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This course 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.
In this movie we're going to take that passport photo that we created in the previous movie and we're going to retouch it so that Coleen looks exactly the way that Colleen actually looks. So, of course we don't run afoul of the department of state passport services directorate, or the guys at the post office, for that matter. So, we're going to start things off, by doing a little bit of liquefying. So, in Colleen's case, she doesn't need very much. She was just concerned that her lips look a little thin. And then, one eye's a little higher than the other.
So, different people of course are going to require different approaches. I'll go ahead and select this smart object layer right here and then, I'll go up to the filter menu and choose the Liquify command. Now this command is only going to be available to you if you subscribe to the Creative Cloud, whether you have Photoshop CS6 or CSC. If you have Photoshop CS6 but you're not part of the Cloud or some earlier version of the software, then you're going to have to convert this to a raster layer, and apply Liquefy as a static effect. Anyway I'll go ahead and choose Liquify.
And, I'll zoom in because we're not really concerned about anything from the shoulders down. We're only concerned with the face. And then I've got my work tool selected as you can see here. I'll go ahead and increase the size of my brush pretty dramatically, to about 250 pixels. And I want this to be nice and big so when I move the I down I'm not stretching it or anything along those lines, and then, I might reduce the size of the brush and take the eyebrow down a little bit, and I want to make sure it's very important that you don't distort the shape of the iris as you're working here.
So, you don't want to turn it into a shape that's anything other than the circular form that it started out as. And then I did some very detailed work on the lips using the bloat tool, but in order to pull that off I had to reduce the size of my cursor like crazy and then just click a few locations like so. Anyway I have saved my settings in advance. So I will go ahead a zoom out a little bit and I will turn on the advance mode check box and then I will click on the load mesh button, which otherwise would not be there and then I'll select Collenpassport.msh and click the open button, and that goes ahead and applies some modifications that I came up with.
And now, I'll click the OK button in order to exit Liquefy and return to Photoshop. And just to give you a sense of what we were able to achieve here I'll turn off the eye in front of the smart filters, this is the original version of the photograph right here, and then if I press control z, or command z on the Mac, in order to re apply, liquefy, this is the image as it appears now. So it's a pretty subtle modification, it's really most evident in the eye, and the lips, and a little bit along the jaw line. Alright we don't need the filter mask so I'm just going to right click inside this white thumbnail and choose delete filter mask and that'll just clean up the layers panel a little.
Now we need to apply a layer of makeup and the best way to do this is to hand paint with the smudge tool. And let me show you what that looks like. I'm going to press Ctrl + A in order to select the entire image, that's Cmd + A on the Mac. And then I'll press Ctrl+Alt+ J or Cmnd+Optn+J on the Mac in order to jump the selection to a new layer because I have the Alt or Optn key down Photoshop produces a new layer dialogue box, and I'll just go ahead and call this layer smoother, as in it is the smoother for the image, and then I'll click OK.
And now we want to zoom into 100%, so that we're seeing actual pixels inside this image, and you want to drop down to presumably the blur tool, if you don't this much smudge tool on a regular basis and then select the smudge tool from the bottom of the fly out menu. This is actually a terrific tool that I've come to embrace more and more over time. I'm going to press my right bracket key in order to increase the size of my brush to about 60 pixels. And so you can see here if I right click inside the image window the size is sixty pixels the hardness is 0%.
And, then, as opposed to just dragging inside the image to smudge it around, and you can see, by the way, because I pressed Ctrl+A or Cmd+A on a Mac and then Ctrl+Opt+J or Cmd+J on a Mac, then I jump the smart object to a new static layer. So this is a rasterized pixel based layer, which means we can paint directly inside of it. But notice when I take this approach, it's just sort of smearing things around, it looks terrible and we can still see these dark details under Colleen's eyes. So I'm going to press Control-Alt-Z or Cmnd+Optn+Z on a Mac a couple of times in order to undo that smudging.
And I'm going to change the mode up here in the options bar from normal to lighten which is going to work best for our purposes. And now notice we can paint away much of those dark details. You know if I, I can't quite get them all away, I'll go ahead and zoom in a little farther here, then I can take advantage of finger painting and you do that by switching to the eyedropper and then click inside some light flesh tone. How about right there let's say, in order to lift that flesh tone as the foreground color.
And now I'll switch back to the smudge tool, and I'll go ahead and turn on the finger-painting check box, and now I'll reduce the size of my cursor just a little bit by pressing the left bracket key. Now, I can smudge that color in right at the beginning of my drag like so, which helps to really sort of clear away that darkness there. Obviously, I'm going way to far with this, right? This smudging doesn't look very realistic at all. But it's going to in just a moment.
Alright, now I'm going to go ahead and scroll up here to the forehead, and I'm going to paint a long the brow, like so, couple of times, in order to get rid of the dark, sort of worry lines, that are up here. And at this point I'll now turn off the finger painting check box. And now, I'll go ahead and paint along this area right here, in order to lighten up the forehead and get rid of as many wrinkle lines as possible. So you want this really super porcelain effect, believe me, it's going to work great.
All right now I'll drag sort of up and down in this region right here. We'll want to drag with a smaller brush, so I'll press the left bracket key a few times right along the top of the eyelid or that is this brow, it's not really the eyelid below the eyebrows there. And now I'll increase the size of my brush using the right bracket key and I'll paint down the checks like so but not too far down. I can lift that back up like that. Which is why it's a good thing that I can lift back up and now I'll paint down and up over here in this area of the cheek.
