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Applying a digital facelift

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

Video: Applying a digital facelift

Now in this exercise, we are going to take a step at a practical application of the Liquefy command. And we are going to try our talents on this image right here, it's called madelina.jpg and it's available to you inside the 16 Warp Liquefy Folder. And I don't know quite what the story is behind this image, I don't know if Raphael hated this woman or exactly what the deal was. She does have somehow or other a very droopy face and pretty astronomically long nose by comparison to the proportions of the rest of her face as well as something of gargantuan bowing ball of a forehead here.

Applying a digital facelift

Now in this exercise, we are going to take a step at a practical application of the Liquefy command. And we are going to try our talents on this image right here, it's called madelina.jpg and it's available to you inside the 16 Warp Liquefy Folder. And I don't know quite what the story is behind this image, I don't know if Raphael hated this woman or exactly what the deal was. She does have somehow or other a very droopy face and pretty astronomically long nose by comparison to the proportions of the rest of her face as well as something of gargantuan bowing ball of a forehead here.

These dinky little lips, this nice cleft chin of course. A healthy undercarriage of flesh here just above the neck. And then some of sloppiness, most boneless shoulders you ever darn did see. Now back in the 1500s, this porcelain look was all the rage. Nowadays not so much so, so I would like to take this image and give it something of a quite literal facelift and we are going to try to make this image look something more or less like this. This is an image that I am calling madelooker.jpg, hubba-hubba, it's dramatic improvement, I would say, it's not necessarily the improvement that you might want to choose.

The eyes might be a little bit too big and the lips might be a little bit too big as well. You can make your own choices and certainly the effect that I apply in front of you right now is going to look somewhat different as every application of the Liquefy filter does. But anyway let's go ahead and return to the Madeline, oh my goodness the madelina.jpg image right here. And let's see what can be done, I am going to go up to the Filter menu and I am going to choose the Liquefy command or again I could press Ctrl+Shift+X or Command-Shift-X on the Mac.

And I have got a gargantuan brush at this point especially where this fairly low resolution image is concerned. This image doesn't have really all that many pixels going on. So I am going to take the brush size down quite a bit and that is the way that you are going to want to work inside the Liquefy command, that is to say with high resolution images you are probably going to want to be working with large brushes with low resolution images, you are probably going to want to be working with small brushes. I am not going to be using the Turbulence tool, believe it or not, I am going to switch up here to the Forward Warp tool.

And at this point, I am going to drag in some of this flesh a little bit. Now I am not seeing any modification, notice I am dragging here and I am not seeing anything happen on screen, it's not because I have too low of a pressure value, a Brush Pressure value, it's max out to a 100%. So what's going on, it's this darn Show Backdrop option that still turned on and it's trying to show me all layers in front of my existing layer at a 100% opacity. So in other words, the original version of the image is covering up the modified version of the image, so I am never going to see the results of my edits until I have to modify these settings or turn off the Show Backdrop function because after all, this is a single layer image, there is nothing to see.

Except that I have sort of ruined my image, so I am going to go ahead and click on Restore All in order to bring this jaw back here. And I am also going to turn off the Show Mesh functions because I just want to focus in on this image right here and nothing else. Notice I am making very-very small manipulations. I don't want to make big manipulations because even my small adjustments are softening the image dramatically. Alright so you just want to make very small adjustments when you are working inside of this dialog box.

Small adjustment go long ways, don't you know. Now I am going to switch to the Blow tool right here and I am going to reduce my Brush Pressure value to 50% and I am going to increase the size of my brush a little bit and I am going to click and click to expand the size of those eyes. And I might go ahead and click on the lips as well to expand their size ever so slightly here, I don't want to expand them too much, just a little bit. Now I am going to Alt+Click with this tool in order to pucker the flesh underneath her chin.

And this is a really great way, notice that I am clicking many times here. This is a really great way to get rid of access flesh underneath a jaw line, definitely a nice way to work. Now I will go ahead and get my Warp tool once again, increase the size of my brush and drag this area slightly up. Now the Warp tool doesn't behave quite as well with the low pressure setting. And I will go ahead and stick with this low pressure setting for a little bit here for a few strokes of this brush. Alright that works out pretty well and I might drag this area down a little bit, it's okay to go back and forth a little bit using these tools.

