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In this movie, we're going to enhance that Ben Day Dot Lichtenstein effect that we created in the previous movies by adding a series of colors, as well as these light dots in the background of the lips and the eyes, and of course an obligatory talk balloon. So, go ahead and switch over to my image in progress here, and the first thing that we want to do is color in the eyes. So, I'm going to click on the Model layer to make it active, and then I'm going to zoom in pretty tight on these eyes, as you can see. And the best way to select them, the irises that is, is to use the Elliptical Marquee Tool.
So, I'll go ahead and select that tool from the Marquee tool fly-out menu. And then I'll drag around the iris like so. And I'm also pressing the Shift key to constrain it to a circle. And I'm using the space bar in order to get that circle in the right place. Alright, now I want to add the other eye as well, the other iris that is. So, I'll press the Shift key and drag to add to the existing selection. And then I'll release the Shift key. This is going to seem like a funky technique, but it works really well. Release the Shift key, and while you're still dragging, press the Shift key again.
And that, the second press of the Shift key, will go ahead and constrain your new shape to a circle as well. So, the first press of the Shift key adds to the selection, the second one constrains the ellipse to a circle. Now you want to switch to the Lasso Tool, and if you thought that technique was weird, get a load of this one. You want to press and hold the Alt key, or the Option key on a Mac, and then begin dragging, like so, in order to carve away the top of that iris. Or, another way to work is to Alt+drag or Option+drag, and as you're dragging, keep that mouse button down, release the Alt or Option key.
And then, once again, press and hold the Alt or Option key, and you can click your way through this selection using the Polygonal function. So, the first press of the Alt key subtracts, the second press and hold, allows you to lift the mouse button so that you can just click at different locations. However you decide to work. You want to create a new layer by pressing Ctrl+Shift+N or Cmd+Shift+N on a Mac, and I'm going to call this layer, Eyes, even though it's really the irises, and then I'll zoom out so that I can see the background.
I'll press the I key to get my Eye Dropper, and I'll click in order to change my foreground color to blue, but that's not working, because I've got Sample set to Current layer. So, I'll just go ahead and change it to All layers, like that, and then click and hold, and this time I get that shade of blue as you can see. And then I'll press Alt+backspace, or Option+Delete on a Mac, in order to fill the selection with blue. Now, I've lost those little highlights that are so important inside the irises. So, I'll press Ctrl+D or Cmd+D on a Mac in order to Deselect.
I'll switch to the Eraser, which you can get by pressing the E key. Go ahead and right-click inside the image window, go ahead and set the Size Value to 15 pixels. Make sure the Hardness is set to 100%, and then you can just click right at this location there to bring back that highlight, and click again right there to bring back that one. Now for the lips. I'm going to go ahead and scroll down to the lips. And then, I'll switch to the Lasso Tool, Alt+click along the edges of these lips here, in order to select them. And if you want to, you can click up beyond the top of the lips, because that produces a pretty interesting effect as well.
But I'm going to stay inside my lines for this one, and then I'll come back all the way to the beginning, like so, and then release the Alt key, or the Option key on a Mac. And, I don't want these dark dots, the orange dots that is, inside the lips. So, I'm going to go up there to that Dots layer, and click on this Layer Mask and then press, Alt+backspace or Option+Delete to fill it with black, which masks it away. And then I'll scroll down to the eyes here, inside the Layers panel. I'll press Ctrl+Shift+N or Cmd+Shift+N on a Mac in order to bring up the New Layer dialogue box. I'll call it Lips and I'll click OK, and the color that I'm looking for has a Hue value of zero, and then I want a Saturation value of 100%, so that's fine.
And I'm looking for a Brightness value of 77%, which is just easy to enter. And then I'll press Alt+backspace or Option+Delete to fill those lips with red. Alright, now for the hair, which is going to seem like it's really complicated to select, but it's not. And that's the reason that I have this original layer just hanging out here, so to view it, and to hide all the other ones, here's what you do. And you gotta be kind of careful about this. Alt+click or Option+click where the eyeball would normally be in front of that original layer. And don't go turning anything else on, because that'll just mess things up.
Then press Ctrl+D, or Cmd+D on a Mac to Deselect the image. Go ahead and zoom in on her hair if you want to. Press the Alt key, or the Option key on a Mac and then just click around the hair like so. Inside the hair. We're not interested in the outside edges of the hair. We're just interested in the delineation between the hair and her face, and you don't have to get it exactly right, as I think I'm pretty well demonstrating here, because this is a rough coloring effect. It's you know, aesthetically pleasing, of course, once we get done with it, but it doesn't have to be precise.
