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All right gang, welcome to Photoshop! Now the technique that we're about to apply, that semi-line drawing technique that is actually a highly posterized graphical effect combined with a sepia tone treatment, it's fairly elaborate actually. It involves masking. It involves path outlines. It involves Adjustment layers. It involves a Smart Object with Smart Filters. So basically, Photoshop's most demanding features that I'm going to be demonstrating over the course of this and the next couple of exercises here.
Now, no matter what, if you've got access to the sample file, you'll be able to follow along with me. It's just that you're understanding of what in the world you're doing, will depend on your understanding in Photoshop, in general. If you know Photoshop, great! If you don't really know what all that is, well, just let it wash over you is what I would recommend. That will give you a sense of whether you want to know Photoshop, because it's insanely powerful, just like Illustrator. Wouldn't you know? I have a three- part intensive One-on-One series, just waiting for you, called Photoshop CS4 One-on-One Fundamentals, Advanced and later Mastery. So anyway, here's the deal. As I say, Woman with masks.tif. What we're going to do is the following: we're going to start things off by converting her to a Smart Object. That way we can apply nondestructive dynamic filtering effects, because otherwise, we'll just get static filters and we don't want that.
So, the way that you convert an image to a Smart Object and it's a badly named feature, by the way, Smart Objects, they're really just super layers, basically, layers that cannot be harmed. So go to the Layers palette, and you should see it down in the lower right region of your screen. It's taking up an enormous amount of room on my screen just because I don't have a very big screen to work with. So I'm going to go up to the palettes flyout menu, and a lot of what we're seeing here interface-wise inside of Photoshop, should be very familiar to you after all of this Illustrator work, because after all, Photoshop supports the same AOL 2.0 interface.
All right, so I'm going to click on the flyout menu icon and I'm going to choose this command right there, Convert to Smart Object. Now if you see a keyboard shortcut that isn't available on your system, it's just because I have dekeKeys loaded, which are my dekeKeys shortcuts for Photoshop, in this case. You can get to them, by the way, for free even if you're not a premium member, you can download those, if you just go over to one of the Photoshop CS4 One-on-One series, here at the Lynda.com Online Training Library. Anyway, I'll go ahead and choose Convert to Smart Object, and that doesn't appear to do anything, but it does change the image into a floating independent layer that's got a little Page icon in the bottom right corner that's telling you it is a Smart Object, meaning that it's a protected image. It's that super layer. You can do whatever you want to it now and you're not going to hurt anything. You just can't gain access to the pixels. You can't brush inside of it, for example.
All right, so I'm going to go ahead and call this Smart Object or something along those lines, so I know what it is. Then lot said about applying some nondestructive filters. Now the first filtering effect in order to get that super sharp tactile effect that we're looking for is to up to the Filter menu, choose Other and choose High Pass, the command that is not available to us inside of Illustrator. Once again, there is a dekeKey shortcut, Shift+F10. I'll go ahead and choose the command. It doesn't look like anything you'd ever want to apply in a million years, but it's a great filter for achieving sharpening effects.
I review it in all kinds of detail inside my Photoshop Sharpening Images series, so much that I have to tell you another series, don't you know? All right, now I'm going to click OK in order to accept that modification. Now it does look terrible, but of course, so here is how you go ahead and deal with that. You double-click on this little Blending slider icon right there. So notice that we've got High Pass. It is now a dynamic effect, very similar to that appearance that we saw associated with Unsharp Mask inside of Illustrator, except inside Photoshop we can't just click on a link in order to review the Filter settings, you have to double-click on the word High Pass in order to bring it up.
Anyway, cancel out. You do have this little guy there, the slider icon, double-click on it, and you can assign a Blend mode to the effect as opposed to the entire layer as we saw in the previous exercise, you just apply it to the effect. I'm going to go ahead and click to center the preview of the eye there, note we can preview our effects right there in the illustration window, we can center our previews here inside the dialog box. The dialog box previews are much bigger than they are inside of Illustrator. I'm going to change the Blend mode to a Blend mode that doesn't even exist in Illustrator. In Illustrator, you've got Overlay, Soft Light and Hard Light, but you don't have these guys here. I'm going to change it to Linear Light and we'll get this effect here. So it's a very tactile effect.
All right, click OK in order to accept that modification. Now, you can see a before and after by turning off High Pass like so, so that's what it looks like before, and then press Ctrl+Z or Command +Z on the Mac to see the after effect. All right, that's not enough. I want it even sharper than that. So I'm going to go up to the Filter menu and heap on another filter, Sharpen. Notice there is more than just Unsharp Mask. We've got Smart Sharpen, for example. There is a dekeKey shortcut of Shift+F6. Again, you've got to load them to have them. All right, I'll go ahead and choose that command there and these are the settings I want to apply: so an Amount of 200%, a Radius of 2.0 and a Remove setting of Gaussian Blur, More Accurate turned off. Basic is also on. That gives us even more sharpening, which isn't necessarily flattering at this point.
We are bringing out some amazing bloodshot eyes. This woman has beautiful eyes, but she's got some major redness going on. I'll go ahead and click OK in order to accept that modification. Then I want to change its Blend settings as well. So I'll double-click on the little slider associated with Smart Sharpen. Then I'm going to reduce after centering the eye, because whenever you're sharpening a portrait, you want to keep an eye on the eyes, because they are the window into the souls and so on. They are also that part of the image that needs to be in the sharpest focus, traditionally speaking.
I'm going to change the Opacity value to 65% and press Tab just to settle things down ever so slightly and click OK. I'm not changing the blend mode, by the way. Just click OK. No need to. Change the Blend mode. Normally I change that Blend mode to Luminosity, but because we're going to because throwing on the Sepia Tone effect on top of everything, the colors don't really matter. That's enough for now. I give you a sense of how just more vastly powerful filters are inside of Photoshop, when you're applying them to images than they are when applying to images inside of Illustrator.
In the next exercise, we're going to be experimenting with little bit of masking. And believe me, it's not hard, because I've already created the masks for you, in advance.
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