Alright let's take the Brush Pressure value back to 100% and this is a fairly time consuming filter, if you haven't already gotten the sense of that. I am going to go ahead and increase the size of the mouth and I might drag up the corners of the mouth as well to get for a smile, I mean it's no crime to smile for a photograph, don't you know or even for a painting, they say they tell me I haven't actually posed for one lately but if I were to, I might go ahead and give it a big old smile or at least something resembling a smile like this here.

And I am going to drag the nose up just a little bit because I do think it's awfully long. There is nothing wrong with this nose except I just think, I just think it was not really that long in real life unless she is related to Pete Townshend, you never know, but anyway I will go ahead and drag these items in, ever so slightly here. Finally, I might drag down on her hairline like this in order to reduce the size of the forehead or I could grab the Blow tool and click a few times inside of the hairline like so in order to add a little bit of hair information to this area here.

I don't have to get rid of this forehead entirely, it's okay that's she has got a forehead that means she is smart after all, but we might not want it to take up quite this much area inside of her head, mean that we want to devote a little more information to the features. Alright the bigger issues are her neck which I certainly don't want to blow, so I just made her neck bigger that wasn't what I wanted to do at all. I am going to switch back to the Warp tool here and I am going to move the neck inward on both sides in order to give that neck more of a thin appearance, more of a sort of you know a swan like appearance don't you know.

Now I am going to zoom out and it's time to take on those shoulders, I mean what is going on with those shoulders, I suspect she was deboned at some point or she was wearing one of those long necklaces but I don't think they were in fashion in 16th century Europe. Alright what I am going to do is I am going to grab this Push Left tool and it's kind of a mysterious tool you never know which way it's going to go. What I suggest you do is just sort of drag with the tool to get a sense of what's happening, that was the wrong direction for her shoulders obviously.

I want to take them down a little bit and I am going to do that by clicking and then Shift+Clicking in order to draw a straight line of movement. Now that's too much movement, so I will undo that modification and I will reduce my Brush Pressure to let's say 20% for this tool. Then I will click and Shift+Click again just to move things down ever so slightly. Try it again to see if I can get a little more movement down there. And then I will try the same thing by clicking and Shift+Clicking on this side. And you can click and Shift+ Click in different directions, in other words one time you might want to take it this way and other time you might want to take this way and so on in order just to sort of vary things up a little bit.

And then you go back to your Warp tool by pressing the W key, so every one of these tools tends to be a preamble to revisiting the Warp tool which is your big major tool inside of this dialog box. I am now going to drag downward a little bit and I have got too low of a Brush Pressure to really get anything done, so I am going to raise it back to a 100% and then I am going to move the shoulder details down a little bit from the neckline, I might also drag some of this hair detail out or I might load it a little bit to increase the size of that hair without increasing the size of her jaw flesh there.

Alright anyway let me go back to the Warp tool here and let's drag the shoulders up, but with a bigger brush I will go ahead and jam on that right bracket key a little bit. Now let's move these details around a little bit, I just I want her to have the appearance of an actual shoulder blade and you know those things, so shoulder bones that you have, that most of us have anyway, she seems to be missing them. Now I need to drag in on the arm a little bit, but notice as I drag it on the arm I am going to do an exaggerated movement here.

Notice that I start revealing the transparent area, in other words I am revealing non-existent pixels inside at the image and I don't want to do that so, I will undo that modification, I will grab the ridiculously named Freeze Mass tool right here. Decrease the size of my brush and I will just mask this edge, so it doesn't get damaged. Now I will return to the Warp tool, increase its size a little bit and move the shoulders inward. And notice now I am stretching at the background but I am not revealing non-existent areas of the image.

Now if you get weird stuff like this where the edges turn rumply on you, which they frequently do when you are using the Warp tool, then attack those rumples using a very small brush and you can drag those areas back outward like so. And I am going for as much of a smooth transition as I possibly can at this point. Now it looks pretty darn good. Now I am going to go over to this area of the image, attack it, a little bit more as you can see it's really a matter of going back and forth inside of the various details inside the image, until you get an affect that you think you can live with.

Now I think this looks pretty darn good and if you want to get a little bit of a before and after comparison just go ahead and click on that Restore All button. This is the original version of the madelina.jpg image and if I now press Ctrl+Z or Command-Z on the Mac, this is the modified version of the image. We are not going to click OK quite yet, we are going to do that in a next exercise, but first we are going to take a moment to save our mess so that we don't make any mistakes and as I say that's something we will do coming up in the very next exercise.

Show transcript

This video is part of

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

129 video lessons · 39076 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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