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Creating a fake blood effect

From: Photoshop Masking and Compositing: Fundamentals

Video: Creating a fake blood effect

Now, over the years, I've gotten quite a few requests to show how to create fake blood inside of Photoshop. If that's your cup of tea, then stick with me for the following movies. If it's not, then go ahead and skip ahead to the next chapter. I'm looking at the file called Vampire comp.psd, and I'm also looking at the final layer comp inside the Layer Comps panel, which is called Blood. Notice, if you're working along with me, you'll see over here in the Layers panel that the Blood effect comprises a total of three layers, two of which are called drips, and one is called lips.

Creating a fake blood effect

Now, over the years, I've gotten quite a few requests to show how to create fake blood inside of Photoshop. If that's your cup of tea, then stick with me for the following movies. If it's not, then go ahead and skip ahead to the next chapter. I'm looking at the file called Vampire comp.psd, and I'm also looking at the final layer comp inside the Layer Comps panel, which is called Blood. Notice, if you're working along with me, you'll see over here in the Layers panel that the Blood effect comprises a total of three layers, two of which are called drips, and one is called lips.

I'm going to go ahead and zoom in on this image here, and scroll down to the mouth. And you can see that the blood effect not only includes this blood that's oozing out of the guy's lips, and down onto his chin as well, but we also have a little bit of scabbing, as if the blood is congealing on his lips. Because after all, if this was a vampire, and he had bitten somebody, then he would naturally have at least a little bit of blood on his lips, even if he was a really tidy guy. We're going to start by creating that lip blood.

I'll switch to my image in progress, which is called Bedraggled ghoul.psd, found inside the 07_refine folder. Notice I've gone ahead and zoomed in on the mouth, and if you'll switch over to the Channels panel, you'll see that I've created a couple of Alpha Channels devoted to the blood effect. One is called blood trails, and we'll visit it in the next exercise, and the other one is called blood lips. For now, I'd like you to select the blood lips channel. What I did to create to this channel is I laid down an initial selection with a very tight Fuzziness value using the Color Range command, so that I could select into the folds of the lips, and then I used the Smudge tool to smear the effect around, and I also brushed in some darkness using the Brush tool.

Now, you can try your own hand at this if you want to, but it's a fairly painterly effect, so I just thought I'd go ahead and do it for you in advance. So let's load up this mask by Control+ clicking, or Command+clicking, on its Alpha Channel here inside the Channels panel. Now I'm going to switch back to the RGB image at the top of the panel, and switch over to Layers panel as well. Assuming that that shading layer is selected, drop down to the Black/White icon at the bottom of the Layers panel, press the Alt key, or the Option key on the Mac, and click the Black/White icon, and then choose Solid Color.

I'm going to call this layer lips, and click OK. That will bring up the Color Picker dialog box. I'll change the Saturation value to 100%, and the Brightness value to 25%, and then click OK. Photoshop ends up converting that selection outline to a layer mask, so that we're just filling that area of the lips with red. Now, that's way too garish, so I'm going to change the Blend mode from Normal, to Overlay. Now, if you've ever taken a look at a little bit of smear blood, you've noticed that the blood has a tendency to congeal more at the edges than in the center.

So we're going to create that congealing effect using a layer effect. Specifically, I want you to click the fX icon at the bottom of the panel, and choose the Inner Shadow command. I'm going to dial in a slightly brownish color by clicking on the color swatch, and changing the Hue value this time around to 30 degrees. The idea is the blood is aged a little toward the outside. Then I'm going to increase the Saturation value to 100%, and take the Brightness value you up to 25%. Click OK, change the Blend mode from Multiply to the ultimate darkening mode, which is Linear Burn.

So we'll get, in fact, more of a burnt effect. I'm going to take the Opacity value down to 50% to compensate. Notice that the Global Light value is 135 degrees; that's fine. The Distance is 5 pixels, the Choke value is 0%; that's all good. However, right now it looks like we have dents around those edges. That's not what I want. So I'm going to increase the Size value from 5 pixels, to 35 pixels, and that's going to help to blend that shadow effect outward. Now, at this point, it strikes me that the Saturation values are too high, both for the red lips, and for the brown shadows.

