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In this exercise we are going to bring back the shoulder for the forward model, which is model-2 here, the model-2 layer. And we are going to do so using a combination of the Pen and Smudge tools. So assuming that you feel fairly comfortable with the pen tool after Chapter 27, then I would like you to go ahead and select it by pressing the P key. Or you can click the pen tool icon here inside the toolbox, and I am going to switch over to the Paths panel. And then I am going to create a new path by Alt+Clicking or Option+Clicking on the little page icon at the bottom of the panel.
And let's go ahead and call this new path Shoulder, and I will click OK. So we are just naming it before we draw it. And then I will zoom-in to the 100% view size, so I can sort of see what I am doing here. I am going to switch back to Layers panel and turn-off the model-1 layer for moment, so that I can see model-2's shoulder. And I have to tell you I am not necessarily going to do the best job of selecting the shoulder with the pen tool, because later I can turn around and finesse it with the smudge tool. So it's just an easier way to work, is basically what it comes down to, and it still looks great.
All right, so let's go and scroll over. I want to be able to see her chin all the way down to the shoulder. And I am also going to shift click on his layer mask, to turn the mask off for a moment. All right, so I think I will start right about, gosh, maybe you are right about there. And then I will go ahead and drag here as well. So I am creating smooth points by the way; pretty much exclusively for the shoulder until I get out here in the pasteboard. And then I will Alt+Click or Option+Click on that anchor point right there to cut off that smooth point. So I am working fairly quickly, I figure we've spent enough time examining how the pen tool works.
I will Shift+Click for a feel that is well into the chin area here, along the bottom in the pasteboard. Shift+Click up here as well. And the reason I am doing the Shift+Clicking is to create perpendicular segments, which isn't necessarily essential by the way, but I am feeling like tidy boy. All right, so I'll go ahead and drag from that top anchor point to add a control handle. And then I will drag down here as well in order to close off the shape. Now, after this point you may want to switch to your white arrow tool, which you can get by pressing A key once or twice.
And then, click on your points that you have, may be finesse those points just a little bit. You probably want to go ahead and keep the anchor points inside of her shoulder, because you are going to give better facts that way. Once again, you don't need to get too carried away with it, because the smudge tool is going to make everything look better very quickly. All right that's good, I think. So we have got this path, it's called Shoulder. It has the shoulder path in it; wonderful! Let's go ahead and convert it to a selection outline by Ctrl+Clicking on it or Command+Clicking on this thumbnail here inside the paths panel. Switch back over to layers.
Shift+Click on her layer mask, on the model-2 layer mask, to turn it back on, and let's go ahead and fill this area with white in order to make it opaque. So, in my case, because white is my background color. Oh! Wait a second, first I need to make sure that the layer mask is active and that would help. All right, now why this still my background color, that's fine! If I press the D key, however, then I am going to give the default color, what white will be my foreground color, which I think is sort of a preferable way to work here. I'll press Alt+Backspace. Having done that, or Option+Delete on the Mac to fill this selection with white.
Now let's go ahead and turn on the model-1 layer. Click on its layer mask, notice that we still have the conjoined corner effect; because this left in shoulder region right there is lighter inside of model-1 than it is inside model-2 layer. So it is showing through. All right, so let us go ahead and click on that layer mask for model-1 once again, and this time press Ctrl+Backspace or Command+Delete on a Mac in order to fill with black and that goes ahead and hides the shoulder region inside model-1 layer, so we filled the selection with white in the model-2 mask, then we filled it with black in the model-1 mask.
Now I am going to press Ctrl+D, Command+D on the Mac in order to deselect the image. And just check it out here; we have got an obvious line between these two shoulders, which doesn't look right at all. It's kind of never going to look right. I have to tell you, even if you draw the most accurate mask, just absolutely mathematically perfect, it's still going to look wrong like this, because it is wrong. People don't really have anchor points and control handles along their shoulders. So what we going have to do is smudge things a little bit using the smudge tool, which you can get by selecting it from this blur tool flyout menu and then because I am working as of the model-1 mask, I am going to drag down slightly like so in order to blur that shoulder in the model-1 shoulder into the model-2 shoulder, and I have got a big soft brush incidentally, if I right-click, you can see the size is 175 pixel, hardness is 0 and I am dragging extremely small brushstrokes.
Just dragging a few pixels at a time, and I end up getting this effect here, which looks great, actually, except for one thing. And the problem here is that I am inclined to think there would be some kind of shadow cast by model-2 on the model-1. And I believe I mentioned this before, but if you want to create a cast-shadow; that is one real-world object is throwing a shadow onto another real-world object. You don't want to use a drop shadow, because drop shadows are for text hovering above the surface or something like that, when you are looking down on a composition. When you are looking into a real world like this, you are better off creating cast shadows as gradients.
And the best form of gradient is just going to be a regular old gradient on a layer. So with model-1 selected here, the model-1 layer selected. I am going to create new layer by pressing Ctrl+Shift+N than or Command+Shift+N on the Mac and I am going to call it Gradient, and then I am going to click OK. And just because I call that gradient, it doesn't mean it has a gradient on it. So I will switch to the gradient tool by pressing the G key and I am going to go ahead and lift a color from the composition, because I think what we want is a shadow of that's sort of a hair colored shadow. So I will Alt+Click or Option+Click on a Mac.
And by virtue of the fact that I have the Alt key down or the Option key on a Mac, I get the Eyedropper, when the gradient tool is active. Then if I click, I will go ahead and lift a color and I am clicking and dragging actually. I'll lift a color from the hair, and I want a pretty dark color like so, and I am seeing my HSB sliders here inside the color panel. The values I ended up going with, just so that you can track my work here; are 15 for Hue, so 15? is for Hue, which is going to give us a fairly reddish color. And an 80% for saturation, lots of saturation, and then not much brightness. I will take the brightest value down to 15% and then I went ahead and dragged, like so.
Let's go ahead and scroll up a bit. I dragged like this; I don't want to drag into her face; that would be bad. You just want to drag into about here. In order to create this absolutely hideous affect that we are seeing now, and I am working with a gradient that is going from brown to white, which is what I want. Believe it or not, instead of brown to transparent. If you work brown or white, then you can redraw your gradient later and just draw over your old one; if you want to shift the position of the colors and link to the gradient and so on. However, you've got to assign a different blend mode than Normal.
So I am going to switch the blend mode, because I want to darken, it's a shadow that's being cast on the model-1, there is only one blend mode to start off with, and that is Multiply. That is your when in doubt shadow mode. So go ahead and choose it and you end up getting this effect here. So let's see, if I turn off that layer, these are the original shoulders, then I turn it back on, and we have just a little bit of darkening on this rear shoulder. Now if you don't feel like that's enough, then all you have to do is redraw the gradient, using the gradient tool. I just went ahead and extended it a little and added a little more shadow.
Now I feel like I am getting the most realistic effects. I will try dragging up this time a little bit and that to me is starting to look better. So anyway, you can redraw those gradients as many times as you like. I am going to scroll down so that we can take in this double exposure effects so far. In the next exercise we are going to modify our ACR Settings or Camera Raw settings for one of these model layers. And then we are going to replicate those exact same settings on the other model layer. Stay tuned!
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