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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 I'll show you how to take that photographic caricature that we've been working on for a few movies now. And we'll shade and sharpen it in order to create this final dramatic effect right here. I'll go and switch over to my image in progress and I'm going to simplify this document a little bit, I've been saving versions as I go along. So, it's not really necessary to pile on all of these smart object layers, so I'm going to select this dude layer in the background which isn't visible because it's getting covered up entirely by this vignette.
Then I'll press the backspace key, or the delete key on a Mac, to get rid of it. And then, I'll click on the liquefy layer at the top of this stack. And I want to shade this image using the Burn tool. Which you can get by going to the dodge tool fly out menu and selecting the Burn tool from the middle of the list. But notice that we've got a little Ghostbuster icon that's showing me that I can't paint directly on a smart object. And if I click in the image I'll get this alert message that's telling me exactly that. That the smart object has to be rasterized before proceeding and then it offers to rasterize the smart object for you.
That is exactly what we want to do. Now, you only want to do this if you've saved another version of your image because you would want to protect the settings that you've applied so far. In my case, I have, so I'm just going to click OK in order to rasterize that artwork and notice now that I can paint inside my image. I want you to make sure that all of your default settings are in place, so go up to the Burn Tool icon, the little hand. On the far left side of the Options bar, right click on it and choose Reset tool, and that way range will be set to mid tones, exposure 50%, and protect tones will be turned on.
Now I'm going to increase the size of my cursor a little bit by pressing the right bracket key a few times. And I'll brush under each of the eyebrows like so. And then I'm going to brush under this eye and under this one a little bit as well. I'm going to brush down the side of the cheek. And along the edge of the forehead here. I'm going to brush around the mustache, down into the beard. You can brush anywhere you want. I'm brushing under the lip, as you can see, over here under the smile crease. And I think I might want to darken under the eyes just a little more, so you can paint as little or as much as you like.
I want to darken under this cheek here, to make it look a little bit hollowed, if you end up getting a kind of over saturated effect like that, because I painted twice in this location. Then just press ctrl z or Cmd+Z on the Mac to undo that change. And maybe just try clicking a few times around this region, in order to apply some more nuanced modifications. Now, I might click inside the ear as well, I'm going to go ahead and zoom out. Increase the size of my cursor by pressing the right bracket key a few times and then I'll paint down the neck into the shirt, I'm going to brush on the left side of the tie a couple of times, brush in some of the shadows on the right side of the shirt as well, revisit the left side of the shirt, you can even, if you want to, you can reduce the size of the cursor and paint inside the pupils. If you want to lose some of the highlight action. I don't actually, I like the original highlights, so I'll press Ctrl+Alt+z a couple of times, that's Cmd+Option+z on a Mac, in order to undo those changes. I do want a brush over here on the right side of the forehead and along the top of the forehead as well. And that just helps to give the forehead a little more of volume. So, anytime that we have a lot of shading followed by a lot of highlights, we get a kind of rounding affect as you're seeing right there and that tends to give the image more of a sense of depth. I might paint along the top of the lip just a little bit. I don't want to really affect the teeth. I want to keep them nice and bright. But let's say, right about here, I think I've got a pretty good looking effect. Then, next, what we want to do is increase the sharpness of the image. And I'm going to do that using the high pass filter. And here's how. First, I'll switch back to the Rectangular Marquee tool, which you can get by pressing the M key. And that way, I don't run the risk of brushing in any further modifications. And now, I'm going to copy a merged version of my composition to a new layer. And the only way to do that is from the keyboard. Ctrl+Shift+Alt+E or Cmd+Shift+Option+E on the Mac. And the reason it's E, in case you've ever wondered, under the Layer menu the Merge commands right here are Ctrl+E and then for merge visibles Ctrl+Shift+E. And you're just basically pressing all the modifier keys with E to merge the entire image onto an independent layer. Alright, now I'm going to go ahead and rename this layer, high pass, let's say. Now, I do want my modifications to remain editable. So, I'm going to convert this layer to a smart object by right-clicking inside the Image window. Again, with the Rectangular Marquee. And then I'll choose Convert to Smart Object. And now, I'll go up to the Filter menu, choose