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Deke's Techniques
Illustration by John Hersey

175 Creating a hand turkey in Photoshop


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Deke's Techniques

with Deke McClelland

Video: 175 Creating a hand turkey in Photoshop

Hey gang! This is Deke McClelland. Welcome to Deke's Techniques. Now, here in the States, it's Thanksgiving. And if you grew up anywhere in the United States of America, you will recognize what I'm about to do, from your childhood. But you probably haven't done it since. You'll start with an outline of your hand. Now, if you grew up in any other country, you may be thinking "the traditional thing to do for Thanksgiving is to trace your hand? Why in the world is that?" Well, because you then turn your hand into a turkey as you can see here.
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  1. 29m 37s
    1. 305 Simulating hand lettering with art brushes
      20m 8s
    2. 306 Adding texture to your hand stamp
      3m 34s
    3. 307 Creating a black chop on red paper
      5m 55s
  2. 4h 53m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending an object’s shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to a 2D character’s face
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with Illustrator’s grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o'-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Photoshop's Blunt Instruments
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
50h 26m Intermediate Jan 11, 2011 Updated Apr 15, 2014

Viewers: in countries Watching now:

Deke's Techniques is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

175 Creating a hand turkey in Photoshop

Hey gang! This is Deke McClelland. Welcome to Deke's Techniques. Now, here in the States, it's Thanksgiving. And if you grew up anywhere in the United States of America, you will recognize what I'm about to do, from your childhood. But you probably haven't done it since. You'll start with an outline of your hand. Now, if you grew up in any other country, you may be thinking "the traditional thing to do for Thanksgiving is to trace your hand? Why in the world is that?" Well, because you then turn your hand into a turkey as you can see here.

And if your turkey ends up looking as frightening as mine, then you go ahead and give him a clean pair of underpants. Here, let me show you exactly how it works. All right! Here is the final version of our just gorgeous-looking turkey, just so you can see it on screen. Here is where we're going to start. You can see that I went ahead and traced my hand on the white background here. I did so by putting my hand on a Wacom tablet and just tracing around it with a stylus. Now, you can do anything you want.

You can trace with a Sharpie on a piece of paper, scan it in, that kind of thing. But if you do draw your outline on a flat background the way I have, then you're going to have to lift it, because we need to mix a bunch of different lines together. And by the way, notice that I traced into my wrist a little bit. You're going to want to do that if you want this effect, because we're going to use the wrist as the outer sides of the turkey's amazing legs. I will switch back here. To lift this outline onto its own layer, and this is a trick that works with any line art, you switch over to the Channels panel and then you press the Ctrl key or the Command key on the Mac and you click on any of the channels; it doesn't matter which one.

I just went ahead and clicked on RGB. Then you go up to the Select menu and you choose Inverse, because that way, instead of selecting the white background, you end up selecting the black line. Now, you want to switch back to Layers panel and create a new layer by pressing Ctrl+Shift+N or Command+Shift+N on the Mac. I will call this layer hand. Go ahead and tap the D key to make sure you've got your default colors and press Alt+Backspace or Option+Delete on the Mac in order to fill the selection with black. Click off the selection to deselect it, and then select the background at the bottom of the Layers panel and press Ctrl+Backspace or Command+Delete on the Mac in order to fill that background with white.

Now, we've got the hand on an independent layer. I'm going to press Ctrl+Shift+Right Bracket; that's Command+Shift+Right Bracket on the Mac in order to move that hand layer to the top of the stack. I've gone ahead and drawn a few other layers in advance here. I've got the feathers layer that's covering up the fingers. I've got the pretty face layer right there that's got the turkey's face. Then I've got the feet layer, which of course communicates his feet down there around the bottom of the wrist. Now, I need to create a layer that provides some of the colors.

I'm going to do that by scrolling down my Layers panel and clicking on this other elements group. I will press Ctrl+Shift+N or Command+Shift+N on the Mac in order to make yet another layer, and I will call this one colors and then press the Enter key or the Return key on the Mac. I've got some swatches that I've created in advance here that are going to communicate the colors I want to work with-- some bright primaries, as you can see. Now, I want to be able to fill the feathers. And I am either faced with the proposition of clicking several times with the Paint Bucket tool inside of every single one of these regions or I can enclose the regions in a different way.

