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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.
Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. A few weeks back, my youngest son Sam had an art project at school. And the assignment was to take a photograph of himself, which I shot here in the studio,. And then draw a crazy background inside of Photoshop and then mask himself against that background. And I think he did a pretty good job. I didn't do anything, I just offered advice. But then I thought, wouldn't it be fun to take this idea and turn it into something that you guys. Might get a kick out of.
So I took this photograph and you can take any portrait shot you like and then turn it into a gigantic mural painted on the side of a warehouse wall. Sort of a city beatification process and you can see all these bricks and this paint inside of Sam's face here and we even have a door into the warehouse. Here, let me show you exactly. How it works. All right, here is the final version of the effect. Just so that you have a chance to see it on screen. We're going to start off inside of this file which features a painting that my son, Sam, did here inside Photoshop.
And now let's place a photograph of Sam by going up to the File menu. And choosing Place Embedded here inside Photoshop CC, if you don't own that version of the product, if you have an earlier version, then this command will merely appear as place. However, you'll get exactly the same result. So go ahead and choose the command. And then I'll select Sam from whatever .d&g. That just represents the orignal file name created by the digital camera. And then I'll click on the place button. and because this is a D&G file that takes me to camera raw.
I've already applied several settings in advance. So I'll just go ahead and click OK in order to place that image into Photoshop. And once the progress bar completes, you'll see the image surrounded by a frame here with an X through it. You also have a chance to scale the image if you like and I do like so I'll go ahead and turn on this link icon right there and change either the width or the height value to 83%. I just know this through trial and error of course. And now I'll press the enter key or the return key on a Mac a couple of times in order to scale the image.
And then I'll press the Control key, or the Command key on the Mac, to temporarily access the Move tool. And I'll drag Sam down and to the left a little bit in order to, not only center him horizontally, but I also want to be able to see this button, this top button on his shirt. And a little bit of his bangs as well. Alright, now go ahead and zoom on in. And i'm going to mask this image away from its background. By going up to the select menu and choosing color range. Now you probably won't see this mask right away, what you will have to do is click somewhere inside the background make sure your fuzziness value is set to 40, which is the default setting, and is going to work fine for our purposes.
And then just shift drag around, inside the background. I'm doing so here inside the dialog box. Because that way I can see exactly which portions of the background are turning white. Which is what I want, because i'm starting things off by selecting the background even though ultimately I want to select Sam. To select Sam instead all I need to do is turn on the invert check box and then Sam because he appears white will be selected. With just a couple little bit to clean up here inside. Now click okay in order to create that selection.
Then I'll switch over to the channels panel and I'll drop down to the save selection as channel icon and I'll press the alt key or the option key on the Mac and click on it, and that will bring up the new channel dialog box. So I can go ahead and name this channel mask and then click OK and now I'll go ahead and click on the mash channel and press Ctrl+D or Command+D on the Mac to deselect the image. Then, just go ahead and marquis the eyes and Shift marquis the button down here in order to select them. And assuming that white is your background color just press the Backspace key or the Delete key on the Mac.
In order to fill the regions with white. Alright, I'm going to zoom back out here so I can see the entire background and also press Ctrl+D or Cmd+D on Mac in order to deselect the image and you'll notice that we have a little bit of gray top left, your results may very by the way. What I need to do is switch over to the brush tool. I'll also make the brush larger, I'll right click inside the image and confirm the harness is zero percent. And then I need to change the mode from normal to overlay. So that I can go ahead and paint using black, painting the extra bit of brightness that surround Sam's silhouette here.
I painting it to absolute black like so. That takes care of that now I need to load the mask as a selection outline and you do that by control clicking on his thumbnail, that's a command click on the Mac. And it looks like we have a little bit of right here at this location. So I'm going to press the M key in order to switch back to the rectangular marquee tool and I'm going to shift drag. Around this area, just make sure it's selected. And then I'll switch back to the RGB image, return to the layers panel and then with this Sam layer selected, I'll just go ahead and rename it Sam.
And also drop down to the add layer mask icon at the bottom of the layers panel and click on it. And now we have a mask. Now the mask is a little choppy. And you can see what I mean if I zoom in a bit. Notice that we have these very rough edges. To clean 'em up, go up to the select menu. And choose for fine mask. And this assumes, by the way, the layer mask is selected, over here inside the layers panel. So, go ahead and choose refine mask. And then, I'm going to crank the radius value up to 10. And that will force Photo Shop to go ahead and re-render that edge.
And, by the way, I have view. In case you have it set otherwise to on layers, so that we can see Sam against his background. And now I'll click in shift edge option, and I'll press shift down arrow a couple of times in a row to scoot that edge inward. And I could increase the contrast values well if I wanted a sharper edge. As we're seeing here. And I think a value of about 20% is going to work out nicely. Now click OK in order to accept that change. Alright, now what we need to do is of course zoom back out and convert Sam into a kind of painting.
