Photoshop CS5 One-on-One: Fundamentals

Evening out flesh tones


Photoshop CS5 One-on-One: Fundamentals

with Deke McClelland

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Video: Evening out flesh tones

I've saved off a progress file called EyeBagsbegone.psd. And in this exercise, we are going to even out the skin tones in my face so that they are not quite so yellowish. And here's what I want you to do. Go ahead and get the Brush tool. And go with a massive brush. We are going to start pretty big here. So I've got a 200 pixel brush for what it's worth. And I am going click on the overlay paint layer to make it active. And then, I am going to create a new layer on top of it. I'll press Ctrl+Shift+N or Command+Shift +N on the Mac to create a new layer and I'll call this fleshtone or something along those lines. Click OK.
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  1. 39m 52s
    1. Welcome to Photoshop CS5 One-on-One
      1m 49s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the DekeKeys keyboard shortcuts
      8m 10s
    4. Remapping Mac OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 8s
  2. 53m 33s
    1. There is nothing you can't do
      2m 1s
    2. The power of Photoshop
      4m 43s
    3. Duplicating a layer
      4m 46s
    4. Liquifying an image
      4m 43s
    5. Adding a layer mask
      5m 54s
    6. Loading an alpha channel
      7m 42s
    7. Selecting with Color Range
      4m 10s
    8. Making a Hue/Saturation layer
      2m 53s
    9. Luminance blending
      7m 21s
    10. Mask density
      5m 9s
    11. Making a knockout layer
      4m 11s
  3. 51m 18s
    1. The best way to work
    2. Setting General preferences
      5m 33s
    3. Changing the pasteboard color
      5m 41s
    4. File handling, performance, and units
      7m 25s
    5. Touring the Photoshop interface
      11m 5s
    6. Creating and saving a workspace
      7m 16s
    7. Changing settings and updating the workspace
      6m 4s
    8. Resetting the preferences
      7m 33s
  4. 2h 46m
    1. The amazing Adobe Bridge
      1m 17s
    2. Making a new image
      5m 11s
    3. Opening an image
      7m 7s
    4. Opening and closing multiple images
      5m 24s
    5. Opening a problem image
      4m 23s
    6. Adding file information
      8m 37s
    7. Introducing Adobe Bridge
      7m 37s
    8. A whirlwind tour of Bridge
      7m 21s
    9. Adjusting the interface and thumbnails
      8m 18s
    10. Using the full-screen preview
      8m 5s
    11. Rotating images on their sides
      5m 38s
    12. Assigning star ratings and labels
      8m 40s
    13. Filtering thumbnails in the Contents panel
      9m 13s
    14. Moving, copying, and deleting files
      6m 34s
    15. Creating and assigning keywords
      6m 38s
    16. Searches and collections
      7m 3s
    17. Batch-exporting JPEG files
      8m 57s
    18. Batch-renaming
      7m 15s
    19. String substitution and regular expressions
      8m 50s
    20. Grouping images into stacks
      7m 21s
    21. Comparing images in Review mode
      5m 58s
    22. Playing images in a slideshow
      4m 49s
    23. Customizing and saving the workspace
      7m 17s
    24. Using Mini Bridge in Photoshop CS5
      8m 36s
  5. 1h 1m
    1. Learning to swim inside an image
    2. The tabbed-window interface
      5m 19s
    3. Arranging image windows
      4m 26s
    4. Common ways to zoom
      5m 31s
    5. New zoom tricks in Photoshop CS5
      4m 24s
    6. Hidden old-school zoom tricks
      4m 34s
    7. Scrolling and panning images
      4m 8s
    8. Viewing the image at print size
      6m 42s
    9. The Navigator and "bird's-eye" scrolling
      2m 56s
    10. Nudging the screen from the keyboard
      2m 39s
    11. Scroll wheel tricks
      3m 41s
    12. The Rotate View tool
      3m 36s
    13. Cycling between screen modes
      6m 17s
    14. Using the numerical zoom value
      6m 14s
  6. 1h 6m
    1. Imaging fundamentals
    2. What is image size?
      7m 45s
    3. The Image Size command
      6m 0s
    4. Selecting an interpolation option
      4m 56s
    5. Upsampling versus "real" pixels
      5m 22s
    6. The penalty of pixels
      5m 35s
    7. Print size and resolution
      7m 26s
    8. Downsampling for print
      6m 39s
    9. Downsampling for email
      7m 28s
    10. Options for upsampling
      8m 13s
    11. Better ways to make a big image
      6m 1s
  7. 44m 43s
    1. Frame wide, crop tight
      1m 2s
    2. Using the Crop tool
      8m 8s
    3. Fixing out-of-canvas wedges
      5m 31s
    4. Crop tool presets
      6m 53s
    5. Previewing the crop angle
      4m 24s
    6. The Crop command
      4m 47s
    7. Straightening with the Ruler tool
      4m 18s
    8. Cropping without clipping
      5m 1s
    9. Perspective cropping
      4m 39s
  8. 1h 41m
    1. Making drab colors look better
      1m 20s
    2. Brightness and contrast
      4m 10s
    3. Adjusting numerical values
      4m 26s
    4. Introducing adjustment layers
      5m 17s
    5. Editing adjustment layers
      2m 51s
    6. Saving adjustment layers
      4m 35s
    7. Adding a quick layer mask
      4m 23s
    8. Introducing the Histogram
