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Painting in the scalp

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Painting in the scalp

Now has come the time to try to reestablish the details that can't be reestablished. It's like; we are trying to build a dinosaur. They find various pieces of a dinosaur, those archaeologists do, and we are so told, I have never gone on a dig on or anything; and they find, like 50% of the dinosaur and then they have to make up the other 50%, figure out how it might have been; or they find, a better case scenario, 98% then they just have to make up--just give it a hip replacement, that's all. Now in our case, we have just got to give this guy a hip replacement; only it's up in his head. It's actually at the top of the hair. So we just have to, basically, do a little bit of-- Here is another analogy, a little bit of detective work in order to figure out what this should have been.

Painting in the scalp

Now has come the time to try to reestablish the details that can't be reestablished. It's like; we are trying to build a dinosaur. They find various pieces of a dinosaur, those archaeologists do, and we are so told, I have never gone on a dig on or anything; and they find, like 50% of the dinosaur and then they have to make up the other 50%, figure out how it might have been; or they find, a better case scenario, 98% then they just have to make up--just give it a hip replacement, that's all. Now in our case, we have just got to give this guy a hip replacement; only it's up in his head. It's actually at the top of the hair. So we just have to, basically, do a little bit of-- Here is another analogy, a little bit of detective work in order to figure out what this should have been.

All right, so I am working inside of this image called Dodged & burned.tif, that you can open up as well, if you like, found inside the 14_Calculations folder. I want you to go ahead and make sure that Dodge and burn is active, that is, the final channel inside the Channels palette is active. Now I am going to need to be able to switch back and forth between the RGB composite and the mask, that we are working on. And because we are working on the tenth channel, it doesn't have the keyboard shortcut, so let's not have it be the tenth channel, anymore. Let's go ahead and drag it up the stack, and I am going to drag it all the way to the top of the alpha channels here, so that it becomes the fourth channel inside the image. So we can switch back and forth between it and the RGB image by alternately pressing Ctrl+4 for the mask and Ctrl+Tilde for the RGB composite; that would be Command+4 and Command+Tilde on the Mac.

All right, let's go ahead and zoom in. Before we really---Well, let's actually take a look at what's going on inside the RGB image, inside of this region of the image. So I have zoomed in to the top of the image. I am going to press Ctrl+Tilde to switch to the RGB composite. So basically, the hairline seems to go, kind of, like this. See what I am tracing right there? That's the implied hairline, I think. Then when I switch to Ctrl+4 for the mask, that means that this region right here--I will go ahead and grab my Lasso tool. This region right here, is actually outside of the hair.

This hair, we couldn't even see, it actually only shows up in the Blue channel. Notice if I switch to the Blue channel by pressing Ctrl+3 or Command+3 on the Mac, we can see this very, very fragile hair. It doesn't show up in the Green channel, doesn't show up in the Red channel, doesn't show up in the RGB composite; you really can't see it. Although, actually if you look for it, you can imagine, it's there anyway. You can hallucinate the hair into the image but you know what? Why not give it a shot? Why not try to preserve that hair? That's what I figure but we are going to need to eventually maintain the curvature of the hairline here.

All right, so Ctrl+4 or Command+4 for the Dodge and burn channel that we are working on here. Once again, we don't need to duplicate it because we are not really doing any harm to this area. It's beyond harm, is basically what, kind of, I am saying to you. I am going to de -select my image by pressing Ctrl+D or Command+D on the Mac. Actually, I am going to switch to a different selected region, I am going to select this region, like so, in order to provide a boundary for my next modification, so I don't mess anything up. I am going to switch to the Dodge tool by clicking on it or pressing the O key. I am going to start by painting along this hair to see, if I can restore it a little bit but not too far because it's not a big, thick, meaty hair. It's a very distant, fragile hair, that's barely there at all. It's just, kind of, inform the image, we don't want to call attention to it.

Then I am going to press the O key in order to switch to the Burn tool here and I am going to burn away some of these details. Notice that I am burning under this hot dog of a hair here. I am burning over to this side and burning up toward the top as well. I am might go ahead and increase my brush size by pressing the Right Bracket key a couple of times and painting in this area as well. So notice that, what I am really doing--I am not concerned about this area here that I am painting into. I just want to keep this smile of the hair in place, to some extent. Again, I am not all that interested in seeing it big, and thick, and mighty.

