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Addressing the stubborn patches

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Addressing the stubborn patches

Now often times the technique I showed you in the previous exercises, all it takes to get rid of modeled skin tones. All you have got to do is select the faces, jump them to a new layer, if necessary load the Transparency mask for the layer then apply the Average command, the Average filter and then apply Hue Blend mode and you are done and everything is taken care of. But in this case, we have got a few more problems, because the skin modelling is not only a function of random hue variations, but it's also a function of some brightness and saturation variations as well especially this little bump on this guy's nose here is highly saturated and dark as it turns out.

Addressing the stubborn patches

Now often times the technique I showed you in the previous exercises, all it takes to get rid of modeled skin tones. All you have got to do is select the faces, jump them to a new layer, if necessary load the Transparency mask for the layer then apply the Average command, the Average filter and then apply Hue Blend mode and you are done and everything is taken care of. But in this case, we have got a few more problems, because the skin modelling is not only a function of random hue variations, but it's also a function of some brightness and saturation variations as well especially this little bump on this guy's nose here is highly saturated and dark as it turns out.

Let's go ahead and select the red patches inside these fellows' faces and balance that to a new layer and see if we can do something to it that might benefit the image. So go ahead and turn off the average layer if you are working along with me and you created such a layer in the previous exercise, I want you now to select the background layer here inside the Layers pallet. And we are going to once again go up to the Select menu and choose the Color Range command. This time I don't want to see this kind of selection preview, so I am going to go ahead and switch it back to None instead of seeing Grayscale there.

And I am going to click on this guy's chin and then I am going to Shift drag across just this upper portion of his chin like so. And then I am going to Shift click on this little pimple on this guy's nose and that should pretty much take care of it. If I am worried, I need to get a few other details, I can Shift click here and there, I don't want you to select too much information inside of these faces, much better to select too little at this point. Alright, so we have some very discrete selections going on, go ahead and click OK, by the way the Fuzziness value should remain set to 40, then click OK in order to generate these selection outlines.

Now I want to refine the selections and I can do that by making sure I have one of my selection tools active and then I can click on the Refine Edge button or I can just go the Select menu and choose the Refine Edge command that works too and you will see the familiar Refine Selection Edge dialog box, new to Photoshop CS3, we saw it in Chapter 8. And these are default values, radius of one smooth set to 3, Feather Value of 1.0 that's all fine by me, actually might just leave those set as it is. Then let's just go ahead and take the Contract/Expand value up 50%, so it will expand the selection ever so slightly.

So this is what it look like originally, this is what it looks like now. So it covers a larger area and it has a smoother drop off. Now click OK in order to accept that modified selection outline, it will take a moment in order to do its math there. Now notice that the background is selected at this point, I want you to create a new layer, go ahead and click on this little Document icon down here, the Create a New Layer icon in order to generate a new layer and let's call this one Patches, why don't we and then press the Return key to accept that.

Now I haven't done anything with the selection outline, this layer is completely empty at this point, I want you to go down here to this tool right there, the Eyedropper Tool, go ahead and click on it in order to select it. And then I want you, I am going to go ahead and zoom in on this guy a little bit, this guy in right and I am going to load a color that's not selected, one of the good skin tones right there, alright that's not too pink or not too Red, go ahead and load that color by clicking on it, and what that does when you click on a color with the Eyedropper, it turns that color into the foreground color, so you should see a light sort of peachy patch down here at the bottom of the toolbox.

Then I want you to fill the selection with that color by pressing Alt+Backspace or Option-Delete on the Mac. Now that of course looks ridiculous at this point, that's okay, go ahead and press Ctrl+D in order to deselect the image. I am going to switch back to my marquee tool, I am going to change the Blend mode assigned to this patches layer, I am going to change the Blend mode to screen like so. And that's going to use that patches color, that sort of light peach color in order to lighten everything underneath it.

Again it doesn't look right, that's okay it will look right in just a moment. Now I want you to turn the Average Layer back on, so that we can see the Average Layer in front here. I want you to press the Esc key if you are working on the PC, press the Esc key to make sure that the Blend mode is no longer active inside the Layers pallet. And then I want you to press the 2 key to reduce the opacity of that layer to 20%, would you check that out. Alright, so this is what the image looks like without this new patches layer right there and this is what it looks like with this patches layer, much improved.

The transitions are not perfect and you could go in there and sort of raise at the edges little bit to soften those edges, but I doubt anyone coming to this image for the first time especially once we zoom out from it a little bit, is really going to notice that effect. They are not really going to notice that you have applied this screened layer over at the top of the original image. And if you are worried, they are of course you can adjust the image little bit you can paint into it a little bit if you want too and you could reduce the opacity further, I am going to press 1,5 to take that opacity level down to 15% so it's a little more of a subtle effect.

Now just to give you a sense of what we were able to accomplish here, I am going to Alt+Click on the eyeball in front of the background layer, those of you working on the Mac you would Option-Click on that eyeball. And that way you are hiding everything but the background layer and if I Alt or Option-Click on the eyeball again, I will see all the layers working together. So this is the original version of this image, this is the new version of the image. Thanks to some pretty simple little alterations we have gotten rid of 90% of the modeling that's going on inside of the skin and we have really come up with some nice even skin tones as a result.

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Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39181 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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