let's push this out just a little and
bring it over, okay, and then just push this
| | 07:26 | out maybe and bring these out just like that.
| | 07:30 | And I've just getting all these
nice little folds starting to happen.
| | 07:33 | I might want to get a smaller brush and I
might want to increase the pressure as well.
| | 07:36 | I might go to 80% and which time I can
drag a really long line if I wanted to.
| | 07:41 | But we'll just keep it down to 50% and
just slowly start to bring out smaller
| | 07:45 | little curves and little
creases inside the fabric.
| | 07:49 | Just like so, giving it
all this nice little effect.
| | 07:53 | So after a while it starts to look like
all these nice little folds and fabrics
| | 07:57 | will look like the finished piece, which
has all this care and finesse taken to it.
| | 08:01 | And you can see all these little bends
going through here in these areas and
| | 08:04 | such and that's basically the
way the fabrics were created.
| | Collapse this transcript |
| Creating a texture on a shirt| 00:00 | In places where you are getting
very close to the subject like in this
| | 00:04 | particular case here, we are
looking really close at the blouse.
| | 00:08 | So we see that there is in fact a
fine weave in the blouse right here.
| | 00:14 | So we are getting real close so we can
see that and we see that there is a very
| | 00:17 | fine weave that's visible.
The fabric itself right through there.
| | 00:22 | So we can start to see it in these
different places and we can see how it's
| | 00:25 | taking on the contours
of the fabric as it folds.
| | 00:29 | So we need to create that kind of an effect.
| | 00:33 | Now in another movie I talk about
creating that pattern. Here we are going to
| | 00:37 | actually apply it to a fabric.
| | 00:39 | So I have another file here where I've
just created some simulations of some folds.
| | 00:45 | Now, we are not going to see the fabric
in the dark areas, but we are going to
| | 00:48 | see it going around the light areas,
because in the light areas we will see
| | 00:53 | through it and see that
darkness underneath and so on.
| | 00:55 | So we need to go in there and apply it.
| | 00:58 | First we have to decide exactly
how these fabrics are folding.
| | 01:02 | Now, the dark areas are going in, which
means these areas here are coming out in
| | 01:08 | a curved fashion is this area here.
| | 01:11 | It's curved like this and curved here
and curved there and then curved like that,
| | 01:17 | which means the fabric has to
follow all these individual folds.
| | 01:22 | That also means that we need various
sections of it so that we can manipulate
| | 01:27 | each one separately.
| | 01:29 | So I am going to go in here and in a
new layer I am going to go ahead and fill
| | 01:32 | it with the fabric that we create.
| | 01:37 | So I am going to click OK and right
off the bat we see that the existing
| | 01:41 | pattern is a little too big
for the fabric that we want here.
| | 01:45 | We want it to be a little bit finer.
| | 01:47 | So let me undo that.
| | 01:48 | I look at the size of this file,
and I see that this file is 900x700.
| | 01:54 | So what I am going to do is I am
going to go in there and create a new file
| | 01:56 | that's larger than that, much larger.
| | 01:59 | So I am going to go in there,
and say 1500x1200 and click OK.
| | 02:06 | So here is this much larger file and
here I am going to go ahead and in a new layer,
| | 02:12 | because I want it to be
transparent, I am going to go in and just fill
| | 02:16 | this with the pattern.
| | 02:18 | I will just say Fill
with the pattern. Click OK.
| | 02:22 | Now I have a much larger swath that I
can now do a Select All and copy it or I
| | 02:29 | can drag-and-drop if I was
working with the standard view mode.
| | 02:32 | But I am in dull-screen mode here so it
makes it a little difficult to do that.
| | 02:35 | I am going to deselect this or I
can even close it at this point.
| | 02:39 | I have it in memory.
| | 02:41 | So I am going to go in
there and just close this.
| | 02:44 | Back here again, I am going to say Paste.
| | 02:49 | There is my fabric, right?
| | 02:51 | Looks the same as it was before because
in fact that we filled it the same size.
| | 02:54 | But when we pull back, we will see that
there is a lot more to this particular layer.
| | 03:00 | So I am going to go in and say Scale.
| | 03:02 | There we see that we have all
this additional space for it.
| | 03:05 | So I am going to go in there and
shrink it down. I am holding down my Shift
| | 03:09 | key to just keep it constrained and I am
shrinking it down to the size of this
| | 03:12 | file that I have here.
| | 03:13 | Click OK and now we see that
we have the size that I want.
| | 03:18 | Nice size right there.
| | 03:20 | Now, I need one, two, three, and four,
I need four different pieces of it.
| | 03:27 | So I am going to go ahead and create
three more copies to give me a total of four.
| | 03:32 | There we are!
| | 03:32 | So now I am going to go in there and
turn these guys off for now. I am just
| | 03:35 | going to work with this one where I
am going to go in there and start to
| | 03:38 | manipulate parts of it.
| | 03:39 | I am going to come in here and this
is going to be this corner up here.
| | 03:43 | So I am going to go in here and just
drag this up a little bit so that I have
| | 03:46 | some room to work with and I
really don't need all this extra stuff.
| | 03:49 | So I am just going to kind of dump this.