So here is what I'm going to do. I'm going to switch up to the feathers layer for a moment and I'm going to grab my Lasso tool, by pressing the L key. I will press and hold the Alt key or the Option key on the Mac so I can draw a polygonal selection outline, and I'm going to draw it around the bottom of the feathers here, around these little baselines. I'm going to go all the way down around here. I am trying to be pretty careful because I want these guys to enclose the fills properly. So I'll go ahead and drag around till I get them all selected, like so. Then I'll press Ctrl+Alt+J or Command+Option+J on the Mac in order to jump the selection and name this new layer.

I'll go ahead and call it something like, let's say boundaries, and then click OK. Now, turn off the feathers layer so that the feather outlines aren't getting in the way. Then switch back down to that colors layer in order to make it active. Now, we want to grab the paint bucket. You'll find it by clicking and holding on the Gradient tool. The paint bucket is the second one down. Now, we want to change these settings here. I'm going to click on the word Tolerance and change it to 100. Then I'm going to turn on the All Layers checkbox. This is assuming the default settings.

Then press the Alt key or the Option key on the Mac to temporarily get the eyedropper, click on the red swatch in order to change foreground color to red, and click in the first finger. I'll Alt+Click or Option+Click on the blue swatch, click in the second finger; Alt+Click or Option+Click on the green swatch, click in the third finger; Alt+Click or Option+Click on the violet swatch, and click on that final finger. Now you can go with any color scheme you want. You don't have to use my color scheme, so feel free to go your own way. I'm going to go ahead and zoom out here so I can see the face.

I'll Alt+Click or Option+Click in that red finger there in order to change my foreground color back to red. And I'll click at that thing, whatever that thing that hangs off of a turkey is, and then I'll Alt+Click or Option+Click on the yellow swatch, and I'll click in each one of the beaks. I want to expand my colors so that they more than fill in the outlines, because otherwise, they might not quite fill in all the way. I'll go ahead and turn off these line art layers for a moment so we can see these colors by themselves.

What you want to do, with the colors layer active, is go up to the Filter menu, choose Other, and choose Minimum. The reason that this expands the selection is because it's reducing the size of the transparent area on the layer, by increasing the size of the opaque area using the Minimum command. So, I'm going to change the Radius value to 4 pixels, which is about half the width of the lines, and then I'll click OK. And you can see that all of my areas just grew. The red of the gobbler thing underneath the turkey's face has kind of expanded into its beak, so I'm going to press the L key to switch back to Lasso tool and I'll Alt+Click around this region like so in order to select it.

And to make sure I just fill in the opaque pixels, I'll press Shift+Alt+Backspace or Shift+Option+Delete on the Mac. I'll click off the selection to deselect it. Go ahead and zoom back out here, and turn on the line art layers that I want to use here. So, we want hand. We don't need boundaries anymore. I'll turn feather back on, along with the pretty face and feet. Now what we need to do is create a layer to color in the body. So I'll click on that other elements group once again and press Ctrl+Shift+N or Command+Shift+N on the Mac in order to create a new layer above that group.

I'll go ahead and call this layer skin and click OK. Then I'll switch back to the paint bucket, and I can get to it by pressing the G key, for gradient. I'll press the Alt key or the Option key on the Mac and click on that flesh tone right there, and then I'll go ahead and click inside of the bird's flesh, like so, in order to fill it in. Then I want to expand the size of this region as well. In other words, I want to make sure the flesh is going all the way under the lines. So, I'll repeat the last filter by going up to the Filter menu and choosing that very first command, Minimum, or I could press Ctrl+F or Command+F on the Mac.

Now, it's not going to look like it makes much difference onscreen, but that's because it's covered up with lines right now. I want to go ahead and add an inner shadow to this layer. So I'll click on the fx icon at the bottom of the Layers panel, and I'll go ahead and choose Inner Shadow. Then I'll click on the color swatch here in order to bring up the Color Picker dialog box, and I'm going to dial in a color of Hue 30 degrees, Saturation 50%, and Brightness 50% as well. Then I'll press the Enter key or the Return key on the Mac to accept that color.

Take the Opacity value up to 100%. The Blend Mode should be Multiply. In my case, the Angle is -125 degrees, which is what I want. Then I'm going to expand the Distance value by pressing Shift+Up Arrow until it's 55 pixels, and then I'll take the Size value up to 65 pixels, so we get this kind of volumetric chicken skin in the background. Click OK in order to accept that change. Now, you know what? I don't like the way the brown is coming up around his head. The reason that's happening is because the eyes are currently transparent-- that is, the eyes on this layer--and that's kind of shoving the layer effect upward.

