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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've saved my progress as Fakey paint.psd, so called because the warpaint so far is very fakey. It should look like this, so it should integrate into the skin and the shadows and just look absolutely magical and at peace with this peaceful creature. So that's what we're going to do inside this exercise. We're going to blend, and we're going to blend the warpaint in a couple of different ways. First of all we're going to take advantage of luminance blending which we've seen before but we're going to see again, and secondly, we're going to take advantage of a Bevel and Emboss layer effect.
So for starters, I'm going to go ahead and click on the cyan paint layer to make sure it's active. Then I'll go to the Layer panel menu and I'll choose Blending Options, Ctrl+Shift+O on the PC, Cmd+Shift+O on a Mac, brings up the Blending Options dialog box and I am going to once again force through the Underlying layer. Where this project is concerned, we haven't seen a lot of this layer action, which allows you to drop away pixels based on the Luminance Level of those pixels inside the active layer.
Problem is, reason that this layer isn't going to do us any good, where for example, the pupil was concerned or this warpaint is concerned, is because the luminance of this layer is consistent. It doesn't wander the way everything else does in the background, so the real luminance in this image is being conveyed by the underlying layers, that's why we need to use this slider. I could expose some of the highlights like so. That doesn't really do us any good. That doesn't look right to me, so I'm going to put that white triangle back where it was and instead I'm going to expose the shadows by dragging the black slider triangle over to the right.
Now of course like usual, we've these jagged transitions. That's terrible, and besides, we want more of a sloping drop-off associated with these War Paint strokes as if they were applied with a fingertip. So I'm going to press the Alt or the Option key and I'm going to drag the right-half of this black slider triangle away and I'm going to take it all the way up to 165, right there, and now we get this nice sloping drop-off and it really does give it a nice organic feel and you can see the skin texture show through and it's as if the warpaint and the texture are interacting with each other, so perfect.
I'll go ahead and click OK to accept that modification. I'm not going to change the Blend mode incidentally. We don't need that, just click OK. The other thing I want to do is add a little bit of depth to the warpaint, so it appears to sort of rise from the flesh, just ever so slightly, and we're going to do that using a Bevel and Emboss effect. So I'll drop down to the fx icon and I'll choose Bevel and Emboss and that's way too much beveling, as you can see there. I'm happy with the Angle and the Altitude value, so that's a function of my Global Light setting which is turned on, so I'm not going to change those.
You can experiment with them if you want to but don't leave Use Global Light turned on if you're going to do that, because you'll mess up the yellow paint layer. However I do, definitely want to take the size value down because I don't want this much depth going on here because it looks silly, and also I don't want the Technique to be smooth. I'd rather the Technique was Chisel Soft. Now I'll start by selecting that, at first that's not going to look right. Of course the warpaint isn't going to be chiseled on somebody's face. That doesn't even make sense. However once we've reduced the size value, it's going to the start looking right.
So the lowest you can go with the size value, if you want to actually see the darn thing is 1, 1 pixel, and then I'm going to take the softened value to smooth away some of that chiseling. I'm going to a take it up to 5 pixels and you'll end up seeing this effect right there, which isn't sufficient but it will be better, once we start fooling around with the blend modes here. I'm going to change the blend mode for the highlights to Linear Dodge, like so, and that ends up making those highlights just leap off the image.
That of course is way too much. So I' going to take the Opacity value down to 30%, and then we don't need much in the way of shading. So I'm going to leave the Shadow Mode, set to Multiply and I'm going to take the Opacity value down to 30% right there and then I'm going to reduce the Depth to 40%, like so, and that's it. That's just exactly the degree of Bevel and Emboss I want, no less, no more. That's great. Click OK in order to accept that effect.
Now you might look at this and you might say well that's still an awfully thick edge. It looks pretty gooey. Watch what happens when we zoom in. I'm going to press Ctrl+1 or Cmd+1 on the Mac to zoom all the way into a 100%, and you can see that actually we have some very thin edges. The problem is as you zoom out, Photoshop is continually trying to render it out as a single pixel, so a single pixel thick even when you're zoomed out to 50%, which is too darn thick. Now it'd nice if it didn't do that. That's what it does do. The good news is it'll print just fine.
It will print like this, so that we have a very thin edge. It'll also output to the Web like this. It'll flatten like this, if you're going to flatten the image, it would look better. In fact let's do that, I'll go ahead and zoom out, Ctrl+Minus a couple times, actually lets go farther out, so we have got the image centered. Notice how thick the edges are right now. I'm going to go up to the Layer menu, and I'm going to choose Flatten Image or I could press my keyboard shortcut that I give you Deke keys, Ctrl+Shift+Alt+F, Cmd+Shift+Option+F on a Mac, yes I want to discard the hidden layers and notice, did you see that? The layer effect just got skinnier, so this was before, and we've got these chunky layer effects going on, and this is after I get done flattening out the image.
The flat version of the image shows you what it really looks like when you print it or export it to the Web or obviously flatten it out and it save as a JPEG for a client or something along those lines. So just know that Photoshop's preview when you're zoomed out from a layer effect is not necessarily exactly accurate. All right, so I'm going to undo the flattening of the image because I don't want to lose my layers for now. That's the cyan warpaint blended in with the underlying image. In the next exercise, we will create and blend the layer of white warpaint.
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