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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 that image, Big New irises.psd. I've sharpened the irises using the Smart Sharpen Filter, and now we're going to mask them into the eyes. I'm going to start by turning this new irises layer off, and then I'm going to switchover to my Elliptical Marquee tool once again. And I could do that by pressing the M key of course, and I'm going to begin to trace around the eyes inside of the image. Now, I'm using the Spacebar to align the Selection Outline with the eye, and I am entirely interested in just matching pieces of the eye at a time.
Because obviously the eye is not a big circle or a big ellipse or anything like that, it's made of curved arcs however, and we can match those curved arcs using a series of Elliptical Marquee. So I'll go ahead and trace this first one, and I'm going to Spacebar+drag over a little bit, so I'm centering that eye a little better. And then I'm going to press and hold the Shift and Alt keys at the same time. This would be Shift and Option on the Mac, and I'm going to draw an Intersecting Marquee like this and press the Spacebar in order to move it into place, until I get it more or less right.
We don't have to get the exact shape of the eye down, but you should approximate it pretty nicely if you're working along with me. And notice, as soon as I release, that I go ahead and just keep the intersecting area of those two ellipses. Now I'm going to Spacebar+drag down a little bit and I'm going to press the Shift and Alt keys once again, Shift and Option on the Mac, and drag around this area, again, using my Spacebar when necessary for alignment purposes. And I'm going to try to match that lower left edge of the eyelid there, and that looks pretty good.
And then one or two more drags should do me. I'll go ahead and press Shift and Alt or Shift and Option on the Mac, move this over to this location. So you can see I'm trying to be pretty careful about this. That is about right there, and then I'll release and then finally, Shift and Alt, Shift and Option on the Mac, drag, and actually I want this to be quite a bit smaller than this, in order to cut out that fleshy part of the eye. Even though this is well beyond the iris, but I just want to take care and make sure that we've selected the eye properly. Now then, I'm going to go ahead and turn that into a layer mask by turning on the new irises layer.
And then I'll dropdown to the Add layer mask icon, here at the bottom of the Layers panel, and click on it, and there we go. Now I've gone ahead and masked in this iris. You can see I've masked away the other iris, because I haven't drawn an eye around it, and that area is currently black. So we just have this little white area around the left hand eye, her right of course, and I'm seeing that by Alt+clicking or Option+clicking on that layer mask Thumbnail here inside the Layers panel. All right, I'll Alt+click or Option+click once again to come back out.
Now, at this point you might need to do a little bit of refinement, I know, I certainly do. And you can do some of the work if you want to by just selecting a general area, for example, with the Rectangular Marquee tool like this. If I want to increase the size of this mask, which I do, I want to stretch it down a little, because I cut in too much and I'm exposing a white area of that eye there. Then the best approach to take is to transform a copy of this selection. For example, I can go up to the Edit menu and I can choose a Free Transform command.
But then, if I do that and I expose an area in the background, if I make this selection smaller than it is right now, I will expose an area of white, because white is my background color, and that will show parts of the iris potentially. I don't want that to happen. So what we want to do instead is to transform a copy of the selection, and you do that by adding Option or Alt to this keyboard shortcut, so it would be Ctrl+Alt+T on a PC or Command+Option+T on the Mac. So I'm going to Escape out of there, and I'm just going to press that keyboard shortcut, Ctrl+Alt+T, Command+Option+T on the Mac.
It's not going to look any different, it's just going to protect you. And now I'm going to drag this down slightly, like so, in order to stretch that mask. Notice I'm just stretching the mask. See that, that guy is staying in the exact same position there in that reflection. So I'm just moving the mask down. And then if I feel like I need to stretch it up a little bit as well, I can drag this top handle, like so, up ever so slightly, and that's going to do me I think. I'll press the Enter key or the Return key on the Mac to accept that modification. Now, let's go ahead and do the other eye as quickly as we can, so that I can show you how we achieve better transitions here, inside of the eyes.