      4m 34s
    9. Working with the Histogram panel
      6m 27s
    10. Using Color Balance
      7m 18s
    11. Introducing the Variations command
      4m 51s
    12. Luminance and saturation controls
      3m 54s
    13. Fading a static adjustment
      3m 21s
    14. How hue and saturation work
      4m 28s
    15. Rotating hues and adjusting saturation
      6m 4s
    16. Creating a quick and dirty sepia tone
      4m 42s
    17. Adjusting hues selectively
      5m 32s
    18. The Target Adjustment tool
      4m 24s
    19. Photoshop CS5 Target Adjustment enhancements
    20. Adjusting the color of clothing
      8m 44s
    21. Enhancing a low-saturation image
      4m 23s
    22. Refining saturation with Vibrance
      5m 1s
  9. 1h 57m
    1. Photoshop versus the real world
      1m 21s
    2. Meet the selection tools
      10m 26s
    3. Marking the center of an image
      4m 9s
    4. Drawing a geometric selection outline
      4m 45s
    5. Blurring a selection outline with Feather
      6m 8s
    6. Copy and paste versus drag and drop
      5m 31s
    7. Creating a graduated selection
      4m 29s
    8. Aligning one image with another
      4m 45s
    9. Accessing the Move tool on the fly
      3m 34s
    10. Invert and Match Colors
      5m 4s
    11. Matching colors selectively
      3m 52s
    12. Feathering and filling a selection
      5m 14s
    13. Dressing up a composition with effects
      5m 34s
    14. The incredible image rotation trick
      2m 18s
    15. The Magic Wand tool
      4m 12s
    16. Tolerance and other options
      7m 7s
    17. Grow, Similar, and Inverse
      5m 39s
    18. Quick selection and the Magnetic Lasso
      7m 27s
    19. Evaluating a selection in Quick Mask
      8m 52s
    20. Saving and loading selections
      6m 14s
    21. Placing an image with a layer mask
      3m 23s
    22. Eliminating edge fringing
      7m 43s
  10. 1h 58m
    1. Brushing to correct
    2. How brushing works
      4m 52s
    3. Working with spacing
      7m 32s
    4. Changing size and hardness
      7m 45s
    5. The heads-up Color Picker
      7m 17s
    6. Flipping a mirror image
      3m 33s
    7. Setting the source for the History brush
      3m 42s
    8. Brightening details with the Dodge tool
      7m 49s
    9. Darkening details with the Burn tool
      3m 5s
    10. The Sponge tool
      4m 29s
    11. Backing off edits
      8m 4s
    12. Patching eye bags
      8m 57s
    13. Evening out flesh tones
      7m 23s
    14. Smoothing away whiskers
      7m 41s
    15. Reducing shadow noise
      7m 0s
    16. How healing works
      4m 40s
    17. The enhanced Spot Healing brush
      4m 52s
    18. Using the better Healing brush
      4m 23s
    19. Introducing the Clone Source panel
      3m 49s
    20. Cloning from one layer to another
      5m 30s
    21. Working with multiple sources
      4m 44s
  11. 1h 23m
    1. The layered composition
      1m 0s
    2. Making a new background layer
      6m 58s
    3. Working with "big layers"
      6m 24s
    4. Move, Duplicate, and Scale
      4m 11s
    5. Transforming a copy and repeat
      5m 15s
    6. Stacking order and eyedropping a layer
      5m 15s
    7. Adjusting multiple layers at once
      4m 22s
    8. Switching between layers
      4m 56s
    9. Making a digital star field
      5m 9s
    10. Blend mode and clipping mask
      4m 50s
    11. Dragging and dropping from your desktop
      4m 38s
    12. Black + Lens Flare = glow
      6m 16s
    13. Locking transparency
      5m 42s
    14. Adding gradient layers
      8m 12s
    15. Stacking an adjustment layer
      4m 12s
    16. Adding shadow and stroke
      6m 9s
  12. 1h 17m
    1. Outputting from Photoshop and Bridge
      1m 32s
    2. Printing an RGB composite
      5m 31s
    3. Customizing the subjective print file
      3m 15s
    4. Gauging print size
      5m 35s
    5. Scale, position, and page orientation
      5m 6s
    6. Three important printing curiosities
      4m 41s
    7. Introducing the Output options
      5m 34s
    8. Establishing a bleed
      5m 52s
    9. Using the Color Management options
      7m 21s
    10. Generating a PDF contact sheet
      6m 18s
    11. Creating a contact sheet template
      6m 8s
    12. Saving and opening a PDF contact sheet
      4m 18s
    13. Introducing the Web Gallery
      7m 53s
    14. Exporting and editing an HTML site
      3m 58s
    15. The Airtight Photocard site
      4m 56s
  13. 1h 9m
    1. Rules of the web
      1m 1s
    2. Introducing web graphics
      6m 59s
    3. A first look at Save for Web
      5m 47s
    4. Scaling a layered image versus a flat one
      7m 30s
    5. Incremental downsampling
      3m 1s
    6. Adding text, bar, and stroke
      4m 24s
    7. Assigning copyright and metadata
      6m 21s
    8. Comparing GIF, JPEG, and PNG
      4m 59s
    9. Determining the perfect JPEG settings
      6m 31s
    10. Saving metadata
      3m 52s
    11. Working with an unprofiled RGB image
      4m 35s
    12. Downsampling graphic art
      4m 49s
    13. Saving a GIF graphic
      6m 1s
    14. Antiquated GIF versus the better PNG
      4m 6s
  14. 1m 37s
    1. Until next time
      1m 37s