I don't need that part. It just gets in my way right now.
| | 03:55 | So I don't need to see it.
| | 03:55 | So now this is what I want to manipulate.
| | 03:57 | So I am going to go into my Warp tool.
| | 04:01 | And in Warp I am going to go in there
and stretch this out so that it follows
| | 04:05 | that contour that I have there.
| | 04:08 | Just drag these over, drag them down,
and I can get rid of the excess later.
| | 04:13 | There is no problem with that.
| | 04:14 | I am going to bring this guy way up here,
way over and bring this right in there.
| | 04:19 | I am going to start dragging these
points and start pulling this around.
| | 04:23 | Now it really needs to curve around.
| | 04:25 | So what I am going to do is I am
going to start to have these areas just
| | 04:28 | curve, just like that.
| | 04:30 | And here you can see I am starting to
get this nice curve happening in there.
| | 04:35 | Now, you can exaggerate it if you want.
| | 04:36 | So what I am going to do. I want to
exaggerate this so I get this really fine
| | 04:41 | curve happening in there,
just like this, there we go.
| | 04:46 | We have it the way I want it. Click OK and
there is this nice little curve in there.
| | 04:50 | Now again I can get rid of the excess.
| | 04:52 | I don't need to see this stuff. And then
I am going to go in and I am going to
| | 04:57 | give it a mask so that I'll
only see the parts that I want.
| | 05:01 | So I give that layer a mask and I can
go in here and very lightly and I say
| | 05:06 | lightly because I am going to bring
down the Opacity to about 27 or whatever.
| | 05:10 | I am just going to go in there and
paint-in the mask the parts I want to hide.
| | 05:14 | And you can see I am not doing in one
complete stroke. I am doing it in multiple strokes.
| | 05:17 | I can slowly start to erase it
so I don't get this hard edge.
| | 05:22 | I just kind of very
slowly start to soften it up.
| | 05:25 | And there you can see I start to have
that nice little curve in there and I am
| | 05:29 | just having the fabric
exposed just where I want it.
| | 05:30 | So now this side would be the same thing.
| | 05:34 | So we'll go in there and let's pull back
and look at the next bunch. There it is!
| | 05:40 | So right off the bat I am going to
just dump this whole area right here.
| | 05:44 | Don't want that. Or do I?
| | 05:47 | And I want to make sure I am in the right
layer, and there you go! Take care of that.
| | 05:51 | All right! So now I have got this piece.
I am going to bend that in the opposite direction.
| | 05:56 | So I am going to go in there and say Warp.
| | 05:58 | I am going to drag it and do
the same thing I did before.
| | 06:01 | I am going to go in there and just
pull these guys all the way around.
| | 06:06 | So I start to really exaggerate my
distortion here, and I get this nice curve.
| | 06:13 | And I start to play with it and here I
just get this little bend going down this way.
| | 06:18 | All right! So it's just going to go this way.
| | 06:20 | I get this little light area happening,
or actually it should be the opposite.
| | 06:23 | It should be going up this way.
| | 06:25 | So we'll just start to bend these guys
up, start getting that curvature, bring
| | 06:30 | this down, bring these handles over.
| | 06:33 | So you see that's giving us the
ability to go in there and start bending this
| | 06:36 | just the way we want.
| | 06:37 | I start curving this around that way,
bring this over some more so we get more
| | 06:44 | of the twist and bring this guy out
and curve that and bring this up.
| | 06:51 | And there we're starting to
get this distortion on this side.
| | 06:58 | Once I have it the way I want it, make
it happen. Get rid of this little excess
| | 07:03 | in here, don't need that,
and give that a mask as well.
| | 07:08 | I will do the same thing on this side.
| | 07:10 | Just go in there and start to just
paint this off just like that, just so
| | 07:16 | we start to expose just the parts of
that texture the way we want them, right
| | 07:20 | in there like that. Now we have this.
| | 07:23 | You can have all this probably with
just one, and I am going to bring down the
| | 07:26 | Opacity a little bit so I can kind of
really see the thing underneath there. All right!
| | 07:30 | And I am going to take away this piece
here and take away this piece here just
| | 07:36 | so that becomes visible
so we can see what we want.
| | 07:38 | Okay, so now that we have this.
