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Painting and scaling very fine hairs


Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Painting and scaling very fine hairs

I've saved the near-final version of my painting as Hair and shoulders.psd. At this point you can go one of two ways. You could decide you're going to paint in the background, which is entirely acceptable. I've got my Background layer turned off so that we can see the painting independently. But if you turn on the Background and leave the painting layer active, or if you want the background to be on a separate layer, you can go that route as well. Then paint in the background using the Mixer Brush. You'll probably want to use a bigger brush, because there is not a lot of information to retain here. I would suggest something in the neighborhood of 15 pixels, if you want to try that out, because I've done it before a few times now.
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  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 27s
  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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Watch the Online Video Course Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Design Photography
Deke McClelland

Painting and scaling very fine hairs

I've saved the near-final version of my painting as Hair and shoulders.psd. At this point you can go one of two ways. You could decide you're going to paint in the background, which is entirely acceptable. I've got my Background layer turned off so that we can see the painting independently. But if you turn on the Background and leave the painting layer active, or if you want the background to be on a separate layer, you can go that route as well. Then paint in the background using the Mixer Brush. You'll probably want to use a bigger brush, because there is not a lot of information to retain here. I would suggest something in the neighborhood of 15 pixels, if you want to try that out, because I've done it before a few times now.

If you go back to my Photo paint variations.psd file, you'll see that each and every one of these variations here from early attempt, all the way up to second painting have the background painted in, which is one reason this time not to do it, to try something different. But there is another reason as well. In the meantime, as a little bit of a sidebar, I want you to note just how different these various treatments are. Ignoring for the fact that we have more elevated color values going on inside of this Photo paint variations.psd file, we will end up rendering out these colors in our final painting as well.

However, right now we have less elevated colors as you can see inside the Hair and shoulders.psd file. But there is a lot more differences than that going on. Starting with, check out the eyes in the last painting that I had created, the one called 2nd painting. Notice that they have this sort of Egyptian quality to them. They look heavily made up, in fact. Then if you switch to the one that I'm working on now, the eyes have an almost childlike quality to them. So, in as much as someone might frown on what we're doing here, they might say, All you're ultimately doing is tracing a photograph, I'm not even sure you're bringing that much in the way of artistic sensibilities to bear on this process.

I would argue quite the contrary. I would argue that not only is there sensibility and artistic expression involved, but also, I'll go ahead and turn off that Background layer here. This is a heck of a manual technique. This is by no means something that you pull off in 15-20 minutes. It involves an awful lot of work. In fact, I've kind of gone nuts this time around. I was telling you at the outset that you really don't need to paint brushstrokes over every single bit of the photograph. You can leave the photograph showing through in the background all over the place if you want to.

And that is what I did in all my previous treatments. So I had big gaps between my brushstrokes. Here, I have a fully realized painting. I've gone ahead and closed up just about every single gap there is. What that means is that I have managed to separate the painted Colleen away from any background whatsoever. Meaning, that I could place her against any background whatsoever as well, which I will do. But first, I need to complete the painting. What I'm missing, other than the background, which I'm not going to fill in. What I'm missing here, if I turn on that Background layer, and turn off the painting layer for a moment.

You can see that Colleen has these slight very fragile hairs next to her ear. I would like to go and fill those in, because I think it's a nice detail that we're currently missing. So let's go ahead and paint those as opposed to mixing them in. Let's just go ahead and paint those items in on an independent layer. So I'll press Ctrl+Shift+N or Cmd+Shift+N on the Mac. I'll call this new layer fine hairs, like so. Then I'll click OK. There is my new layer. The painting layer should be turned off by the way, Background on, so that we can trace it.

Then I'm going to zoom in a click here, so that I'm seeing the image at a 100% view size. I'm going to switchover to my standard Brush tool this time around. I suggest, especially, if you have a stylus, I suggest that you work with that exact same brush. That same Bristle Brush we were using to mix the painting. That is, Round Blunt. So go ahead and select that guy with one change. Reduce the Size value. Again, those of you who're working with a tablet, reduce the Size value to 1 pixel. That's it. If you're working with a mouse, try your values; see what ends up working for you.