And in fact, it would be a total waste of time if it was. I'm going to continue to Alt and Option+click around, that is to say, I've just got the Alt or Option key down, and I'm clicking around here. Now, you want to come up next to the knuckles, so do just what you're seeing me do onscreen here in the video. Don't hit the phone. Now, the great thing about the Lichtenstein piece of artwork, the one you may recall that's called, Oh, Jeff, I Love You Too, But. And she's got a big, huge, fat phone. This women's got a tiny, little cell phone and it's very easy to wreck it.
And then it looks like she's just touching her temple instead of talking to Biff, in our case, on the phone. Go ahead and select that, like that. And then, go up to the top, so you want to make sure that you're selecting beyond the top edge and over here, all the way around. And then just go ahead and release the Alt or Option key and you'll create this selection here. Which doesn't look like we got it right at all, but we did, and here's how we know. Now you can press the Ctrl+Shift+Alt keys, that's Cmd+Shift+Option on a Mac, so all the modifier keys.
Scroll up to this Mask right here, that's associated with the Dark Dots layer. And click on it, with those keys down. And that way you'll find the intersection of that edge that we already have, the outside edge of the hair, along with the inside edge of the hair, and this way we get exactly the results we're looking for. Now, you want to press the Alt key, or the Option key on a Mac, and click on that eye, right there, in front of Original, to turn off that layer, and turn on all the other ones. So, to go back to the previous condition of your artwork. Let's get rid of the dots in the hair. Very important.
So, go up to that Dots layer, the Dark Dots layer right there, click on its Layer Mask, and press Alt+backspace or Option+Delete, in order to fill that area with black. So we're masking away the dots at that location. Now we have to colorize the hair, so drop down to the Lips layer, press Ctrl+Shift+N or Cmd+Shift+N on a Mac. Call this new layer Hair, I would. And then, the color that I'm looking for has a Hue value of 55 degrees, a Saturation of 80, and a Brightness value of 100%. Then, once you get that entered in, press Alt+backspace or Option+Delete on a Mac in order to fill that hair with yellow, screaming yellow.
Then press Ctrl+D or Cmd+D on a Mac in order to Deselect it. And, if you've taken the whole illustration, now it looks awesome. And now we need to create a bright dot pattern, and we're going to do that by turning the original layer back on for a moment, so that we have a nice white background. Then scroll to the top of the Layers panel and turn on that Ben Day Dots shape layer right there, and then click on it to make it active. Drop down to the black white circle at the bottom of the Layers panel. Just click on it and choose Invert, because we really don't need to name this layer.
And, that will just go ahead and pop up the Properties panel. So anyway, I'm just going to hide that. And then I'll zoom in on my dot and I'll go ahead and press the M key to switch to the Rectangular Marquee Tool. I'll switch to the the Rectangular Marquee Tool, and then I'll draw a square. And as you may recall from the previous movie, if you watched it, we need that square to be exactly 60 pixels wide by 60 pixels tall, then release, and you can nudge it down if you want to, to kind of center things there. And then go out to the Edit menu and choose Define Pattern.
And I'm going to call this one, Light Dots. And then Click OK. Now you can turn those two layers off right there, because we're done with them. You could even throw them away if you want. Press Ctrl+D or Cdm+D on a Mac to Deselect. And turn off that original layer. Then let's go ahead and zoom out here, so we can see what we're doing. The areas that I want to fill are as follows. For purely aesthetic reasons, I want to fill the right half of the background and not the left half with these dots. I also want to fill the lips and the eyes, which means we have to select all of those regions.
So, I'm going to zoom out a little more, and I'm going to press the Ctrl key, or the Cmd key on a Mac, this is a lot of keyboard tricks that are going to go on here. And then click on the thumbnail. The thumbnail is what you need for the blue layer, so that's a Ctrl+click on the thumbnail, a Cmd+click on a Mac. Then, with your Rectangular Marquee Tool, go ahead and press the Shift+Alt keys, that would be Shift+Option on a Mac, and drag across the right half of the background like so. And because we have the Shift+Alt keys down or Shift+Option on a Mac, we are finding the intersection of that Rectangular Marquee and the background.
Now, we want to add the eyes and you do that by pressing the Ctrl+Shift keys, that would be Cmd+Shift on a Mac and you click on the thumbnail for that eyes layer to add it. So you can see, now the eyes are selected as well. I'm going to go ahead and zoom on in here, so we can see that better. And I also want to add the lips. And you do that the same way. You press the Ctrl+Shift keys, or Cmd+Shift on a Mac, and you click on the thumbnail, for the lips layer. It's very important that you click on the thumbnails, for these effects to work here. Then, click on the Lips layer, to make it active. And, you want to press the Alt key, or the Option key on a Mac, and drop down to the little black white icon at the bottom of the Layers panel, and then choose Pattern.