| | 07:40 | This piece here will now be
warped to follow that contour.
| | 07:44 | Now here we've got to
really start to manipulate this.
| | 07:47 | I am going to pull this guy up. I am
going to bring this down and bring this in.
| | 07:52 | So I am going to start to
tighten it up on top here.
| | 07:55 | I am going to tighten this area up.
| | 07:57 | So I am going to pull this in
and I pull these guys down.
| | 08:01 | And then I am going to follow this curve.
| | 08:03 | So I am going start to bring
this guy around just like that.
| | 08:06 | You can see where I am
getting this nice little angle here.
| | 08:09 | I am going to bring this in right to that
edge and then have these guys kind of follow.
| | 08:14 | These are the sides of the fabric
and it's just going to follow that whole
| | 08:18 | movement right there and
tighten this up even more.
| | 08:21 | So there we can see it is just
starting to wrap around the light area.
| | 08:25 | I am just going to thicken this a little
just so that it starts to fill up right
| | 08:29 | in there, move this over,
so just a little into that area.
| | 08:32 | And there you can see we are
getting this nice curvature.
| | 08:35 | I am going to curve this down here even more.
| | 08:41 | There we can see where we are
getting that nice curve and I click OK.
| | 08:45 | Let's bring the Opacity back up.
I think we get away with just the three
| | 08:48 | pieces at this point.
| | 08:49 | So I am going to go in there and give that a
mask and just hide all the parts I don't want.
| | 08:54 | I can erase or just hide, which is
what I am going to do here. I am going
| | 08:58 | to just hide this whole piece here,
get rid of that, and then start to
| | 09:03 | soften up this edge.
| | 09:04 | Just going in there and erasing, and
I am just going to go and soften that
| | 09:09 | edge so it just blends right in with
that fold right through there like that.
| | 09:14 | Soften this edge right through there, make it
all disappear, exposing only the parts that I want.
| | 09:22 | I start to soften this edge and then
I could just go in here back into the
| | 09:28 | layer and just eliminate this piece.
| | 09:30 | I don't need to spend time
covering that. Just dump that.
| | 09:33 | There we can see that now we have
this fabric that's just following the
| | 09:37 | movements of the fabric and we are
getting the texture just where we want tin
| | 09:41 | the areas that we need and you start
to get this realistic looking texture.
| | Collapse this transcript |
| Creating patterned pants| 00:00 | Patterns are fairly easy to create
but sometimes those patterns need to be
| | 00:04 | manipulated to make them look real.
| | 00:06 | Julian Kost here is wearing these pants
that have this very intricate little pattern.
| | 00:12 | It's just made up of these little squares
and these tinier squares inside and so on.
| | 00:17 | But you could see that it's all folding and
following the folds of the fabric and so on.
| | 00:21 | So that's what we're going to create now.
| | 00:22 | If I go over here, the file where I've got a
path that I created. It's going to be the leg.
| | 00:29 | So right onto this leg we're going to
create that pattern and make it look right.
| | 00:33 | So I am going to go in here and I am going
to select the colors that I want for this.
| | 00:37 | So we'll go back to that other file
and we'll pick the colors that we need.
| | 00:41 | So we see that we have these two
different types of purplish color here.
| | 00:45 | So what I am going to do is I am
going to select the dark one for the
| | 00:48 | foreground and holding down my Option/
Alt keys and clicking on the light tone
| | 00:53 | so I have it for the background.
| | 00:55 | So there is that two tones that I want.
| | 00:57 | I could possibly make them a little
bit darker just to give them a little
| | 01:00 | more contrast and make this one a
little lighter just to make it look a
| | 01:05 | little more defined.
| | 01:07 | Okay, so there. Now that we have the
tones that we want let's go back and
| | 01:11 | create the pattern itself.
| | 01:14 | Now the whole point to a pattern is
that you need perfect symmetry, so that the
| | 01:18 | step and repeat process will be seamless.
| | 01:20 | So I am going to view my grid
so I can make a nice solid pattern.
| | 01:25 | I also need the pattern to be fairly
small so I am going to increase the
| | 01:30 | Subdivisions for this grid right here
and bring it to a fairly high number so I
| | 01:37 | have really tiny little
boxes that I can work with.
| | 01:39 | That's good enough!
| | 01:40 | So I click OK and now I am going to go
in here and start to create my pattern.
| | 01:44 | So I have got my path lit so I can kind
of see where I am going, and that looks good.
| | 01:49 | So now I am going to go in here and
just pick an area like this one right here.
| | 01:53 | That little shape right
there is going to be my pattern.
| | 01:57 | I can now turn off my path.
| | 01:58 | I don't need it anymore and what I am
going to do with this is I am going to go
| | 02:02 | ahead and fill that with that dark tone.
