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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, 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 CS5 One-on-One: Fundamentals.
I'm still working inside Lips.jpg. Again, at this stage, it can't reasonably provide you with the progress file so you'll have to have been working right along with me. In this exercise, we're going to go ahead and paint inside of the Quick Mask mode, in order to fill in the selection inside those highlights. So, I want you to go ahead and select the Brush tool, and this is going to require some manual brushing, here inside the lips. However, the good news is if I zoom in here, I've already got some nice edges to work with.
The only problem is I am going to have to work with a hard brush. I can't work with a Soft Brush, which is what I have by default. So I am going to right-click inside of my image window, and the first step is to go ahead and increase the size of your brush, and I'm going to recommend the brush diameter 60 pixels. And then go ahead and maximize the Hardness value to 100% and press the Enter key a couple of times or the Return key a couple times in the Mac, in order to hide that panel. Now go ahead and paint inside of the lips, like so, in order to fill in those highlights because we want to paint those black highlights away.
And I know it's strange to talk about black highlights, but that's what we've got here because they're currently deselected. You want to paint next to the lips not really over at those lip edges because you want to make sure to keep any of these special details that are going on here, inside of those lip edges so just keep it tight inside of the edges, like so. And then paint away the excess there, well inside the edges, you don't have to worry about this region, all I can do is just paint that away, and that's part of the teeth, so no mess with that, and then I'll paint down here, as well.
I am painting with white. I should mention this. That happens to be the default foreground color when you're masking inside a Photoshop. But it's very important that you make sure that that's the way it is otherwise you'll be painting in de- selection, which is not what we want. The Opacity should be 100%, the Flow value should be 100%, as well, and mode should be set to Normal. All right, I am going to go ahead and paint in some more. And it's easy to get a little bit impatient with your progress when you're painting this way. Take it easy, is what I recommend, don't get impatient.
Because this isn't really going to take that much time out of your life, it's about a five-minute project to paint inside of these lips, like so. And notice I'm spending a fair amount of time, just clicking, inside of the lips as opposed to dragging. Every once while, I am dragging, of course. But you'll find that you get more precise results if you zoom in and click than if you try to shortcut it and drag. Now if you are bound and determined to find a shortcut and get through this process little more quickly, I will show you this technique right here.
You can click at a location and name Shift+click, like so, in order to connect those two locations with a straight line. And you may find that that comes in handy in the lower left region of the image because we have some very choppy lip details down here. And you may find that you can just scalp things off by clicking and Shift+clicking. So that's what I'm doing here clicking at first and then Shift+clicking in order to continue to connect each point with a straight line. All right, then I am just going to brush away this garbage right there.
Don't brush inside the teeth, by the way, because once again we want to keep those teeth selected, and I am all for dental hygiene, but in this case not going to work. We need to avoid the teeth like crazy. All right, so I am going to paint in more white in this region, just make sure you get everything. Notice you need to be more careful once you to get toward the edges. You can be nice and sloppy in the middle of the lips. And I am going to click close to these teeth, like so, but not on them because I don't want to actually select a gum or anything like that.
Even though the guns are pretty well in the shadows inside this image, and then finally I'll paint up in this region. I am dragging this time, oh! My goodness! But I don't recommend dragging because if you do drag and you accidentally make a mistake. Let's say I'm painting, painting, painting, painting, painting. I spend like, you know, 30 seconds creating a single brush stroke, and then I do this number. I just paint a little bit outside the lips. I still have to press Ctrl+Z, or Command+Z on a Mac, to Undo that brush stroke, and that's a big brush stroke so I am going to have to repeat 30 seconds of work.
So if you don't paint 30 second brush stroke in first place, if you just click here and there which takes you know a fragment of the second at a time then if you make a mistake and you have to undo, then you're not wasting much effort. Anyway, I'm done. This looks actually pretty darn good. So I'm now ready, assuming that I'm comfortable with my mask. And I would want to take a final pass, look at the edges and detail, go ahead and zoom in here and there around the image. You might also, by the way, want to take advantage of that Magic Wand tool technique.
Assuming that Tolerance is set to 0 and Anti-alias is turned off you would now select inside the white region of the image to make sure that everything is just selected as you think it is. Right there we have some problems, so I could press Ctrl+D here on the PC, Command+D on a Mac, to deselect the image. And then I would press to B key to switch back to my Brush tool, white is my foreground color, paint over those areas that were flickering just a moment ago, and so on. Once I'm done, I would exit the Quick Mask mode by clicking on this icon, down here at the bottom of the toolbox, or I can just press the Q key.
Either way, I will not only exit the Quick Mask mode, but I'll automatically convert that mask into a selection outline. In a next exercise we're going to attach this selection as a layer mask, to an Adjustment layer.
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