I could modify those colors by hand if I wanted to, but I don't, of course. So I'm going to take the Saturation values down by adding a Color Overlay effect. So go ahead and click on Color Overlay, click on the little red color swatch, because otherwise, after all, we end up with these exceedingly garish red lips. I'm going to take the Saturation value down to 10%; that's all that matters. You don't have to worry about the Hue value, or the Brightness value. You get this horrible pale pink; that's fine. Click OK, and then change the Blend mode from Normal, to Saturation, and that way, that 10% Saturation value is all that matters, and that goes ahead and takes down the saturation of the lips and the Inner Shadow effect accordingly.

Finally, I wanted to blend the effect better, because notice it looks like it cuts off pretty abruptly there. So I'll click on Blending Options at the top of this left-hand list. I'm going to eke the effect out of the brightest colors inside the lips by going down to this Underlying layer slider, pressing the Alt or Option key, and dragging the left half of the white slider triangle over to 130. Your value should read 130/255, and that way, notice, we're creating these much more plausible transitions.

Then finally, I just wanted to take some of the color out of the central portion of the lips. So I'll reduce the Fill Opacity to 50%, and that way I'd leave the color of the shadows totally intact. All right! Now, I'll click OK in order to apply those modifications. Now obviously, by itself, that doesn't create the effect of blood; it just kind of gives him chapped lips. However, it does establish an environment for adding the trails of blood, which is just what we'll do in the next exercise.