| | 02:04 | So I go in there and say Fill
with the Foreground Color. Do it.
| | 02:10 | Then I am going to select the little
squares inside, those two, and I am going
| | 02:16 | to say Fill with the Background Color.
| | 02:22 | Now I am going to select that shape
there and I am going to duplicate it
| | 02:26 | straight down so that it butts up right
against it, right there in that corner.
| | 02:30 | Now I am going to select this side.
| | 02:31 | I am going to go in there and say Fill
with the Background Color. Select the two
| | 02:39 | squares inside and say Fill
with the Foreground Color.
| | 02:46 | And like I did before I am going to grab
that whole bunch and duplicate it down here.
| | 02:52 | I have now set up my pattern.
| | 02:54 | I can select all four little
rectangles there and say Define Pattern.
| | 03:00 | Now I can throw it away.
| | 03:06 | Don't need it any more. And we still got
our background color so we'll do it this way.
| | 03:10 | Just take this over and
copy it over. There we go.
| | 03:14 | So now let's pull back and we have our
pattern so we no longer need to see the grid.
| | 03:22 | So let's turn off the grid.
| | 03:25 | Now I have that leg there and in the
layer, go in there and create this layer
| | 03:29 | and we'll call it leg.
| | 03:30 | I am going to create another layer here.
| | 03:35 | In the leg layer I am going to
just fill that path with a color.
| | 03:39 | So we'll just go in and say fill it.
| | 03:41 | And I am going to create another layer,
which I just did, and in that layer I am
| | 03:45 | going to put the pattern.
| | 03:46 | I am going to go ahead and
fill that layer with that pattern.
| | 03:51 | I select Pattern and I
choose that tone. Click OK.
| | 03:59 | There it is.
| | 04:00 | So there's my basic pattern.
| | 04:02 | So now I am going to go in
here and turn off that path.
| | 04:05 | I saw it was still on there.
| | 04:07 | I am going to go in here and I am going
to trap this pattern inside off the leg.
| | 04:12 | So I don't need all of this so I am
going to kind of get rid of some of it.
| | 04:16 | I am going to go in there and select
the small portion of this. Let's pull back
| | 04:19 | a little bit so we can see
what we're working on here.
| | 04:22 | I am going to select the portion
right there like this and just dump it
| | 04:26 | and select this little side here and dump it,
just so we don't not need all that excess stuff.
| | 04:31 | And there I have the pattern.
| | 04:32 | I am going to clip it inside the leg.
| | 04:34 | Holding down my Option/Alt key I am
going to click between the two and now
| | 04:38 | we've trapped the
pattern inside of the leg area.
| | 04:42 | This pattern now has to
follow the contours of the leg.
| | 04:46 | So what I am going to do
is I am going to warp it.
| | 04:48 | You'll notice that I am still in the
layer with the pattern, so I am going to go
| | 04:52 | in there and I am going to say Warp.
| | 04:54 | And I am going to warp it over so it
starts to match the angle of the leg itself.
| | 05:02 | Now I am not bringing it all the way in
because what's going to happen is I am
| | 05:05 | going to start to lessen the thickness
in certain areas so it's going to have
| | 05:09 | this feeling like it's getting
thinner as it goes around her leg.
| | 05:12 | As you could see it's
starting to happen right there.
| | 05:14 | Right here the little lines are getting thinner.
| | 05:17 | Let's bring this over, bring this
around this way, so you could see how the
| | 05:21 | pattern is starting to
take on the shape of the leg.
| | 05:24 | If I can grab these handles, let's
bring this one over, bring this one up and
| | 05:29 | you could see how we're starting to
bend this and it's starting to take on the
| | 05:33 | form of the leg itself.
| | 05:35 | Down here we'll bring this
one in. Bring this in like this.
| | 05:40 | Bring this one out.
| | 05:42 | And there we're starting to get
that shape of her leg right in there.
| | 05:45 | All right, so now the pattern is following
the contours of the leg, so we'll say OK.
| | 05:52 | So now we have a couple little bends here and
there where it's going to pinch this fabric.
| | 05:57 | So here's where the Puppet
Warp is going to come in.
| | 05:59 | So I am going to go in
there and say Puppet Warp.
| | 06:03 | Now I want to go in there and
just manipulate certain parts.
| | 06:06 | I am going to expand this.
| | 06:07 | I want this to be a little more dense.
