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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 McKellen. Welcome to Deke's Techniques. Now last week, you may recall that we took this poor, unsuspecting fellow and we turned him into this outrageous photographic caricature in Photoshop. Well, this week we're going to take said caricature here and we're going to mask him against a more dramatic background in order to achieve this awesome effect. Here, let me show you exactly how it works. All right, as usual I want to give you a sense for things look on screen. Here is the liquified caricature and here is the more dramatic caricature set against a new background.
I'm going to start things off by opening up that background and moving it into my composition at hand, and you can do that when the Rectangular Marquee Tool is active by right-clicking inside the image window and choosing Duplicate Layer. And I'll go ahead and change the document to Liquified Caricature and then I'll click OK. And now I'll switch over to that document, Liquified Caricature.psd, and you can see I have a new layer called Background at the top of the stack. I'm going to rename that layer vignette, let's say, because it has a dark vignette around it.
Now of course I want this layer to appear behind the caricature, so I'll go ahead and drag it down the stack like so, and I also want to colorize it with that current background color that's at work, that kind of teal right there. So, I'll select the Eyedropper Tool and I'll click inside of that background in order to lift its color up here inside the Color panel. And if you are not seeing the Color panel, then chose Color from the Window menu. To see the HSB values as I do, click in the fly-out menu icon in the upper right corner and chose HSB Sliders.
And I'm going to make a couple of adjustments here. I'm going to set the hue value to a 190 degrees and then I'm going to take the saturation up to 25%. And I'm going to take the brightness value down to 75%. And that will just serve as a placeholder for the next operation, which is to turn off the liquified layer so that you can see the vignette layer below it. And then drop down to the FX icon at the bottom of the Layers panel and choose Color Overlay. By default, you're going to see a shade of red, like so.
Go ahead and click on the color swatch and go ahead and dial in those same HSB values that you see in the Color panels. So, I'm going to change the H value to 190. I'll change the saturation to 25% and I'll change the brightness value to 75%, and click OK. And then you want to change the Blend Mode from Normal to Color and once you're done, click OK in order to colorize that layer. Turn the liquefy layer back on so that we can mask it, and go ahead and click on that layer as well. And we're going to create the mask by selecting the current background.
And the easiest way to select a region of color inside of Photoshop, of course, is to go up to the Select menu and choose the Color Range command. And that's going to bring up the Color Range dialog box as you see here. Now, very likely your Selection Preview option down here at the bottom of the dialog box will be set to None, so that you actually see the image in the background. In which case, click somewhere in the background, like so, in order to set a base color for the selection. And as you may recall, if you've seen previous episodes of Deke's Techniques, you know that this little preview right in the center of the dialog box shows you the selection as a mask.
So anywhere that appears white will be selected. Anywhere that appears black will be deselected. What we want to do is to crank up the Fuzziness value to 100, like so, so that we are selecting almost all the background. Notice we have some dark areas down here in the lower left and lower right corners, which is why if you're working along with me, I want you to press the Shift key so you have a little plus sign next to your Eyedropper cursor and click in the lower left corner, like so, in order to select all of the background.
Then, go ahead and click OK in order to create that selection. Now we want to modify the selection. We want to enhance it and we're going to do so using the Quick Mask mode. So go ahead and drop down to the bottom of the toolbox. You'll see the Edit in Quick Mask Mode icon. Go ahead and click on it or, by the way, you can just press the Q key to both enter and exit the Quick Mask Mode. You'll see this rubylith overlay. That's not really what we want. We just want to see the mask by itself and there's a couple of different ways to do that.
One is to switch to the Channels panel by clicking on its tab and then you turn off the RGB image. So you turn off the eyeball in front of it. I'll go ahead and turn it on so I can show you the other option, which is to press the tilde key, which is the key directly above the Tab key and below the Escape key on an American keyboard. So if you press the tilde key, you will see the mask by itself with white representing the selected region and black representing the deselected region.
If you press tilde again, you'll see the selection represented as a rubylith overlay. Anyway, I'm going to press tilde. I just want to see black and white. And then I'm going to paint over this guy's ghoulish face here using the Brush tool. So go ahead and select a brush, and then right-click inside the image and you can crank the Size value up pretty high. I'm going to take it up to 1,000 pixels. And I'm going to take the Hardness value down to 0%, very important for this to work. Then press the Enter key, or the Return key on a Mac, in order to accept that change, and then go up to the Options bar and change the mode setting from Normal to Overlay.