What I want to do is switch back to that good old Lasso tool there. I'll just Alt+Click or Option+Clicking on the Mac about midway through the line, so through the center of the line, and then I'll go up all the way around the thumb here. That flesh tone is still my foreground color, so I'll just press Alt+Backspace or Option+Delete in order to fill that area with beige or whatever. You may say "well, what about the eyes Deke?" Well, we will come back to that in a moment. Now we need to go ahead and copy this Inner Shadow effect to the colors layer as well.

So I'll press the Alt key or the Option key on the Mac and drag Inner Shadow from the skin layer and drop it onto the colors layer. That's too much, so I'll double-click on Inner Shadow--the one associated with the colors layer now-- and I'll take the Distance value down to 35 pixels, and I'll take the Size value down to 45 pixels, and then I'll click OK. The next thing I did was to add a bunch of wrinkles. You can see this wrinkles layer right here. I'll go ahead and turn it on. And I just went ahead and drew from my own hand.

Now I want to fill those with the shade of brown right there. So I'll press the I key to switch to my eyedropper, and I'll click in that brown to make it the foreground color. Then I'll replace the black lines with brown lines by pressing Shift+Alt+Backspace or Shift+Option+Delete on the Mac. Now, I want to blend those lines in, so I'll change the blend mode here in the Layers panel from Normal to Multiply, and we end up with this effect here. Now, this is the point at which I was starting to think, well, this turkey is really looking naked.

I think I would like to put some sort of garment on him, and that's why I chose underpants. So, I'll go ahead and turn on that underpants layer. Then I'll click on the colors layer to make it active. I've got to color in the underpants obviously. So, I'll press Ctrl+Shift+N or Command+Shift+N on the Mac, call this new layer whities, click OK. Then I'm going to go ahead and zoom in, and I'll press the B key to select my Brush tool, and I'll press the D key followed by the X key. That makes my foreground color white. Right-click inside the image window and increase the Hardness value to 100%. Maybe reduce the size of my cursor a little bit now.

And then click and Shift+Click my way across the top of the underpants, all the way across the elastic, I guess that's what that is, and then take it down. So I'm just Shift+Clicking all the way around the underwear that's associated with our turkey. I'll take this over to here and up to here and so forth, and go ahead and trace all the way. Now, I've done a really sloppy job. Look at that. If you end up having problems like this, then you can press the E key to switch to the Eraser tool.

Right-click to confirm you've got a Hardness value of 100%, which I do, and then you can do the same thing. You can click and Shift+Click in order to get rid of some of that extra white that we most assuredly do not need. I try to do a halfway decent job, even though this is just the most ludicrous turkey possible. Now, I'll switch back to the Brush tool by pressing the B key, and I'm going to increase the size of my cursor and just try to paint inside the remainder of the underwear. You may not get everything, but we'll be able to see whether we hit all the pixels or not in just a moment.

Then what we need to do is move the wrinkles layer there below the whities layer, and so I'll go ahead and grab wrinkles, move it below the layer of whiteness. It looks like we've done a pretty good job, or at least I have. So now, I'll go ahead and add yet another drop shadow by scrolling down to my skin layer and Alt+Drag or Option+Drag the Inner Shadow effect--not up to the wrinkles layer, I want it to go on this whities layer right there. And we end up with this extremely unfortunate effect.

We need to change this color as quickly as possible by double-clicking on Inner Shadow to bring up the Layer Style dialog box. I'll click on the Color Swatch there and I'll change the color to a Hue value of 220 degrees, and then I'll go ahead and take the Saturation value down to 25%. A Brightness value of 50% is just fine. Then click OK in order to accept that change, and otherwise, these settings are fine as is. Now, I'll click OK in order to accept those underwear.

Let's take care of the eyes. I'll go ahead and zoom in on them. Create a new layer by pressing Ctrl+Shift+N, Command+Shift+N on the Mac. Call it eyes, click OK. I'm still armed with my paintbrush. So I'm just going to paint inside the eyes like so in order to fill them in. And now let's add yet another Inner Shadow effect by clicking on the fx icon, choosing Inner Shadow, and this time I'll click on the Color Swatch. I want the Hue value to be 0 degrees, because we're going to give him kind of red eyes. We'll set the Saturation value to 100%, and I'll set the Brightness value to 50%.