I want to be able to have More Points in
| | 06:11 | this so I increased the number of
polygons that make up the mesh. Now I don't
| | 06:16 | need to see the mesh so
I am going to turn it off.
| | 06:17 | So now I am going to go in here and
start to anchor certain parts that I
| | 06:21 | don't want to move.
| | 06:22 | So I am going to go over it like right
down through the middle right here
| | 06:26 | and just add up some points.
| | 06:28 | These are points that are just going
to be used for the point of anchoring.
| | 06:33 | I am going to start adding some points
on this edge that kind of parallel the
| | 06:36 | others right there, and a couple on this side.
| | 06:43 | So I am getting a whole series of points
that I am going to be able to manipulate.
| | 06:46 | Now I can go in here and start to
add points that will be used to bend
| | 06:50 | things, like this one.
| | 06:51 | I am going to just going to drag this
one in just a little bit so I get that
| | 06:54 | little bend right there.
| | 06:55 | And maybe I'll add one right here so
I can twist this in just a little bit.
| | 07:00 | So I am getting this little pinch
in the fabric, a little pinch right here as
| | 07:04 | well and maybe one right
there which I can pinch up.
| | 07:07 | So I am getting these little
bends in the fabric at certain points.
| | 07:11 | I am going to add another one right here,
where I can kind of bend this one in
| | 07:14 | and one here where I can bend this one down.
| | 07:17 | So I am getting a couple little bends
that I could just go in there and just kind
| | 07:21 | of twist it around so I
could see what's happening.
| | 07:23 | I am going to grab one right here
and I want to anchor it on this side.
| | 07:26 | I don't want to bend that side so I just want
to bend this in just a little so I get a
| | 07:29 | little pinch in the fabric right there.
| | 07:31 | And we'll add another one right there
and just kind of bend this over that way.
| | 07:36 | That's good enough!
| | 07:37 | I am going to click OK.
| | 07:39 | And now we would have all
these little twists in the fabric.
| | 07:42 | So on top of this I am
going to add another layer.
| | 07:44 | This layer is going to have the dark
tones that are going to be in there for
| | 07:48 | these little recesses.
| | 07:49 | I am going to go ahead and clip that
with this as well and I am going to use a
| | 07:54 | black which I am going to go in with
a soft brush and just kind of start to
| | 07:58 | draw in where I noted these dark
tones should be, right in there like that.
| | 08:03 | Add another one right in here and in there.
| | 08:06 | Actually that one should be more like up above
here like that and let's do a couple in here.
| | 08:12 | And I want to just darken this whole side
of the leg now because this is the back side.
| | 08:16 | This is starting to add the
dimension to the leg itself.
| | 08:19 | So I am adding all these tones right
along the sides here like that and here I
| | 08:24 | am going to add some more folds.
| | 08:25 | So I am going to get a smaller brush and
I am going to just kind of add a couple
| | 08:28 | little folds in there and a couple of
little highlights in certain spots where I
| | 08:33 | feel they should be.
| | 08:34 | There's the dark tones and the dark tone there.
| | 08:38 | We'll just darken this whole area right up here.
| | 08:40 | All right, so there.
| | 08:43 | Those are those dark tones,
which we're going to set to Multiply.
| | 08:45 | We just darken that area a little bit
and I am going to add another one which I
| | 08:50 | am also going to clip.
| | 08:50 | Now this one is going to have
white and white is going to be the
| | 08:54 | little highlights here.
| | 08:55 | So we're going to add a little
highlight right into this area right in there.
| | 08:58 | Now you notice that I am using a
lowered Opacity brush so I am not getting
| | 09:01 | really strong tones.
| | 09:03 | And I am going to go in there and with a
much smaller brush just add a couple of
| | 09:06 | little highlights in certain spots
where I want them to be looking like this.
| | 09:10 | There is a little fold in the fabric
there and right above the knee here,
| | 09:14 | and then just add a little highlight right
through the center part there, right there.
| | 09:17 | And there you can see how we've pretty
much taken that pattern and distorted
| | 09:22 | it and shaded it so it starts to look
like that pattern is in fact part of a pant leg.
| | Collapse this transcript |
| Creating ribbing on T-shirts| 00:00 | Patterns are the solution to so many
situations that come up in imaging.
| | 00:04 | Take for instance right here.
