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Photoshop CS6 One-on-One: Advanced

Bolstering and integrating hair


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Bolstering and integrating hair

In this movie, we are going to complete the composition, and the first thing we're going to do is firm up some of the details inside of the hair, because it's a little fragile at this point, and then we'll go ahead and weave this text into the hair in order to achieve this final effect. So, for starters here, I am going to zoom in on his hair, and the problem is that the hair is ending up a little more fragile than it was, certainly inside the original image. So, for example, we have these choppy details upfront, and then we've got some wayward hair up at the top as well. I think we can make things look better with the addition of another layer.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Bolstering and integrating hair

In this movie, we are going to complete the composition, and the first thing we're going to do is firm up some of the details inside of the hair, because it's a little fragile at this point, and then we'll go ahead and weave this text into the hair in order to achieve this final effect. So, for starters here, I am going to zoom in on his hair, and the problem is that the hair is ending up a little more fragile than it was, certainly inside the original image. So, for example, we have these choppy details upfront, and then we've got some wayward hair up at the top as well. I think we can make things look better with the addition of another layer.

So the first thing I am going to do is click on this side view layer to make it active, and then I am going to Alt+Drag or Option+Drag it to duplicate the layer, and drop it on top of the blue adjustment layer. And that already makes the hair look firmer, just by virtue of the fact that it's repeated a couple of times, so this is the hair as it was a moment ago, and this is the hair as it looks now. Problem is, we are also bolstering the beige background. We don't want that. And we have gone ahead and replaced all the work inside the sunglass lenses, and inside the collar as well.

So we need to change the blend mode to that one blend mode that keeps all the luminance inside the active layer, but it gets rid of the color, and that is Luminosity. So go ahead and select that mode, or you can press Shift+Alt+Y, or Shift+Option+Y on the Mac, and now if I turn the layer off, and then turn the layer back on, you can see that we are not modifying the color; we are just bolstering the amount of hair. All right, so I am going to go ahead and call this layer luminance, because that's what it is, and I'm going to brush in still more hair by switching to the Brush tool. And I will right-click inside the image window, so you can see I have cranked the Hardness value down to 0%.

Now let's go ahead and click on the layer mask thumbnail to make it active. White is my foreground color by default, so I will increase the size of my cursor, and then I will just go ahead and paint hair in around the top of the image, and in front of the hair as well, and then down across the back a little bit. Now, what that does is it introduces a bunch of haloing that, of course, I don't want. So I will double-click on an empty portion of this layer to bring up the Layer Style dialog box. You may recall those luminance exclusion sliders from a couple of chapters back.

I am going to take the white triangle for the This Layer slider, and drag it down to, let's say, about 170, which ends up getting rid of most of that haloing, but you can see we have a bunch of stray hair details as well if I zoom in here. So I will press the Alt key, or the Option key on the Mac, and drag the left half of that white slider triangle down to about 130. I think that works out pretty nicely, because if you take any father down than that, then you end up losing some of the dark hairs. All right, so that looks good.

Click OK. It looks a little bit choppy this close up, but as soon as we zoom out, that choppiness goes away. All right, so it's a subtle difference, but this is what the image looked like before I added that additional hair layer, and this is what it looks like now. So his hair is just fuller, which is more in keeping with the way it looked in the original photograph. All right, now let's grab that rad rules layer; turn it on. It's a shape layer, as you can see here, so you are going to see some shape outlines. I converted it to a shape layer, just because you may not have that same font, Cooper Black, loaded on your system.

Go ahead and press the M key to switch back to the Rectangular Marquee tool, and I am going to drag the rad rules layer to below this guy, so that his hair is covering up the letters. I'll also press Control+H, or Command+H on the Mac, so I don't see those edges. But I really want the letters to look like they are coming out of the hair, as in the final composition, so I need another copy of the text layer, and I will create it by Alt or Option-dragging that shape layer up to the top of the stack, like so. That creates a copy.

Let's go ahead and reduce the Fill Opacity; switch back to the Rectangular Marquee tool if you haven't already done that, and then press Shift+00, and that will take the Fill Opacity down to 0%. But we also want to clip this layer to the luminance layer below it, so that we are just seeing the letters inside the hair, so press the Alt key, or the Option key on the Mac, and click that horizontal line between the two layers, and we end up getting this weird effect right here, where we can see just a little bit of the edges, which are created using a combination of Inner Glow and Outer Glow, and we can see just little bit of those edges inside the hair.

They are very, very thin. What is going on? Well, problem is -- I'll switch back to the luminance layer, and double-click on an empty portion of that layer to bring up the Layer Style dialog box. The culprit is the This Layer slider right there. If I were to crank it back up, then the letters look the way they're supposed to, but as soon as I start taking that second value down, as I had previously, why then we start getting the problem, and that's because both of these layers are being merged together before they're being mixed with the rest of the composition.

You may recall, a couple of chapters back, I was telling you that these checkboxes are designed to be problem solvers. Notice this one that says, Blend Clipped Layers as Group. That's the culprit. It's making sure that the layer effects are being blended according to the This Layer setting. If I turn the checkbox off, then we end up getting a much better effect. Now click OK. Finally, I want to make the letters look like they are emerging from the hair, and I will do that by switching back to that top rad rules layer; double-click on an empty portion of it to bring up its Layer Style dialog box, and Alt+Drag or Option+Drag the right half of this black underlying layer triangle until you get a value after the slash of 100 is what I'm looking for here.

There; I got it. So 0/100 for Underlying Layer, and you get the effect of the text being mixed in with the dark hair, then click OK in order to accept that affect. I will go ahead and press the F key a couple of times in order to switch to the full screen mode, and there you have it! My final composition achieved using a combination of the Refine Edge command -- or Refine Mask, if you prefer -- combined with a handful of layer masking and compositing techniques here inside Photoshop.

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