And I'll go ahead and call this one Light Dots because that's, after all, what it's going to be, and then click OK. And you should see that the light dots are selected automatically, because Photoshop always goes with the most recent pattern. In my case, I named it wrong. It's called Light Dost, which is not right, I mixed up the S and the T. And I'll show you how to fix that, in just a second. And then, I'll change the Scale value to 25%, and I'll click OK. And now, I want the Blend Mode to be Screen.
And I'm also going to press the Escape key, so that Blend Mode is no longer active. And I'm going to press 6 6, in order to change the opacity value to 66%. And we end up with that effect there. So, as I mentioned, I goofed up the name there. And, if you ever need to manage your patterns, or anything else for that matter, inside of Photoshop, you go up to the Edit menu, you choose this command right there, Presets, it's hard to find this thing, and there's Preset Manager. So go ahead and choose it, and then switch the Preset Types to Patterns. And, I'll check to make sure that I named the Dark Dots properly, yes I did, and then I'll click on Light Dost in order to select it, I'll click on the Rename button, and I'll change this guy to Dots, so that I don't have to live in shame.
Alright, now I'll click OK and click Done, in order to accept those changes. Alright, now let's move on to the talk balloon. So I'll go ahead and click on that Hand Painting group right there. And if you switch over to the Paths panel, if you're working along with me inside this file, you'll see that I've got this set of paths called Ellipses, so if I click on them, they're just three ellipses that I drew. It's not hard to draw the ellipses, it's hard to assemble them, which is why I'm going to show you how to do that. So, with the path selected, go back to the Layers panel, so you should be able to see the paths there inside the image window. And you want to drop down to the black white circle, Alt or Option click on it, and choose Solid Color.
And we're going to call this layer Balloon, because it's a talk balloon, and then click OK. And then you just want to change the color to white here inside the Color Picker and click OK. Now, as you can see, the ellipses are just merging together into a giant blob, that's not what we want, so I'll go ahead and select the Black Arrow Tool, also known as the Path Selection Tool. And, I'll go ahead and select this path right there by clicking on it. And I'll go up to the Control panel to this first little icon here, Path Operations, click on it, and choose Subtract Front Shape.
Problem is, this is the order I do things in, right? I do the big ellipse first, then the smaller one, and then this guy, so as a result, the forward ellipse here is cutting through all of them. Which means I need to take this one, right there, I'll click on it to select it, and I need to move it to the front by choosing Bring Shape to Front, from this third little icon right there. And now I need to cut away this little corner that's sticking out, so I'll go ahead. And first of all, Deselect the big balloon here, the big ellipse by Shift-clicking on it.
That way nothing's selected, and then go ahead and select the Rectangle Tool from the Shape Tool fly-out menu. Go up to the Control panel and choose Subtract Front Shape, which will go ahead and make this guy subtract. And then drag around this area right here, and you can see it's subtracting from too much, right. It's hitting the big bubble as well, as the little guy. In order to take care of that you go up, once again, to this Range icon here and you choose Send Shape Backward. Just not, not all the way back, because that would ruin it, but just one step back and you end up with this effect here.
It's hard to see right now but it'll be easy in just a moment. But, go to the Properties panel now at this point, or up to the Control panel, it doesn't matter, and let's assign a black stroke like so, and we want it to be two points. So, I'll go ahead and take that value down. And we are now done with this particular layer, so you can press the M key to switch back to the Rectangular Marquee Tool, and that way you're not going to see all the path outlines. Then go ahead and scroll up a bit here, inside the Layers panel. And turn on this Text layer that I've created in advance for you. Now, incidentally, if you're working with this file, you may get a font warning that tells you that you don't have Eras installed, E R A S.
That's not a deal, it doesn't matter. I did happen to use a font that's not installed on every machine, but it's not going to affect your ability to work with this layer. Go ahead and select that Text layer. Then I want to make the text a little lighter, because after all, the actual Lichtenstein paintings have hand-drawn text and it's thinner than this. And so, what I'm going to do is apply a white stroke. So, I'll drop down to the FX icon and choose Stroke, and then I'll change the color to white, and then I'll click OK.
Now, that's not doing anything at this point, even though we have a big size value of three pixels, and that's because the stroke is outside the text, we want it inside the text, so go ahead and choose Inside. And then you can take the size value down to two pixels like so, and then click OK. Alright, folks, that is the final version of the effect. We have managed to convert this photograph, in which this woman is plainly not all that sad, into this wonderful, very sad, Roy Lichtenstein-like painting.
Using a combination of both dark and light Ben Day Dots, along with outrageously cartoon-colored hair, eyes, and lips, here inside Photoshop.
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