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Painting on a photograph

From: Photoshop CS5 One-on-One: Mastery

Video: Painting on a photograph

All right, if you take a look at the Final Na'vi creature right here and all the warpaint, then you'll see that there are three colors of warpaint in all, and that based this off of one of the characters, I don't know if this works for all of them, but there is a layer cyan paint with two stripes across the cheeks, one on the chin, and this V like pattern across the bridge of the nose and forehead. Then we have some white accents as you can see here. Then we have these yellow spots that look like fried eggs. And it's all perfectly good. This is what we're going to doing.

Painting on a photograph

All right, if you take a look at the Final Na'vi creature right here and all the warpaint, then you'll see that there are three colors of warpaint in all, and that based this off of one of the characters, I don't know if this works for all of them, but there is a layer cyan paint with two stripes across the cheeks, one on the chin, and this V like pattern across the bridge of the nose and forehead. Then we have some white accents as you can see here. Then we have these yellow spots that look like fried eggs. And it's all perfectly good. This is what we're going to doing.

We're going to create this warpaint on three separate layers, one for cyan, one for white, and one for yellow, and in fact, I've already done the yellow. If you go to Sharpened irises.psd or your sample file that you've been working on forever now, at the top of the layers stack here, you'll find a layer called yellow paint. And it's very simple to put together as you will learn as we work on the hardest of the warpaint layers which is the cyan layer. So go ahead and turn off yellow paint for now, click on it to make it active. I want you to go to the Channels panel here.

And I want you to check out this alpha channel called cyan paint. And it represents all the brushstrokes that we will be using in order to create the cyan paint layer, and this is often times the best way to work. You could just paint on an independent layer and try to blend it with the underlying image, but what I've found works better is to try to do the cyan using an adjustment layer because it just means rotating the hue values a little bit, and then go ahead and mask that adjustment layer using this mask right here.

And if you want to create your own alpha channel and just play inside of it, all you do is drop down to the bottom of the Channels panel and you'll see this Create new channel icon right there. You just click on it, you get a new black alpha channel, you paint with white, you're good to go. All right, I'm going to undo that guy because we're going to play around inside the cyan paint channel, but we don't want to mess it up. So what I'm going to do is I'll just go ahead and make a duplicate of it by dragging it onto the little Page icon. And I'll just rename it, something I can mess up. All right that works.

Now, I'm going to go over to the Brush tool in the toolbox. I can get to it by pressing the B key if I like. And you might think that, if you know anything about Photoshop CS5 and its new Brush features, you might think that I use some sort of new brush madness in order to achieve this wacky effect right here. This is all very old school. I did it using old brushes that have existed inside a Photoshop forever and I didn't use a Wacom Tablet. I just did it with a mouse and yet it came out great. So let me show you what's up there.

I'm going to go ahead and click on this little folder icon in order to bring up the Brush panel. And you should switch over to Brush Tip Shape. If you don't, then click on Brush Tip Shape to make it active. And then I'm going to drop down this list until I come to this guy right there. It look like a 48 and it says Oil Heavy Flow Dry Edges. that's the one I use, click on it to select it. You can modify how this brush is put together by, for example, dragging this little arrow in order to make it upright.

And then I'm going to drag out these points to make it thicker. So we have more of, sort of, a flat square brush going and then I'm going to raise the Size value to 100 pixels. And then I'm going to move my cursor out into the image window and see how it fares. Now I should be painting with white and sure enough my foreground color is white, if it's not for you, press the X key. Your Opacity value should be 100% and then you can just start painting like so. You'll look at what I did and say, well those paint strokes don't look as grimy and as smudgy.

That's because I also did this number and kind of just clicked around like this and then I'd press the right bracket key to make the brush bigger, and maybe click around some more and left bracket key to make it smaller and press the X key in order to paint with black, and sort of smudge this around like so, and so I just painted back and forth with black- and-white, and then I'd switch up brushes every once in while with some of the others sort of spongy brushes that are available to you, until I got this effect here. Now, you may look at this and go well this all very well and good Deke, that you're sitting here painting these stripes in this black background.

How do you know how it registers with the image? Where in the heck is the image in all this? Well what you do is just scroll up your Channels panel here and you turn on the eyeball in front of RGB so you can see the image and your mask at the same time, and then you're viewing your image as a kind of ruby-lith overlay this way. And what I wanted to make sure I did was I painted outside of her face. You can see that I painted well outside of her face on a number of occasions. Here, I missed a point here. Let's go ahead and paint for the route on the left-hand side of the image over here and maybe add a little bit more garbage.

Press the X key in order to paint some of that away a little bit. And go with a smaller brush so I can fit inside of this region. And that's very important to do to paint out into the dark areas because then we're going to use Luminance blending in order to transition this warpaint into the girls flesh. I don't want this other garbagey stuff that I did over here with this brushstroke. So I'll just select around it using my Lasso tool. So I press the L key to switch to the Lasso tool, drag around this area, press Alt+Backspace or Option+ Delete to fill it with black.

So bear in mind even though we're seeing a red overlay, this is really a black area, a masked-away area, and then the white brushstrokes are what we're going to use to reveal the adjustment layer. All right, let's go ahead and put this mask in play. I'm going to press Ctrl+D, Cmd+D on the Mac in order to deselect the image. Then I'm going to switch back to the RGB image like so. Now, that's not going to change your display because the mask is still visible. So you need to go down to the mask and turn it off. And then I'm going to do something quite interesting here I think.

I'm going to convert this alpha channel to a selection outline. And that way we can use that selection outline to mitigate the area that's modified by the adjustment layer. And you do that, the simplest way to convert a mask or an alpha channel to a selection outline is to press the Ctrl key here on a PC, or the Cmd key on a Mac and just click on it, just do that, nothing more. So Ctrl+click or Cmd+click on that layer mask thumbnail. It goes ahead and converts it to a selection outline. Now switch back over to the Layers panel and we're going to make a new adjustment layer.

So go to the Adjustments panel, click on it to make it visible, and we're going to create the warpaint using Hue/Saturation. So I want you to Alt+click or Option+ click on the second icon over in the second row in order to force the display of the New Layer dialog box, then we'll call the cyan paint and that's it. You don't want to turn on the checkbox, you don't want to change the Mode for now. Click OK in order to create this layer. I'm going to move it below yellow paint like so because yellow paint ultimately has to be on top. And then I'm going to change the Hue value.

Actually I'm going to change Hue, Saturation, and Lightness values like so. First I'm going to change Hue to -30 and that's going to go ahead and rotate the blues into cyan territory. That's not enough. So I want to increase the Saturation, the color intensity that is, by raising the Saturation value to 40 and then I'll also raise the Lightness value to 30. Now, I've been telling you in previous videos that you don't want to use lightness inside of Hue/Saturation because it ends up making the colors pale if you raise the lightness value, or overly dark if you sync the value.

However, for our purposes here it it's going to work out beautifully. So there are exceptions to the rule of course. I'm going to go ahead and hide the Adjustments panel. So now the question becomes how do we go about blending this incredibly fakey warpaint with the underlying image? And I'll show you how in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43841 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping 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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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