And now, assuming your foreground color is black, which it isn't for me, so I'm going to go ahead and press the D key to instate the default colors, white and black. And then I'll press the X key to make the foreground color black, like so. And now you just want to paint inside of the guy in order to make nearly all of him black, like so. So notice, because the Blend mode is set to Overlay, that we're painting exclusively in the dark areas and we're protecting the light areas. All right, now you want to change the mode back to Normal because we need to paint in the eyes and this little thing down here. And then, right-click inside the image window, crank the Hardness value back up to 100% anytime you're painting inside of a mask using the normal Blend mode. Well, at least most of the time. Generally speaking, you want the hardness to be 100%. And then I'm going to take the Size value down to 500 pixels, and I'll paint in the eyes and I'll paint down here, and that is it. Now, there's one last thing that we need to do. We want to select the guy and deselect the background, so we need to invert the mask by going up to the Image menu, choosing Adjustments, and choosing Invert. And that is it for the Quick Mask. Now, we want to convert the Quick Mask back to a selection outline and you do that by clicking on the Quick Mask icon at the bottom of the toolbox. Notice it now reads Edit in Standard Mode, or you can just press the Q key in order to exit the Quick Mask mode, and we now have a selection. Next, you want to switch back to the Layers panel. With that liquefy layer selected, click on the Add Layer Mask icon in order to produce this effect here. Now, if you look closely, you'll see, and I'll go ahead and zoom in so it's evident inside the movie, that we have some bright edges right there. I'm going to press the M key to switch to the Rectangular Marquee tool so I can do a better job of pointing to what I'm talking about. Notice these bright edges. There's a bunch of different ways to attack these edges. I could choke the mask by moving the edges inward, but that's going to get rid of some of the delicate hairs. So, instead I'm going to apply a layer effect by dropping down to the FX icon at the bottom of the Layers panel, and then I'll choose Inner Glow. And initially, that's going to give me an inner glow as we're seeing right there. That's not what I want. I want a kind of inner shadow that's tracing around the hair and I want it to match the existing hair. So I'll click on a little color swatch to bring up the Color Picker dialog box, and then I'll move my cursor outside the dialog box and click in a dark portion of the hair, like so, and that ends up selecting white instead of the color and that's because my layer mask is selected. So irritating. The only option is to cancel all the way out and click on the thumbnail for the image instead. Now let's try it again by clicking on FX, choosing Inner Glow, clicking on the little yellow color swatch. At least it's yellow by default. And then click inside the image and this time, you're going to lift a shade of brown if you click in the hair, that is to say. I'm going to change the Hue value to 40 degrees. I'm going to take the Saturation value down to 30%. And I'll set the Brightness value to 15%, and then I'll click the OK button in order to accept that color. That's not making any difference, and that's because the Blend mode is set to Screen. You want to change it to Multiply so that we're darkening everything like so, and now you can see edges more or less disappear, and things will look even better if you take the Size value up to 10 pixels. So it's not perfect, but it's darn near. And now click OK in order to accept that change. All right now, press Ctrl+0, or Cmd+0 on the Mac, to zoom out. Next, I want to brighten up the background just a little bit, so I'll click on the vignette layer and then I'll drop down to the black and white circle at the bottom of the Layers panel. Press the Alt key or the Option key on the Mac. Click on the circle and chose the Levels command. And because you have the Alt or Option key down, you can go ahead and name the layer as you create it. Call it brightened. And then you want to turn on this check box, Use Previous Layer to Create Clipping Mask, so that you brightening this one layer only. Then click OK. If you want to highlight the first numerical option inside the Properties panel, a little trick, in case you don’t know about this one, you can press Shift+Enter, or Shift+Return on the Mac, and that highlights that first value. Then press the Tab key to advance to the second value, which is the Gamma value, and press Shift+up arrow three times in a row to increase that value to 1.3, and that brightens up the midtones, as you can see on the background. And now, I'll press the Enter key, or the Return key on the Mac, and I'll click this little double arrow icon to hide my Properties panel. And that is it, friends, I'll go ahead and press the F key a couple of times to switch to the Full Screen mode, and zoom in as well. And just for the sake of comparison, press the F12 key in order to revert the image. That is the image that we saw at the outset of the movie, and this is that liquified caricature set against a new background thanks to the power of Color Range, the Quick Mask Mode, and a layer mask working together here inside Photoshop. All right, that's pretty good, but I think we can do better, which is why if you're a member of the Lynda.com online training library, I have a follow-up movie, in which I show you how to shade and sharpen the caricature to dramatic effect. If you're waiting for next week's free movie, well, I'm going to show you how to create a Moebius strip in Adobe Illustrator. Don't know what a Moebius strip is? Tune in next week and find out. Deke's Techniques, each and every week. Keep watching.
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