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Watch the Online Video Course Photoshop CS5 One-on-One: Fundamentals
17h 33m Beginner May 07, 2010

Viewers: in countries Watching now:

Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.

Download Deke's free dekeKeys and color settings from the Exercise Files tab.

Topics include:
  • Assembling photorealistic compositions
  • Understanding image size and resolution
  • Correcting the brightness and color of images
  • Creating accurate selection outlines
  • Retouching and healing photos
  • Mastering layers and effects
  • Printing and exporting to the web
Design Photography
Deke McClelland

Evening out flesh tones

I've saved off a progress file called EyeBagsbegone.psd. And in this exercise, we are going to even out the skin tones in my face so that they are not quite so yellowish. And here's what I want you to do. Go ahead and get the Brush tool. And go with a massive brush. We are going to start pretty big here. So I've got a 200 pixel brush for what it's worth. And I am going click on the overlay paint layer to make it active. And then, I am going to create a new layer on top of it. I'll press Ctrl+Shift+N or Command+Shift +N on the Mac to create a new layer and I'll call this fleshtone or something along those lines. Click OK.

And this by the way is the kind of technique that's going to work on anyone. So it doesn't matter if you're dark skinned or pale skinned or what, because we are going to observe the original luminance levels, and just make this new coloring fit. All right. So first thing I have got to do though is I have got to lift that color. And all that really matters is the Hue value, and we'll just monitor that in the Color panel which is currently set to HSB, Make sure yours is as well by going to HSB Sliders. And I am going to lift a color from my face by pressing the Alt key or the Option key on the Mac which gets you the Eyedropper on-the-fly, and then lift something that you think you like.

I will Alt+Click on my cheek here, and notice that we get this new color ring that shows as the previous foreground color on bottom and the new foreground color on top. And then go ahead and release and release the Alt or Option key as well so that you are back to your brush. And it doesn't really matter what the Saturation and Brightness values are set to, as long as they're not zero. They should be something other than zero. What really counts is what the Hue value is set to. And it should be something between 0 and 40 essentially, because 0 is red and 40 starts getting into the yellowish tone.

And as long as you're near orange, you're going to be fine. And remember I was saying that we are all orange people; black, white doesn't matter, we're all actually orange. And so a value of 16 will probably fair pretty well for me. And then I am going to just paint all over the place. And don't paint on the eyes if you can avoid it. I'll reduce the size of brush here. But I am going to paint over things like the ear and the jaw and the nose, and we can always erase those eyes back in a moment. And I'll paint down here as well. And you might at this point say well Deke; this is not a good modification.

I don't think this is a credible edit at all. I think somebody might notice that you made this edit for example. Well I will look in just a moment. But let's go ahead and zoom in a little. And I am going to switch to the Eraser tool by pressing the E key, and then I'm going to erase around the jaw, because I don't want to go out into my jacket and I don't want to go out into the background either. And by the way, always remember that you can click and Shift+Click with any of these tools. So for example, with the Eraser tool, if I click and then I Shift+Click.