We're going to look at this T-shirt that we have.
| | 00:07 | Now we are going to get a little
closer here and zoom in on this.
| | 00:10 | You see that it has got this nice
little ribbing, little tiny ribbing right on
| | 00:14 | the edges of the T-shirt.
| | 00:16 | Another file with a
similar ribbing is this one here.
| | 00:20 | Here we are looking at ribbing on
the edges of the sleeves, all these nice
| | 00:24 | little simple lines that
also then wrap around the edges.
| | 00:28 | Let's go in here and
create that kind of a pattern.
| | 00:33 | The pattern is simple.
| | 00:35 | In this particular case,
it's extremely simple.
| | 00:37 | I am just going to go in there and
create a long vertical line like so and we'll
| | 00:43 | get in real close so we
could see what's going to happen.
| | 00:44 | And I am going to fill that with a gray.
| | 00:46 | We will fill that with a
nice deep gray like this.
| | 00:49 | I will just go ahead and say Fill with
the Foreground Color and there it is.
| | 00:54 | Now, selecting this, there is where
you are going to create the pattern.
| | 00:59 | If I was to select it like this, well
this area here of white does become the
| | 01:04 | pattern, so the next line next to
this one would be way over here and it
| | 01:10 | would be a very wide rib.
| | 01:12 | But in the case of a T-shirt or other
cloth that had that kind of a texture to
| | 01:16 | them, the ribbing is very
tight. It's very close.
| | 01:19 | It's almost the thickness
of the threading itself.
| | 01:21 | So, I am going to go in here and make a
selection that's twice the thickness of
| | 01:26 | this actual piece here.
| | 01:27 | So, let's get in real close so we
can see what's going to happen here.
| | 01:30 | We see that thickness of our rib right
there and double the size right there.
| | 01:35 | Now, you might want to have this even
softer, so what I might want to do is to
| | 01:39 | go in here and blur this just a little bit.
| | 01:42 | We will give it a little blur, not a
Blur More, not a Gaussian Blur. Maybe a
| | 01:46 | second one just to soften
it up just a little bit.
| | 01:49 | So, now I am going to go in there
and select it from the center now.
| | 01:52 | And I'm going to select it so that I
have a selection right about like that.
| | 01:57 | So now this space here plus this one will tell
me how close it's going to be to its neighbors.
| | 02:01 | Now, it's just about twice the width of
the line itself, which means these lines
| | 02:06 | are going to be fairly close to each other.
| | 02:08 | I came on this side because in fact
that I do have this anti-aliasing on this
| | 02:11 | edge caused by the blurring.
| | 02:13 | So, now that I have that selection right
there-- and that's all I need to select.
| | 02:17 | I don't need to select the entire line.
| | 02:19 | I can select the small portion of it.
| | 02:21 | I'm going to go in here and say Define Pattern.
| | 02:25 | And you'll notice how
it's showing me the pattern.
| | 02:27 | It's just one pixel slice,
because it's all continuous.
| | 02:31 | It doesn't need to have all that information.
| | 02:32 | It just looks like one pixel
slice right there. And click OK.
| | 02:36 | So, now that we have that, I can throw
this away. We don't need to see this anymore.
| | 02:40 | I didn't put it in a layer but that's
okay. We just go in here and say Select
| | 02:44 | All and delete it, Fill,
Background Color, and there it is.
| | 02:47 | So, now let's pull back and I've got a
couple of paths here that make up the
| | 02:53 | top of the T-shirt.
| | 02:54 | So, let's go in here and
pick a color for our T-shirt.
| | 02:57 | Let's say a slightly off-white like that.
| | 03:00 | I'm going to select that path now.
| | 03:02 | This is the path right here for the T-
shirt itself and in a layer right on top
| | 03:07 | of this, we will call this shirt body.
| | 03:10 | That way we know that this
is different from the collar.
| | 03:13 | And I will go ahead and
fill that path with that tone.
| | 03:17 | So, now I am going to select
this part of the collar right here.
| | 03:20 | I am going to create another layer and I
am going to call this layer collar left.
| | 03:30 | And I am going to go ahead and fill it
with that color there too just so that we
| | 03:34 | have some tone inside there.
| | 03:36 | I am going to select this one and
create another layer, which of course we are
| | 03:41 | going to call collar right,
and fill the path with that tone.
| | 03:49 | So, now we have these basic shapes.
| | 03:51 | We can turn off our paths.
| | 03:53 | We no longer need them.
| | 03:54 | So, I am going to select a long
rectangle right across here, fairly large
| | 03:59 | in size, about like that.
| | 04:01 | That's going to encompass the entire
area of the collars themselves and in a
| | 04:05 | totally separate layer.
| | 04:06 | I want to call this layer ribbing, and
I am going to go ahead and fill that with
| | 04:15 | that pattern we just created.
| | 04:16 | So, go down here and say
Pattern and there is that pattern.
| | 04:21 | You can see that it's looking
at it as a single pixel length.
| | 04:24 | Click OK and there you can see that we
fill that selection with the pattern.
| | 04:28 | Now, this pattern right now is fairly large.
| | 04:31 | That's why it created these big sections,
because we are going to go in there and resize it.
| | 04:35 | I can deselect it now and what I am
going to do is I am going to duplicate it.
| | 04:39 | So, I can have two. Why?
| | 04:41 | Because we have two have sides of the collar.