Down and up around this region. We just want to paint a little bit back and forth underneath the nose, like so. And you don't want to get rid of that dark spot there so leave it in place. Just a little back and forth on the nose. Reduce the size of the brush and a little back and forth inside of each of the nostrils. Once again, we want a big brush for this right cheek over here. So I'll paint up and down a little bit. And then we want to paint up and down along the jaw here. I don't want to get rid of the creases or the smile lines or anything like that.
That is to say, I want to leave them in there as much as possible. But I do want, pretty much, like I said, this real porcelain sort of appearance here. So that she looks impossibly smooth. I mean, a newborn doesn't look this smooth after all. But, it's going to work well for us. I painted outside of her jaw, I don't want to do that, so I'll press Ctrl+Z or Cmnd+Z on a Mac to undo that change. You definitely don't want to be painting in a way that sort of ruins the form of the image. Alright, and now, go ahead and paint down here in the neck in order to sort of paint away these lines that we all have as we get older, of course.
And scroll down a little more. I'm just kind of making everything about her flesh as smooth as possible without running awry too much of the hair, a little bit into the hair is going to work okay, as you'll see. But something along these lines would probably do that as well as we're going to accomplish right now. So go ahead and zoom out. And now of course she looks horrible. She doesn't have any definition under her eyes. This is an example of rookie retouching at this point.
But note what happens if I press the M key to switch back to the rectangular marquee tool. And then I take the opacity of the smoother layer down, by pressing for example the 7 key, is going to bring back some of the detail. I could even go further down, this is what things look like if this layer set to an opacity of 60%, if I press the 5 key I get 50%, I ultimately landed on 4 for 40%. So that's a lot different than things look at 100%, we're bring back a lot of that detail that we were trying to get rid of just a moment ago, however notice if I turn off the layer, how the image looked originally.
So what we're trying to accomplish here by turning this layer back on, setting it to 40% opacity, we're just trying to smooth things over ever so slightly, as if Colleen is wearing kind of a layer of digital makeup which is going to work beautiful, not just for women but for men as well. Alright, now I want to, sort of, relight the image ever so slightly using that Dodge and Burn technique that I demonstrated back Deeks Techniques 299. So, just a few weeks back. And so, I'll create a new layer by pressing Ctrl+Shift+N or Cmd+Shift+N on the Mac to bring up a new layer dialogue box and I'll call this guy Dodge & Burn and then I'll click OK.
And now, you want to go ahead and select a brush tool. Press the D key to reinstate the default colors. So, black is the foreground color, and increase the size of your cursor here, I'll right click and show you, I've got a size value of 50 pixels right now, but what's more important is the hardness is set to 0%. Now, presumably you want to start things off by dodging, press the X key to make white the foreground color, and then paint over the cheeks like so. Both cheeks, and then we want to paint over the forehead, with probably a larger brush, something like this here.
I'll go ahead and paint inside of the eye's in order to brighten them up a little bit. And then I'll paint along the chin. I want that brighter, and that's about it. Maybe the mouth actually. I'll paint over the teeth in order to brighten them a bit too. Alright now we want some darkness added, so I press the X key in order to make the foreground color black once again. And I'll paint under the brows like so, just above the eyes, and then I'll increase the size of my brush. And I'll paint along the right side of the face like this, then I'm going to start under the jaw; so I'll reduce the size of my cursor a little bit.
And then I want to paint under the cheek and then around the side of the head, and we're not going to want to go quite this far with the effect, but it'll work out nicely for the moment. Now to turn this into a Dodge and Burn, because, of course, it doesn't look anything like that right now. What you want to do is switch back to the marquee tool by pressing the M key and then you want to change the blend mode to overlay. And that'll produce this gruesome effect right here. Now I need to press the escape key to deactivate the blend mode here under Windows, and I'll press the two key to reduce the opacity to 20%, and now we get the effect we're looking for.
If I turn off the layer, this is how things looked before. And if I turn a layer back on, we have this non destructive Dudge and Burn. Now, it is going too far into the hair, so I'm going to switch to the eraser tool, I'm going to right click inside the image window, I'm going to crank the size value up to say 60 pixels. But, what I really need to do here is reduce the hardness value to 0%, and press the Enter key or the Return key on the Mac. Actually I want a bigger brush than this so I'll go ahead and paint in the hair to erase away the darkness that is leaking into the hair.
And I'll do so not only on the right hand side but over here on the left hand side of Coleen's face as well. And that takes care of it folks. Just to give you a sense of what we were able to do here, I'll press the F12 key in order to revert to the original appearance of the image. So here we have the appearance of the photograph subject to the modifications we applied in camera raw, and then if I press Ctrl+Z or Cmnd+Z on the Mac. Here is the idealized version of that photograph, thanks to Liquify and the smudge tool along with that virtual Dodge and Burn layer working together.
And then finally just so I'm not throwing Coleen under the bus the whole time here. I'll let you see what happened to me. I just figured it would be more fun to look at Colleen this entire time. This is me after the retouching is all done. But what I really looked like is this, so pretty gruesome if I zoom on in. My goodness, just the most ravaged face on earth and notice my Liquify here, if I turn it off I am a little chubbier than I'm letting on. Versus, of course, if I press the F12 key in order to restore the idealized version of me.
So whether you're a man or a woman, old or young, these retouching techniques are going to work brilliantly for your next official photo ID.
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