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This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 29334 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 15m 25s
    1. Welcome
      1m 12s
    2. Loading my custom dekeKeys shortcuts
      3m 45s
    3. Adjusting the color settings
      4m 29s
    4. Setting up a power workspace
      5m 59s
  2. 1h 0m
    1. The channel is the origin of masking
      1m 54s
    2. The Masks and Channels panels
      4m 48s
    3. How color channels work
      7m 7s
    4. Viewing channels in color
      3m 24s
    5. How RGB works
      4m 12s
    6. Single-channel grayscale
      5m 12s
    7. Mixing a custom "fourth" channel
      5m 15s
    8. The other three-channel mode: Lab
      5m 45s
    9. A practical application of Lab
      4m 55s
    10. The final color mode: CMYK
      7m 5s
    11. Introducing the Multichannel mode
      5m 56s
    12. Creating a unique multichannel effect
      5m 18s
  3. 44m 27s
    1. The alpha channel is home to the mask
      1m 40s
    2. The origins of the alpha channel
      3m 40s
    3. How a mask works
      7m 10s
    4. Making an alpha channel
      4m 2s
    5. Using the new channel icons
      6m 27s
    6. Saving an image with alpha channels
      4m 23s
    7. Loading a selection from a channel
      4m 7s
    8. Putting a mask into play
      3m 55s
    9. Loading a selection from a layer
      4m 27s
    10. Loading a selection from another image
      4m 36s
  4. 1h 0m
    1. The mask meets the composition
      1m 8s
    2. Viewing a mask as a rubylith overlay
      6m 13s
    3. Changing a mask's overlay color
      5m 34s
    4. Painting inside a mask
      6m 3s
    5. Cleaning up and confirming
      5m 18s
    6. Combining masks
      5m 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    9. What to do when layers go wrong
      6m 3s
    10. Hiding layer effects with a mask
      4m 22s
    11. Introducing clipping masks
      5m 29s
    12. Unclipping and masking a shadow
      3m 50s
  5. 1h 35m
    1. The seven selection soldiers
      52s
    2. The marquee tools
      6m 31s
    3. The single-pixel tools (plus tool tricks)
      6m 48s
    4. Turning a destructive edit into a layer
      5m 34s
    5. Making shapes of specific sizes
      7m 7s
    6. The lasso tools
      5m 49s
    7. Working with the Magnetic Lasso tool
      7m 19s
    8. The Quick Selection tool
      8m 13s
    9. Combining Quick Selection and Smudge
      4m 52s
    10. The Magic Wand and the Tolerance value
      6m 55s
    11. Contiguous and Anti-aliased selections
      6m 58s
    12. Making a good selection with the Magic Wand
      6m 34s
    13. Selecting and replacing a background
      6m 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    2. Introducing "selection calculations"
      4m 19s
    3. Combining two different tools
      7m 29s
    4. Selections and transparency masks
      5m 17s
    5. Selecting an eye
      7m 1s
    6. Masking and blending a texture into skin
      5m 1s
    7. Painting a texture into an eye
      4m 19s
    8. Combining layers, masks, channels, and paths
      4m 54s
    9. Moving selection outlines vs. selected pixels
      5m 36s
    10. Transforming and warping a selection outline
      7m 45s
    11. Pasting an image inside a selection
      7m 26s
    12. Adding volumetric shadows and highlights
      6m 54s
    13. Converting an image into a mask
      4m 42s
  7. 1h 5m
    1. The best selection tools are commands
      1m 5s
    2. Introducing the Color Range command
      5m 59s
    3. Working in the Color Range dialog box
      7m 7s
    4. Primary colors and luminance ranges
      4m 12s
    5. A terrific use for Color Range
      4m 57s
    6. Introducing the Quick Mask mode
      7m 43s
    7. Moving a selection into a new background
      5m 43s
    8. Smoothing the mask, recreating the corners
      8m 43s
    9. Integrating foreground and background
      4m 44s
    10. Creating a cast shadow from a layer
      2m 51s
    11. Releasing and masking layer effects
      3m 11s
    12. Creating a synthetic rainbow effect
      4m 30s
    13. Masking and compositing your rainbow
      4m 46s
  8. 1h 17m
    1. The ultimate in masking automation
      1m 6s
    2. Introducing the Refine Mask command
      6m 58s
    3. Automated edge detection
      8m 23s
    4. Turning garbage into gold
      6m 19s
    5. Starting with an accurate selection
      7m 11s
    6. Selection outline in, layer mask out
      7m 48s
    7. Matching a scene with Smart Filters
      4m 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    10. Adding dark circles around the eyes
      5m 20s
    11. Creating a fake blood effect
      5m 38s
    12. Establishing trails of blood
      7m 40s
    13. Integrating the blood into the scene
      7m 3s
  9. 1h 48m
    1. Using the image to select itself
      1m 37s
    2. Choosing the ideal base channel
      5m 7s
    3. Converting a channel into a mask
      6m 34s
    4. Painting with the Overlay mode
      7m 27s
    5. Painting with the Soft Light mode
      5m 55s
    6. Mask, composite, refine, and blend
      4m 40s
    7. Creating a more aggressive mask
      7m 2s
    8. Blending differently masked layers
      7m 0s
    9. Creating a hair-only mask
      6m 0s
    10. Using history to regain a lost mask
      3m 42s
    11. Separating flesh tones from hair
      8m 28s
    12. Adjusting a model's color temperature
      4m 30s
    13. Introducing the Calculations command
      7m 22s
    14. Extracting a mask from a Smart Object
      6m 34s
    15. Integrating a bird into a new sky
      5m 40s
    16. Creating synthetic rays of light
      6m 4s
    17. Masking and compositing light
      7m 39s
    18. Introducing a brilliant light source
      7m 5s
  10. 1h 34m
    1. The synthesis of masking and compositing
      1m 36s
    2. White reveals, black conceals
      6m 45s
    3. Layer masking tips and tricks
      5m 8s
    4. Generating a layer mask with Color Range
      5m 38s
    5. The Masks panel's bad options
      5m 18s
    6. The Masks panel's good options
      3m 50s
    7. Creating and feathering a vector mask
      3m 42s
    8. Combining pixel and vector masks
      3m 50s
    9. Working with path outlines
      7m 10s
    10. Combining paths into a single vector mask
      7m 52s
    11. Sharpening detail, reducing color noise
      4m 27s
    12. Recreating missing details
      8m 49s
    13. Masking glass
      5m 50s
    14. Refining a jagged Magic Wand mask
      5m 53s
    15. Masking multiple layers at one time
      5m 15s
    16. Establishing a knockout layer
      6m 6s
    17. Clipping and compositing tricks
      7m 37s
  11. 1m 17s
    1. Next steps
      1m 17s

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