Other, and choose High Pass. And for the time being, I'm going to set the radius value to 50 pixels, let's say, and I'll click OK. And in case you're not familiar with high pass, what it does, is it changes all the non-edges to gray. And it keeps the edges pretty much close to the way they were. So, we end up with these light and dark halos. We want them to be totally gray, we don't want any color. So, drop down to the Effects icon, at the bottom of the layers panel. Click on it, and choose Color Overlay. And this is a great technique, by the way, for changing an image to gray-scale. What you do is you click on a color swatch and you dial in 0 for the saturation value, and you change the brightness value to 50%, it doesn't matter what the hue value is. So, saturation 0, brightness 50%, click OK. And then change to blend mode, watch this happen. I'll go ahead and scoot this guy over. Change the blend mode to Saturation, and you have yourself a gray scale version of the image. Now click OK, just for the sake of saving room here I'm going to right click inside this white filter mask thumbnail. And choose Delete Filter Mask to get rid of it, because we don't need it. And now I'm want to merge this high pass layer with layers below. So, I want to drop out all the greys and keep the darks and keep the lights. And you do that by switching to one of the contrast modes in this area right here. So, we're changing the blend mode. And I"m going to go with the very first one, overlay, because that usually produces the best effects. Now, the problem is we are seeing a grayscale version of the entire image even though we have a nice sharpening effect here, it's more of a clarity effect actually. I'll turn off the layer. That's the before version without the high pass layer. And this is the image with the high pass layer. Problem is, of course, we're seeing the gray scale version of the image and that's because the way things operate in Photoshop by default is that the blend mode is applied first to the layer and then the layer effect is applied afterwards. So, we're decolorizing the image after blending. We want it to be the other way around, so double-click in an empty portion of the layer, to the right of the words High Pass in order to bring up the layer style dialogue box, and turn on this very first check box, Blend Interior Effects as Group.
And that will apply the color overlay effect first, which makes the image gray, and then it'll apply the overlay blend mode. And now I want you to see the difference between normal here. This is what high pass looks like by itself. And this is overlay. So that we're merging the grayscale image into the layers below. Alright, now click OK in order to accept that effect. And I'm going to zoom in a little bit as well. And I want you to see the difference this layer makes. This is the before version if I turn the layer off. So, this is what the image looks like without high pass.
This is what it looks like with high pass. So we're getting this kind of clarity effect. Now, you can enhance the effect by upping the blend mode, from overlay to linear light. And then you are going to get a very profound effect indeed. That's not what I want however, so I just go ahead and press Ctrl+Z or Cmd+Z on the Mac to undo that change. If you are looking for more of a sharpening effect, as opposed to a clarity effect, then you want to double click on High Pass, here inside the layers panel. To bring up the high pass dialog box, and you want to reduce the radius value.
And I'm going to take it down to five pixels likes so, and now we get this really crisp, sharpening effect. And to see what that looks like, I'll click OK. I'll zoom even further in here. And I'll turn off the high pass layer, this is what the image looks like before it sharpened. This is what it looks like after the sharpening is applied. I'll go ahead and press Ctrl+0 or Cmd+0 on the Mac to zoom out. I missed those really like shadows and those bright highlights. And to retrieve those, what you can do is apply a curves adjustment layer.
And my preferred way of doing that is to drop down to the Black White icon at the bottom of the layers panel, press the Alt key or the Option key on a Mac, click the icon and then choose Curves. And because you have Alt or Option down, you'll be invited to name the layer and I'm going to go ahead and name it Contrast and I'll click OK. And now I'll choose a preset here inside the properties panel. And that preset is this guy right there, Increase contrast. So, kind of a no brainer. That goes a little bit too far, however. So, I'll close the Properties panel.
And then notice the opacity is set to a 100%. If I press the 5 key, that reduces the opacity to 50%. And, now I'll press the F key a couple of times, in order to switch to the full screen mode. And, just so we can see a before and after version of the image, I'll press the F12 key, in order to revert the image to it's original appearance. So, this is how the image looked right after we masked it at the outset of this very movie and if I press Ctrl or Cmd+Z, this is how it looks now that we've shaded the image using the Burn tool and sharpened the image using the high pass filter.
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