I connect the click and Shift+Click points with a straight line, and then Shift+Click again, and then Shift+Click again. So it's a way of constraining your modifications. And again, that works with any of the brush tools. So Dodge, Burn, Sponge all of them. I am going to click here, Shift+ Click here, Shift+Click here and so on. These are all Shift+Clicks by the way in order to advance my way up the side of the ear. And I might like kind of click and drag inside of the sideburn there, because I don't want to colorize that. Go ahead and drag up this side; reduce the size of my brush a little bit.

Paint up this side as well; paint up into the hair region what little I have. And then go ahead and paint inside of the eyes, mostly because I don't want to change my irises to this flesh color here. And that's good for now. Although you know what, I am going to switch back to the Brush tool by pressing the B key. And I am going to reduce the size my brush and zoom in. I am going to make my brush very small, because my eyelids are a little red. So I want to flesh them up as well a little bit. So I'll paint around here and then around here.

All right, so how do we make this anything resembling a realistic modification? Well, you go over here to the Layers panel and you change the blend mode. Now, notice these guys down here at the bottom. We have Hue, Saturation Color and Luminosity. Luminosity will keep the luminosity of this layer and merge it with the colors of the underlying layer. That's not what we want. That'll give us this effect there. That's not a good edit. We want exactly the opposite. We want to preserve the luminance of the underlying layers apply the color from this layer.

So go ahead and choose the Color function. Now notice that goes too far even though it reveals me again. I have this very strange red face now. And what we need to do is we need to divide color into its components, which are Hue and Saturation. Recall that Saturation is the intensity of the color and Hue is the core color itself. Well, we want to retain the original saturation levels and just bring in the Hue and that's it and we'll get this effect right there. Now that's still too far. And in fact, it's a little bit too red.

Let's go ahead and zoom out here, and check out how it compares to the hands. Now, the hands and the face are kind of similar in color. But I think this hand color looks pretty awful on my face. So let's go ahead and zoom in. And we can modify that face color and here's how. We can see that it's too red, right? I look like I've gotten, I don't know what slapped several times or something along those lines. We need to orange things up a bit. So that means raising the Hue value. And so I am going to click in that Hue value and I am going to press the Up arrow key until I raise it to 20 degrees let's say and then press the Enter key, the Return on the Mac to accept that modification.

And now let's fill what we've done so far, we're just going to replace the colors inside fleshtone with this new color. And you do that using a keyboard trick Shift+Alt+Backspace or Shift+Option+Delete on the Mac. That gives me something more in the orange range. And if I feel like I need to go a little farther then I could increase that Hue value some more, and then Shift+Alt+ Backspace or Shift+Option+Delete again. I'm pretty happy with this, not an Opacity level of 100% however. I'll take the Opacity down to something like 60% and then press the Enter key in order to accept that, and let's see what we think at this point.

I might want to erase back some of the details a little bit. So I'll go ahead and click on the Eraser tool in order to make it active. And I might want to erase the eyebrows so that I restore the original eyebrow colors like this. And there might be other details I decide to erase. If you decide you want to just back off certain regions independently of others so you are just fading the modification away in certain areas, then you would want to reduce the Opacity value. So for example I could set it to 30%. I could have done that from that keyboard as well.

Increase the size of my brush and maybe paint over this region a little in order to restore some of the original coloring. Paint over this region as well; paint here. Really up to you how you decide to handle it. I am going to paint into this hair a little as well. If you feel like you've gone too far, then you can still back this Opacity level off even more. I can take it down to like 40% for example, and then switch back to my Elliptical Marquee tool. So to give you a sense for the contribution of this layer, this is what my face looked like before. You can see all of those yellowish areas in there, and this is what it looks like now that we have some more homogeneous skin tones.

Thanks to the contribution of a layer that is set to a Hue value between 0 and 40 with saturation and brightness set to anything but 0, and then set the blend mode to Hue and reduce the Opacity value.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Fundamentals .

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Q: While following along to the tutorial, my copy of Bridge does not have the same Export options as shown in the video. Why are these options missing in my copy?
A: For some reason, Bridge CS5 shipped without the Export options. They were included when Bridge updated to version 4.0.1. Updating Bridge will restore the export options.
Q: While following along with the exercises, next to the background layer on my Layers panel \, it shows a brush instead of the small picture, as it does in the video. What can I do to fix this? I erased the exercise files and started over, but it still shows the paintbrush.
A: This will occur if the Layers panel preview is turned off. To fix this, right-click in the empty gray area below the Background layer. Then choose Large Thumbnails. The thumbnail previews should come back immediately.
Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
Q: How do I load the color workflow setting for this course? I downloaded the exercise files, and when I attempt to load the setting into Photoshop, they don't appear in the Finder.

A: These days, it's easier to assign the workflow settings manually. In Photoshop, choose Edit > Color Settings. Then change the first RGB setting to Adobe RGB, and click OK.

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