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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.
Now I've gone ahead and made a few tweaks to my Puppet Warp effect between exercises and just so you can see what they look like I'll go ahead and double-click on the Puppet Warp item associated with my tiger tattoo layer and at least this way you get to see which pins I'm using and where they're located. Truthfully, however, there's no way you're going to exactly duplicate my effects anymore than I've been able to exactly duplicate my own effects as I've worked through this project several times now. So I've saved all my changes thus far as Puppet warped tattoo.psd. Now I'm going to go ahead and press the Enter key in order to accept that effect.
I've got a couple of things going on here. We have some tattoo that's flying off the guy's skin. So we need to go ahead and clip that. And also I want to better map this ink onto his skin so that we're seeing the highlight area show through. That's going to be a function of Luminous blending inside of Photoshop. So those Luminance exclusion bars remember those from the end of the previous exercise. Those are going to service, well, right now. So I'm going to go ahead and double-click in an empty portion of this layer.
Very important that you do not double-click on the thumbnail. That'll go ahead and open the artwork inside of Illustrator. We don't want that right now. Nor should you double-click on the name of the layer, because that would permit you to rename the layer which you just don't need to do. So double-click over here in this empty region to bring up the layer Style dialog box. You can also if you loaded Deke keys press Ctrl+Shift+O or Command+Shift+O on the Mac and I'm going to adjust the Underlying layer slider. There's no point in adjusting the This layer slider, because I only have a couple of luminous levels to work with inside of this tiger.
That is Black which is going to drop out real quick if I drag that black slider triangle. Then we have these red strokes and that's it. That's all that's going on. So what we really want to do is bring out the highlights inside of the guys arm and that is going to happen if we adjust the Underlying layer controls. So I'll take the black triangle back to where it was and I'll drag on this white triangle for Underlying layer. You can at a certain point I start bringing out the highlights in his flesh. Well, you know an even better thing to do, I'll just go and reset that guy where he was, is to immediately begin by Alt+Dragging or Option+Dragging the left half of that white slider triangle.
Then we just start incrementally exposing the flesh, like so. So I'm going to take this value down to let's say about right there 138. So anything with a luminance level of 130 or darker on the guy's arm is going to get covered by the tiger tattoo. Anything from 138 and lighter is going to be incrementally exposed so that we can see that skin show through. It ends up producing a really great effect. In fact, it takes this fairly lumpy looking tiger here and makes him look like he really belongs on this guys arm.
I'll click OK, in order to accept that modification and I want you to see how that took care of the bits of tattoo that were hanging off the guys skin, because white now is showing through from the background. Now if I had any doubt that this is going to hold up then I could double-click once again on that layer. What I think I'll do is just drag this guy over ever so slightly, the right half of that white triangle to 250 so that everything brighter than 250 is absolutely showing through.
That way we should have no problem with that background, but it is starkly white. Now had it not been white why then I would've gone ahead and thrown on a vector mask and I even drew the mask for you here inside the Paths panel. But turns out you don't need it which is great news. So I'll go ahead and switch back to Layers panel and notice if I Ctrl+Drag or Command+Drag this layer, see how the tiger just stays in the guy's arm which is actually fairly thrilling I have to say. Now if I decide it belongs out here so that we're not seeing any of that edge, then so be it.
Now I'm not deciding that I'm going to drag it back a little bit, because I like seeing that little bit of an edge over there on the side of his arm. However, you do have a lot of control that way. So the other thing I want to do and I'm going to actually, sorry, I'm going to Ctrl+Drag him up a little bit. I think I nudged him down more than I meant to. I want to go ahead and blur the tattoo into the guy's flesh. The reasoning being that the tattoo would've soaked into his skin and spread out a little bit. No tattoo is, no tattoo after all unless it's maybe one week old is absolutely super sharp like this.
We're going to create that blur using a special application of a fairly simple Smart Filter in the next exercise.
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