Something in the neighborhood of three pixels will probably be a little better. I really want to be able to see that Bristle Brush preview. So I'll bring back up to the Brush panel. Click on that eyeball next to the paintbrush icon, in order to turn that preview on. Now the icon is appearing highlighted, which means it's some place, but I'm not seeing it. Go ahead and close the Brush panel and I bet it's right behind and it most certainly is, there it is. I'll go ahead and move it to the upper left corner of the image window, so I can keep track of it a little better. Then I'll move my cursor into the painting here and I will begin painting in these hairs.

Notice even though this is just a one pixel brush that I have a pretty thick line going on, and I'm not pressing very hard at all. I'm not very happy with that hair either. I'm going to go ahead and undo it and try it again. I think if I avoid touching the tablet I'll get smoother results. That works out pretty nicely actually. Now all of these paint strokes that I'm applying are black. That's not really actually going to work out very well for me. But I'll come back to that in just a moment. We'll recolor them before we get down here. I'm just painting in what appears to be some halfway descent hairs.

I'm not sure that that they're the most exacting hairs on the face of the planet. But that's okay. It would probably be a little smoother than this, if they were organic hairs. But this is about the best I think I am going to do at the moment. I think I'll try just a couple more. Let's drop one down here like this. I know you're thinking these are horrible hairs, Deke. These look like big, sort of droopy noodles once again. That is true, of course, I'm not going to deny that. However, we are going to address that issue right now, in fact. So first thing, let's go ahead and fill these hairs with a better color.

I'll do that by pressing the Alt key or the Option key on the Mac, so that I get my Eyedropper tool. Let's lift a sample color from the existing hair, or if you prefer, we could lift it from the hair painting. That might even be a better match. So I went ahead and turned the painting layer on. We've got all these purples inside of the hair now. I'll Alt+Click or Option+Click right about there and that ends up getting us pretty light color. But I think it's going to work out pretty nicely for us, at least it'll be a match with the existing hairs.

Once I've done that, if I want to fill these fine hairs with the foreground color, and respect that layer's transparency, so that I keep the transparent stuff transparent, and I make the opaque stuff the other color, then I'll press Shift+Alt+Backspace or Shift+Option+ Delete on the Mac and we get this effect. All right, so the hairs are matching the other hairs. Fantastic! I'll go ahead and change the blend mode, let's say to Multiply. See how that ends up looking. It looks pretty horrible. Well, the biggest problem is that my hairs are so noodlely.

I need to reduce their width. That's something I can do by at this stage in the game, introducing a filter. So I'll go up to the Filter menu and I'll choose Other. And remember how I was demonstrating in the Smart Filter chapter. We're not going to apply this command as a Smart Filter by the way, no need to. But remember how I was demonstrating that you can reduce the thickness of type by applying the Maximum command. You can expand the thickness of your type of live type by applying the Minimum command. Well, the same is true for hairs. If we wanted to make the hairs thicker, I would choose the Minimum command.

Minimum, because we're actually choking back the transparency mask, which makes the hairs thicker. Maximum, because we're expanding the transparency mask, which makes the hairs thinner. Anyway, I'll choose Maximum. That's way too much, that just made the hairs go way. Let's try a value of 1. That's as low as we can go and it actually ends up giving us some very nice interesting fragile hairs, that looks like hairs. They actually kind of look like hairs that I accidentally dropped on the painting. However, they do look like hairs. Anyway, I'm going to click OK to accept those hairs.

I'm not so sure that I want to go with - I'll zoom back in here. I'm not so sure that I want to go with the Multiply mode. Let's see what Normal looks like, if we just go ahead and apply Normal. I think that looks better. All right, so there's the hairs. Feel free to paint more if you want to. Again, just make sure you get all the hairs painted into place before you apply Maximum. In the next exercise we are going to take Colleen, painted Colleen that is, and her hairs, and we're going to posit them against a new background.

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

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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."
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