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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.
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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