But first, I've got to select this area. So I'm going to grab the Elliptical Marquee tool once again and I'm going to drag around the top portion of the eye like that. And then I'm going to press the Shift and Alt keys. I'm using the Spacebar for alignment, move this edge down about there, looks pretty good to me. Shift+Alt again, Shift+Option on the Mac in order to get this bottom edge of the eye , like so. Actually, I want it to be a little bigger like that. And then I'm going to press Shift and Alt once again. I keep pressing Shift and Alt or Shift and Option on the Mac, and drag along that edge.
And then Shift+Alt once or twice more, this will work I think right about there, and then another Shift+Alt+drag right at that location. You can see that it's just Shift+ Alt+dragging over and over again. Some eyes are easier than this, but thanks to the fact that we've gone ahead and liquefied this eye, we've made a fair amount of work for ourselves in this Shift+Alt+drag department. There is another one, Shift+Option+drag on the Mac of course. And then finally, I need to take the nose out of the equation, and that might have to be a pretty large marquee, like about so.
Oh, I just invoked a little bit of an Auto Scroll there. This looks pretty good, actually, let's make it even bigger. This will look better I think. All right. So that looks pretty darn good right there. I think that's enough Shift+Alt+drags, Shift+Option+drags for now. And the layer mask is still selected, you can see that by the highlighted layer mask thumbnail here inside the layers Palette. So white is my background color. All I need to do is press the Backspace key or the Delete key on the Mac in order to fill that selected area with white. Now, couple of other things that I want to do.
Notice at this point that we might want to stretch this mask down a little bit as well. So I'll press the M key to switch over to the Rectangle Marquee tool right there, and then I'll select this area , like so. I'll press Ctrl+Alt+T, Command+Option+T on the Mac to make sure that I'm scaling a copy, so that I don't expose any areas of white. Drag that down a little bit, nudge it up. Again, I'm just affecting the layer mask, the iris itself is remaining right there in place. Press the Enter key in order to finish off that transformation, the Return key on the Mac.
Then in order to achieve some smoother transitions, notice that we have these tiny little implied corners, here and there inside the mask. I want to shave those off by going up to the Filter menu. So your layer mask should still be selected. Go up to the Filter menu, choose Noise, and choose Median, or if you loaded dekeKeys, you can press Shift+F8. And the Median command goes ahead and rounds off corners by averaging pixels inside of the layer mask. And I'm going to take this Radius value up to two pixels, and then I'm going to click OK in order accept that modification.
Now, you may not be able to see what's happened here when you're looking at the irises, but if I click down here, let's say, the center, that portion of the mask inside the Preview area, this is before, if I click and hold, and this is after. So it has a slight effect, it's just ever so slightly rounding off some of these transitions. You could go farther with this, you could take it up to like four pixels or something along those lines. The only thing you have to watch for if you go that high is that you may start exposing little areas inside the white of the eye.
Actually though, I think this looks pretty, so I'll take it to 4, click OK. And then I also want to soften the edges just a little bit, and I'm going to do that by going to the Filter menu, choosing Blur, and choosing Gaussian Blur; Shift+F7, if you loaded dekeKeys. And that's going to blur those edges. Right now I'm blurring to the tune of 2 pixels. I think that's a little much. I'm going to take it down to 1 pixel. I just want a little bit of softness. Click OK. Now, if you find that you still have tiny little areas like, let's zoom in on this right-hand either, if you find you have little areas that are exposed of the whites of the eyes, you can fill those in by taking advantage of a tool that's available here in the Blur tool slot.
Click and hold and choose the Smudge tool. And then, I'll increases the size of my cursor, and I'm going to take it up let's say to about something like 40 pixels should do me, Hardness of 0% is fine. And then I'm going to click and drag down just a little bit in order to smear that mask down, and I might smear it up too, to the cover up that area. You don't want to do too much smeary, just tiny, tiny little drags. I'll take this down as well, just a little bit more. Let's see how things look over here.
They actually look pretty darn good. Other little tiny blemishes, we're going to fill in with layer Effects. So you don't have to make it exactly right. You just have to get it approximately right, which my mask is, it looks pretty darn good, so I'll go ahead and zoom out. Those are the scary big irises fit inside of her eyes like super big painful contact lenses. In the next exercise, we'll begin to turn these blobs into credible eyeballs.
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