Then I'll go ahead and click OK in order to accept that change. We want the Opacity value to be 100%, and I'm going to leave the Distance value set to 5 pixels, but I want to take the Size value up to 20, and then I'll Shift+Tab back to Choke and press Shift+Up Arrow a few times to take it up to 30%. So we get an awful lot of redness inside of the turkey's eyes. Then I'll go ahead and increase the Noise value to 10%, so we end up with this effect here. Now, I'll click OK.

Go ahead and zoom out once again, so I can take in my artwork. We still have some work to do here. We've got to give this turkey some gooseflesh here. We'll do that by adding a layer of texture. I'm going to scroll down to the skin layer, click on it to make it active, and press the M key to get my Rectangular Marquee tool. Go ahead and select a region that at least includes all of the turkey, like so. And then create a new layer by pressing Ctrl+Shift+N or Command+Shift+N on the Mac. I'll call the layer texture and click OK.

Then I'll press the D key to reinstate my default colors, and I'll press Alt+Backspace or Option+Delete to fill that layer with black. Now, you can click off the selection to deselect it. We're going to apply a bunch of filters here. So let's turn this layer into a Smart Object by going up to Layers panel flyout menu and choosing the Convert to Smart Object command. Now, what you want to do is add a little bit of grain. To get the texture I'm looking for, we need to go to the Filter menu and choose Filter Gallery, here in Photoshop CS6, because that's the only way to get to this function.

You want to find Grain in the Texture section. Click on Grain. These are the settings we are looking for: an Intensity of 80, a contrast of 50, and Grain Type should be set to Sprinkles. Click OK. I'll go ahead and zoom in so we can better see this effect. Right now, it looks like garbage. But the next thing we're going to do is going to help a little bit. Go to the Filter menu, choose Noise, and choose Median, which is going to help to smooth away some of that noise, and you just want to set the Radius to 1 pixel. That way we have a lot less noise going on onscreen, then click OK.

Now, let's blur things by going up to the Filter menu, choosing Blur, and choosing Gaussian Blur. And this time, we want a Radius value of 4 pixels, at least where this image is concerned. I'll click OK again. Filter number 4, also located in the Filter menu. Go down to Stylize and then choose Emboss. And here's the settings I went with this time around: 45 degrees, a Height of 10 pixels, and then an Amount of 500%, the last of which is the maximum setting.

Then click OK to accept that effect. Finally, I want to sharpen these bumps here. And you may say, well, you just applied Gaussian Blur, why would you apply sharpening at this stage? And the reason we went with Gaussian Blur is to increase the size of the bumps. Now, we're going to sharpen them. So, I'll go up to Filter, choose Sharpen, and then choose Smart Sharpen. These are the settings I'm looking for: an Amount of 500%--nothing subtle about this effect--a Radius of 2 pixels, and Remove set to Gaussian Blur. More Accurate should be turned off. Then click OK.

Then finally what we want to do is scroll down the list here. Let's get rid of that darn filter mask by right-clicking on its thumbnail and choosing Delete Filter Mask. Now I'm going to collapse this guy. I'll Alt+Click or Option+Click on the line between the two layers like so in order to mask the effect into the skin, and then finally, we'll change the blend mode from Normal to Overlay in order to produce this effect here. The big problem here is while that big inner shadow looks great on the big details inside the hand, it doesn't look so good where these tiny, little fragile legs are concerned.

We're going to have to take care of this in a fairly clumsy way. Press the L key to switch to Lasso tool and Alt+Click or Option+Click around this general region, just to make sure that you grabbed both legs. Then go to the skin layer to make it active and press Ctrl+Alt+J or Command+Option+J on the Mac in order to jump the selection to a new layer. I'll call the layer legs. Then click OK. Now, we need to grab the texture layer and Alt+Drag or Option+Drag it down so that it's sitting on top of the skin layer, and then Alt+Click or Option+Click the horizontal line between texture and skin to mask that texture back into the skin as it was before.

Now, go to the legs layer, double-click on its Inner Shadow in order to bring up the Layer Style dialog box, and this time around, we want to take the Distance value down to 25 pixels and I'll take the Size value down to 15 pixels and click OK. And we have a much better effect. This is before, if I press Ctrl+Z or Command+Z on the Mac, and if I press Ctrl+Z or Command+Z again, that my friends, is after. Go ahead and zoom out. I might as well turn off the swatches layer. We don't need that anymore.

And I'll press Shift+F in order to fill the screen with my image. This is the final version of the turkey, achieved using a common, everyday analog hand combined with Photoshop.

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