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Establishing trails of blood

From: Photoshop Masking and Compositing: Fundamentals

Video: Establishing trails of blood

In this exercise, I'll how you how to create the effect of blood, or if you prefer, raspberry syrup, oozing out of a guy's lips. I've saved my progress as Lips with blood .psd, found inside the 07_refine folder. I'm going to switch over to the Channels panel, scroll down to the bottom of the list, and you'll see an alpha channel that I've created for you in advance called blood trails. Now, I created this effect entirely using the Brush tool, along with the Smudge tool; that's it. So it's another one of these painterly effects; that's why I figured I'd just go ahead and give it to you, but to give you a sense of how I rationalize this particular mask, I'll go ahead and press the Tilde key, so we can see the mask is a Rubylith overlay on top of the composite image.

Establishing trails of blood

In this exercise, I'll how you how to create the effect of blood, or if you prefer, raspberry syrup, oozing out of a guy's lips. I've saved my progress as Lips with blood .psd, found inside the 07_refine folder. I'm going to switch over to the Channels panel, scroll down to the bottom of the list, and you'll see an alpha channel that I've created for you in advance called blood trails. Now, I created this effect entirely using the Brush tool, along with the Smudge tool; that's it. So it's another one of these painterly effects; that's why I figured I'd just go ahead and give it to you, but to give you a sense of how I rationalize this particular mask, I'll go ahead and press the Tilde key, so we can see the mask is a Rubylith overlay on top of the composite image.

And you'll see that I went ahead and painted along the upper right ridge of the bottom lip, and I smeared that brushstroke into the lips using the Smudge tool, as I say. And then I went ahead and painted a few blood trails down the guy's face, and I figured, because he's got a beard, that those whiskers would actually affect the direction of the trails. So you want to make sure that you're painting along the contours of the actual portrait. I'll go ahead and press the Tilde key in order to turn off the composite image in the background. Notice that I painted in these soft areas of about 50% opacity, and that helps to create the effect of a little bit of smearing of that blood into the skin. Or, if you prefer, it might be a little bit of absorption as well. And I found, as I was working through this image, that that helped me achieve a more organic effect.

If you're working along with me, go ahead and load that alpha channel by Control+clicking, or Command+clicking, on blood trails, there at the bottom of the list. Then I'll go ahead and scroll up the list, click on the RGB image; switch to the Layers panel. I am going to click on layer below the lips layer, because we want to create these blood trails below that lips effect. It just ends up looking better. And now I'll press the Alt key, or the Option key on the Mac, and click that Black/ White icon at the bottom of Layers panel; choose Solid Color. I'll go ahead and name this new layer drips, and then click OK.

Photoshop, by default, is going to set the color to the foreground color, which in my case is black. It doesn't matter, because we're getting rid of the fill; we are going to be relying entirely on layer effects for this one. So just go ahead and click OK, and then reduce that Fill Opacity value right there to 0%, and you'll end up making the effect look entirely transparent. All right! Now what we want to do is fill in this layer using a gradient. In that way, we'll have variable color control. We're going to do that by dropping down to the fX icon at the bottom of the Layers panel, and choosing Gradient Overlay.

Notice that that goes ahead and creates an altogether implausible effect here. So I want you to go up to this Gradient bar, and click on it in order to bring up the Gradient Editor dialog box. Double-click on the black color stop, and let's change these values to a Hue of 0 degrees is fine. I want the Saturation to be 100%, and the Brightness value to be 25%. So that's that exact shade of red that we used for the lips. All right! Now I'll click OK, and I'm going to double-click on that final white color stop, and I'm going to leave the Hue value set to 0 degrees.

I'm going to take the Saturation value up to a mere 10%, and I'm going to take the Brightness value down to a mere 90%. So we end up with this pale pink. Go ahead and click OK, and then click OK again. Obviously, this is entirely wrong. What we are looking for is a different style of gradient. I want you to change it from Linear, to Reflected, so that we'll end up darkening the bottom portion of these drips more than the top area, which is already dark enough, in most cases. And now I'm going to turn off Align with layer.

This is a crazy, very difficult to explain check box, but essentially what it's doing is either aligning the gradient to the mask portion of this particular layer, or when it's turned off, its aligning the gradient to the overall composition. Anyway, the latter ends up working out better for us, if we go ahead and reduce the Scale value to 40%. And now I want you to drag the gradient around. Currently, the middle of the gradient is going to be toward the middle of the image itself, so you're going to need to drag from the top of the image window down, like so, quite a bit, in order move that gradient into place. And now I'm going to drag down even farther, and I want the center of the gradient to be about here, is what I'm thinking.

So notice that it reflects and becomes lighter down, and up as well. So we want the darkest area to be located right about there, where I am moving my cursor. So I'll drag it down maybe just a little more, like so. And now I'm going to change the Blend mode from Normal, to Multiply, in order to achieve this darkening effect. All right! That's great where the color is concerned, but I want to create a little bit of highlight, especially along the edges of that blood that's sort of bubbling out in the middle of his lips. So I'll go ahead and turn on Bevel and Emboss, and that immediately just ruins the effect.

However, we are going to change some settings around here. I want you to reduce the Depth setting down to 30%, and I want to raise the Size value to 15 pixels, change the Direction to Down, and then go ahead and turn off Use Global Light, and I want you to reverse the Angle value to -135 degrees. And that doesn't actually send it in the opposite direction. Notice that moves the light source from upper left to lower left. Now I'm going to take the Opacity value for the Highlight all the way up to 100%, and we are not looking for any shadows where Bevel and Emboss is concerned, so I'm going to take the Opacity value for the Shadow mode down to 0%. And then I'm going to increase the sharpness of these highlights by changing the Blend mode from Screen, to the ultimate brightening mode, which is Linear Dodge (Add).

Next, we're going to change the Gloss Contour. Click inside this little semaphore flag in order to bring up the Contour Editor dialog box. If you have access to my Exercise Files, then go ahead and click the Load button, navigate your way to the 07_ refine folder, and click on the contour setting, which is called Blood reflect.shc. By the way, if you're working on a Mac, you're going to see tons of files inside this open dialog box. When you're working on a PC, you only see files that have the extension, shc.

Now go ahead and click Load, and you end up with this wavy contour line right there. Now, for those of you who are following along without the practice files, and you want to get a sense of how this contour is put together, I'll walk through the settings. So go ahead and click on the very first point there. Notice the Input and Output values are both set to 0. So this is where the effect starts; this is the baseline. And then if I press the Plus key, I'll go ahead and jump to the next point, which has an Input value of 15%, an Output value of 45%. I'll hit the Plus key again; that jumps to this point. It has an Input of 30%; an Output of 95%.

Jump to the next point. Input 50%; Output 30%. Press the Plus key to advance to this point: Input 85%, Output 40%, and then finally, the last point right there in the upper right-hand corner has Input and Output values of 100%. Now I'll click OK in order to accept that contour, and we end up with this pretty abrupt lighting effect that looks just great here toward the central portion of the lips. Now, I'll go ahead and click OK in order to accept the effect. The problem is, this portion of the blood would not catch the highlights like this at all. We have to allow for the fact that this portion of the image, especially this area right there, would be in shadows. And so we're going to have to pull apart this effect, and customize it, and we'll do that in the next and final exercise.

Show transcript

This video is part of

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

128 video lessons · 29219 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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