| | 04:44 | So, let's turn one off for now and we'll
work with this one, which we are going to
| | 04:48 | put right here by collar left.
| | 04:50 | Now you see that collar right came out
in front because we're behind that there.
| | 04:55 | So, I am going to take this guy right now
and I'm going to clip them with collar left.
| | 04:59 | So, I am going to click on it right
there and we can see that is now contained
| | 05:03 | inside of that area.
| | 05:05 | So, now we are going to go in there and
distort this to get the effect that we want.
| | 05:10 | I am going to do that by warping it.
| | 05:12 | This warping is going to give us the
ability to go in there and make all
| | 05:15 | kinds of transitions to this, so I am
basically going to warp it to follow
| | 05:19 | the shape of this collar.
| | 05:21 | So, you can see I am pulling these
handles up so that I got that edge like that.
| | 05:25 | I am going to bring this one down, way
down here like this, and then bring these
| | 05:30 | handles over so that they
match where I'm traveling.
| | 05:34 | Set that up and bring this guy over
this way and this long one here we are
| | 05:39 | going to bring down, bring this one over.
| | 05:42 | And you can see how we are starting to
distort our little collar here so that we
| | 05:47 | get the angles that we want and then
we got to have to bring these handles in.
| | 05:53 | Here I am actually working with the
points themselves, the shapes inside.
| | 05:56 | I am going to keep moving these
until I have the right angles.
| | 05:58 | See there is the angle
that I needed, right there.
| | 06:00 | So, I am going to twist this around
and I am going to bring this over.
| | 06:03 | Now, I got a concentration here, so I am
going to move these so I start getting
| | 06:07 | the concentration on the other side.
| | 06:09 | So let's just move these guys around
until I am starting to get the right
| | 06:12 | angles that I want.
| | 06:13 | Here I want to be fairly straight up
and down, so I am going to pull this guy
| | 06:17 | way up like this so that they start to
curve on that side, and I am going to
| | 06:22 | kind of straighten these out.
| | 06:23 | So, you can see I am doing these all
visually and I haven't done anything,
| | 06:27 | I haven't committed anything to the image yet,
until I click OK and this all falls into place.
| | 06:32 | So, you can see I am constantly
modifying this until I get all of the
| | 06:35 | right angles that I want.
| | 06:36 | So, I am curving this up a little bit
right in there to follow that little curve.
| | 06:40 | I got these guys going straight down and
I'm playing around with it until I have
| | 06:44 | it just the way I wanted,
and there's what I want.
| | 06:46 | So, now I hit Return and I get the
little ribbing. Which I am now going to put
| | 06:50 | this into a mode because right now we
have that white showing through it and I
| | 06:53 | would like it to be that other tone underneath.
| | 06:55 | So, we will try a few different modes.
| | 06:57 | I can try Screen, which is going to
give us the light tones in there.
| | 07:00 | Now we maybe want to do Multiply.
Nah, it's going to darken it too much.
| | 07:04 | So, we might want to go in
there-- and in fact, you know what?
| | 07:06 | The Multiply does look good because I
do want to emphasize the dark tones and
| | 07:10 | leave the grays of the T-shirt to come through.
| | 07:13 | So, to make it blend in better, I am
simply going to bring down the Opacity.
| | 07:16 | So, I am lowering the Opacity to get just
that little hint of the ribbing in there.
| | 07:21 | Now, once we start adding a little
texture to this later as you will see in a
| | 07:24 | minute, this will all
start to really come to life.
| | 07:27 | Now, we are going to look at this
ribbing, which I am going to do the same
| | 07:30 | thing. I want to clip it
to the collar on the right.
| | 07:33 | So, I am going to select that layer
and as I did before, I am going to go
| | 07:36 | in there and say Warp.
| | 07:37 | So, I am going to say Transform >
Warp and I am now going to work with this layer,
| | 07:40 | which I am going to do the same thing.
| | 07:41 | I am going to drag these points down to
start to match the area of the collar itself.
| | 07:48 | Now, when I drag the points, you will
notice that the handles remain in place,
| | 07:52 | which just gives me this really distorted thing.
| | 07:54 | So, I need to of course grab these
handles and bring them back into the scene
| | 07:58 | like that so that they start
to match to where they should.
| | 08:01 | And let's bring these guys over and this one
over and now just start to give it that shape.
| | 08:07 | I am going to start to straighten this
out, just as we did with the other side.
| | 08:11 | I am going to pull these out and bring
these guys way up so that they start to
| | 08:15 | match our T-shirt on this side.
| | 08:17 | And I want to just play with these
little handles until I start getting that
| | 08:21 | little curve that I need up there.