And I'm going to do that by dropping down to the black-white circle at the bottom of the Layers panel. And I'll press the Alt key or the Option key on the Mac. And then I'll go ahead and chose Posterize. And I'll call this layer paint. And then I'll click OK. And now what you want to so is crank the levels value up until you have as many groups of different colors as you want. In my case, I like a setting of seven. I think it looks pretty darn good. Problem is.
You'll notice that we get all these bizarre colors. Photoshop is actually selecting colors that don't necessarily exist inside the image. Which is why you want to change the blend mode from Normal to Luminosity. And that way, you're going to keep the original colors. Inside the image. And they're even going to waver across the course of these sort of brittle edges to the paint out lines, which is actually really cool, I think. Now I want to sort of up the saturation of this image.
Make it look more powerful. And I'm going to do that in th, what is possible a peculiar way, but it works out very nicely. I'll drop down once again to the black light circle at the bottom of the layers panel. I'll press and hold the alt key or the option key on the mac and then I'll choose brightness contrast. And I'm going to call this layer empty because it's just an empty layer. It's not going to have anything associated with it. And then I'll just go ahead and click OK, like so. And now I'm going to hide the properties panel. We don't need it. And I'll change the blend mode from normal to overlay.
Which produces this heightened effect that you see here. So here's the way things looked a moment ago and here is the way they look now. Now notice I'm affecting the background as well. Normally what I do is I. I would clip these adjustment layers into the Sam layer below, but we don't really need to do that because we're going to select all three of the layers by clicking on empty and shift+clicking on Sam. And now we're going to convert all three of them to a smart object by going over here to the layers panel fly out menu in the upper right corner of the panel.
And then you want to choose convert to smart object and you end up with one layer fused together like so, and notice that the adjustments are no longer affecting the background. Now I'm going to change the name of this layer once again to Sam. Now we want to soften these transitions a little. Notice that they're pretty jagged right now. So I'll start by going up to the filter menu choosing noise and then choosing median. And I came up with a radius value of four pixels. So click OK. And then just to soften things up a little, I'll return to the Filter menu, choose Blur and choose Gaussian Blur.
And radius value of one pixel is going to work out just fine, so click OK. Alright now we're ready to make Sam look like he's painted on a warehouse wall. Now this is going to require a filter and I could apply that filter as a smart filter, if I were to go ahead and combine Sam and the background into yet another smart object, but i think the simplest way to work is to merge these two layers, by pressing control shift alt E. or command shift option e on the mac. That's the only way to pull this one off. And then I'll go ahead and name this new layer merged because it's the merged version of the two layers below.
I'll convert it to a smart object by returning to that layers panel file menu and choosing convert to smart object. Then I'll go up to the filter menu and I'll choose filter gallery. And what you want to do is twirl open the texture section right here. And go ahead and select texturizer and also zoom out here. So that I can better see what I am doing. And notice that I have this big brick pattern. And that's because I set the texture to brick. By default it's canvas, incidentally. You don't want that, you want brick for this effect.
Then crank the scaling value up to it's maximum which is 200%. Unfortunately you can't go beyond that. If you wanted a larger brick pattern you'd have to create a new pattern of your own and then choose this low texture command and see how well it works. Anyway, these bricks are big enough for me. And I changed the light option here to top left, and I want the relieve to be set a little bit higher to 15. Now the invert check box should be left off, otherwise this is exactly the effect that we're looking for.
And once you get it, just go ahead and click okay in order to apply those bricks across the entire artwork so that it looks like one continuous mural. The final thing I did, I'll go ahead and zoom into the bottom left corner of the image. And you'll see that I have this top layer called Old Door and I'll go ahead and turn it on. It's a door from the Fotolia image library. About which you can learn more and get special deals at fotolia dot com slash deke. And I selected obviously the door and pasted it into this image.
It needs to have a little bit of shadow, so it's integrated. So I'll click on Old Door to select it. A click on the fx icon down here at the panel and choose drop shadow, I need to change the angle view. What we're trying to do here is match the indigenous shadows that are being cast inside the door. And so I came up with an angle value of 20 degrees. And then I took the distance value up to 14 pixels, I believe, yes. And I took the size value down to 3 pixels, so we have a pretty sharp shadow as you can see here.
And then I took the opacity value down to 60 percent in order to achieve this effect here. And now click okay, in order to confirm that shadow. Alright, now I'll press the f key a couple of times in order to fill the screen with the image and I'll go and zoom in a little bit and scroll up. That is how you turn a photographic image into a piece of artwork that resembles a gigantic warehouse mural here inside Photoshop. I you're a member of the lynda.com online training library, then I have a follow-up movie in which I'll show you how to enhance the effect we've made so far so I've adjusted the lighting and the coloring so that this looks more like a painting on a warehouse wall, and I've even added this xx.
Right here who stepped down of the doorway for a moment to check out the art work if your waiting for next weeks free movie were going to take a look at the amazing world of 3D inside of Photoshop and just to be clear this rocket ship is something that I created entirely from scratch inside the program these techniques each and every week keep watching.
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