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Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
All right, I hope you are ready to do some hand painting in order to bring out the coral and the skin tones and everything inside of this image, because I've gone through the trouble of creating a special document for you. I have saved my progress so far as Dynamic fill layer.psd. So we've got ourselves a solid fill layer right here. Dynamic solid fill layer along with a layer mask, a black layer mask. So we are ready to paint in white, is how this is going to work. So I'm going to grab myself my Paint Brush right here by clicking on the Brush tool or pressing the B key and I have already set up my brush to be 250 pixels of Diameter and 0% Hardness for starters and we are going to end up painting back and forth in order to get the effect just right.
Now you should see that white is your foreground color. If it's not, then go ahead and click on little switcher there or press the X key and then make sure your Opacity and Flow up there in the options bar are 100% apiece, and then you start painting and you get this wonderful effect here. Now this might occur to you at this point, wow! This is not necessarily the most realistic painting effect I have ever seen. It doesn't look photorealistic. It looks like this dive master is about to be attacked by a blobulous orange monster. Well, that's because I need to apply a blend mode to this layer and I'll do it. I'm just going to rough in some more paint here and there first. Some areas that I want to paint in.
So you can see exactly where I'm painting and exactly where I'm not painting inside this image. If you have a mind to mimic my behavior, although it's not essential. You can totally go your own way and decide other areas need orange than these. And I'm just sort of giving some orange to the coral, basically the coral area I'm painting orange. Any areas that don't have coral on them, I'm leaving the color they were. Then I'm going to paint over his legs too like so. And I'm probably going to hit the fins a little bit. That's okay. Actually, you want to paint into the fins because you will come back and fix those shortly and I want to paint over his bracelet right there and his hair wants to be sort of orangish and this little thing wants to be orangish as well and I'm going to paint down his trunks there, the swim trunks. We are going to create sort of composite where the trunks are concerned just to neutralize it.
But for now go ahead and paint over them. And so you should see some hideous horrible unrealistic effect like this right here. Just go for it. Now the brilliant thing about this by the way is that when you are working on an independent layer as I am, instead of just painting directly inside the image, you can now turn around and change the blend mode after the fact and come up with a blend mode that's going to work beautifully. Now we are going to want to apply one of two blend modes. Either Color, which will keep the hue and saturation of our orange and mix in the luminosity of the original scene, which begs a question why they dial in the B value which is brightness? When I created this orange layer in the first place, you may recall it was 25, 80, 80. That last 80 doesn't do us any good, because we are just going to turn around and get rid of it when we apply a Color.
Or we are going to want to apply Hue. One of those blend modes right there and Hue of course with loose saturation and return control of saturation back to the original scene, and of course, the scene would be in charge of Luminosity as well. So let's try color and see what happens and we end up getting this effect here. It turns out not to be the effect I'm looking for. Anyways, we don't want that. It's what it comes down to. This would be the orange version of that algae. I'm going to change it to Hue and we end up getting this effect here, which is great. So notice this is what the scene looked like before and this is what the scene looks like now. Suitably warmed up I think and you know if there are other areas you want to paint in by all means, get in there and paint them up to your heart's content. I want to get rid of that kind of blueness that I'm seeing in different locations here, not inside him. He wants the blue associate with him, but down on these regions here. They don't want blueness.
And I'm going to increase the size of my brush. I did that by pressing the Right Bracket key a few times and then painting some more in these areas like so. Now you might say Deke , what are we going to do about the fact that you are ruining the dive master? His fins, they don't look right at all and his trunks are too orange and you painted into the tank and what are we going to do about that calamitous situation? Well, and look by the way, look at that. Excellent, excellent layer mask right there. It's something to behold and I got to look at it by pressing the Alt key or the Option key on the Mac and clicking on layer mask.
All right, well what we are going to do about it is we are going to take advantage of a special masking technique, and we haven't gone the masking yet, we haven't discussed how masking works here inside Photoshop. But I'm going to introduce you to a technique that very few experts, not even dive masters know about but you are going to know about and it's going to allow us to protect the fins and the sleeve and everything else that's going on here. And you will see how that works in the next exercise.
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