| | 08:23 | Here is that little curve, bring this around,
and this one needs to be a little straighter.
| | 08:27 | So, let's just straight this out a little more
right through there like that. That looks good.
| | 08:31 | A little bit of a curve, there we see it.
| | 08:33 | But I want to thicken this side
so let's just pull these guys out.
| | 08:37 | So, this starts to thicken this and pull
this over so these starts to tighten up
| | 08:41 | because they need that foreshortening
as it starts to go around the neck area.
| | 08:45 | And I can even just pull this one
down just a little, there we go.
| | 08:49 | So, now that we have that, I can
click OK and we will match the opacity.
| | 08:54 | We have 40 here so we are going to
set this one to Multiply and set its
| | 08:59 | Opacity to 40 as well.
| | 09:01 | So, there we see that we
have the ribbing on a T-shirt.
| | 09:03 | Now, we are going to start to give this
a little more of a sense of real fabric.
| | 09:07 | So, going back to the collar on the
right here, I am going to take my Burn tool.
| | 09:12 | I am just going to very lightly
start to go in there and play around with
| | 09:16 | the collar and I am going to start
adding some tones. Let me set this to Midtones
| | 09:19 | here so I start getting some
little tones going in there like that
| | 09:23 | and maybe right along the edge.
| | 09:25 | I like to have a little
edge right through there.
| | 09:27 | And you know if you want to make that
even, let me undo that. I am going to
| | 09:30 | bring this tone down a bit just like that.
| | 09:33 | And what am going to do is I am going to
take the path itself, which I have this
| | 09:38 | path here for that collar.
| | 09:39 | I am going to select the path and I am going
to say use that as a guide for my Burn tool.
| | 09:45 | I am going to just say go in there and burn it.
| | 09:47 | You see how it just created a little
edge right where I wanted it? So there I
| | 09:50 | got this nice edge and I might want to
accent it in the few spots just to make
| | 09:54 | it a little stronger, like right up
here and so on, and maybe we throw a little
| | 09:57 | tone right in there.
| | 09:59 | Then we go to the other
layer, the collar on the left.
| | 10:02 | And we will do the same, which is add a
little tone right in through that area,
| | 10:05 | select the path right there, get our
Burn tool and go ahead and stroke it.
| | 10:13 | Stroke it another time so we get
these nice little dark tones happening
| | 10:15 | right through there and we can see
that we start to get the nice definition
| | 10:19 | to our little collar.
| | 10:20 | Same thing will then of
course applied to the shirt.
| | 10:23 | We can go in there and make a much
larger Burn tool and just add a couple of
| | 10:27 | little tones along the top, along that side,
and maybe just a little bit along these edges.
| | 10:33 | So, what we'll do is we'll
take the path that we did before.
| | 10:36 | I am going to reduce the size of this,
nice and small, and we are going to take
| | 10:40 | those paths just like we did a second ago.
| | 10:43 | A path of this side right here, which
I am going to go ahead and stroke inside
| | 10:47 | the shirt. Make sure we are in
the shirt. Okay shirt body, good.
| | 10:52 | So, we got that and we'll say take that path
and stroke it, so I get that nice little tone.
| | 10:57 | Stroke it again, so we have a
little shadow underneath the collar.
| | 11:01 | We select this side and we say stroke it,
stroke it, and there you can see that
| | 11:05 | we are starting to get this nice
little definition to our T-shirt.
| | 11:09 | You can add as much more as if you want
but there you can see how we have used
| | 11:12 | the pattern to create that little bit
of fabric that you see along the collar.
| | Collapse this transcript |
|
|
ConclusionFinal words| 00:00 | So here now we have come to the
end of the making of Times Square.
| | 00:03 | And here, I am standing on the streets of
Times Square at the crossroads of the world.
| | 00:08 | Crossroads of the world where
everything is possible and everything is here.
| | 00:12 | Everything from soft flowing hair, to
bright lights, to reflective glass, to
| | 00:17 | metal, to dirty asphalt.
| | 00:19 | All these different things that
make up this incredible scene.
| | 00:22 | You now have the skillset because
they've taught you throughout this series how
| | 00:25 | to create these different elements.
| | 00:27 | And like I said throughout the series,
it's not what I was doing but how I was
| | 00:31 | doing that is important.
| | 00:33 | You can have little change here and there,
and you can create anything that your
| | 00:35 | imagination can come up with.
| | 00:37 | So now that we look at the overall
scene, it took me four years to do this.
| | 00:40 | It was wonderful to get it done and
it's really wonderful to see this series
| | 00:44 | come to an end, which now is a
beginning for you, because now you have a
| | 00:48 | whole new skillset.
| | 00:49 | Go out there and use it.
| | Collapse this transcript |
|
|