In fact, I am going to lower the Exposure value to 20%, I am just going to paint over the hair lull, that's nice. I may paint on its tip again too. I want it to be really distant, just barely there at all. All right, so that took care of that hair, I think. Now what about the other stuff that's going on here. Well, I will press Ctrl+D or Command+D on the Mac to de-select that region. Let's paint away this hair that shouldn't be here. I will raise the Exposure value to let's say, 40% by pressing the 4 key in order to paint that stuff away.

Now I will also paint this area away too but we do want to keep that little knee of the hair, that's, sort of, bent leg of a hair there. I may be paint this in a little bit as well. Okay, now we are going to have to actually paint with the Brush tool, people. So get ready for that. You are going to have to make some manual modifications here, you are going to have to invent detail. In other words, it's time to be an artist but you only have to be an artist for this little distance up here, so it's not all that hard. Go ahead and grab your Brush tool. I want you to change the Mode to Normal by pressing Shift+Alt+N or Shift+Option+N on the Mac, raise the Opacity value to 100% by pressing the 0 key. Bring up your Brushes palette, either by clicking on to that little icon or pressing the F5 key, and turn on the Noise option.

See this little preview, watch what happens when I turn on Noise. It gets noisy, it gets choppy, and that means it's going to match the noise inside of the image. All right, let's go ahead and hide that palette by pressing F5, in my case. Anyway, that's what I did. Now let's go ahead and check our stuff here. I am going to press Ctrl+Tilde to see where it is we are painting. We are repainting right along here, okay; that's Command+Tilde on the Mac. All right, let's go back to the alpha Channel by pressing Ctrl+4 or Command+4 on the Mac and I am going to make sure my foreground color is white, as it is now when I press the X key. Now I am going to paint, like so, and I am painting up in to this region here. I am Shift+ Clicking in order to draw straight lines inside of the image and then I am dragging down like this. All right, actually I might make cursor a little smaller, so I can do this number here.

Then we want to do the same thing, except the inverse. We want to paint with black, of course, and I am going to do that by pressing the X key and then painting in, like so. Now once we start getting close to the hair, you are going to have to reduce the size of your brush, a little bit, like so, by pressing, of course, Left Bracket key in between brush strokes; you can't do it on the fly. Then I might go ahead and zoom in on this area. Now this is a toughie and here is what I am going to do. I am going to paint along the hair, like this. So I am painting into the guy's head because I really can't paint a triangle of blackness, which is what I want. Then I am going to switch to the Full Screen mode, so I can bring this down and I am going to paint, like this, up above the hair.

Are you following me? So it looks like a very strange hair at this point. That's okay, I am going to paint over here as well, just a little bit. This hair is still a little bit over emphasized but that's okay, we will work with it; we will make it work Then actually, I am going to back step those last couple of operations because I think the hair is getting too skinny in this region and it's remaining too thick in this region, there we go. All right, now I am going to press the X key, once again, so that I paint with white. I am going to zoom out a little, so that I have a bit of perspective on this guy's head. Notice it's got a weird divot in it. Let's press Ctrl+Tilde or Command+Tilde on the Mac, so I can say okay, it needs to go like that. Needs to do that, you do this back and forth with your hand, you get that muscle maneuver figured out, this is for real and that's going to inform how you paint in this next gesture, okay. So just go back and forth here, I am not painting, I am just having my hand memorize the gesture for a moment.

Then I will press Ctrl+4 or Command+4 on the Mac in order to switch back to the channel. Let's increase the size of the brush here, a little bit, and I will restore that brush stroke, that I didn't work with being. So let's go ahead and zoom in again. I didn't like what I came up with. I am going to paint with a smaller brush, is basically what I am saying. So I will paint like this because I just didn't like the degree of noise that I was getting. All right, this actually could work for us. We have got some strange noise, sort of, modifications going on here, that is, transitions going on inside of the image but it's nothing that I don't think, we can't work with. In other words, we are going to make it work with the final composition. Actually, that looks pretty good. We don't want it to be too smooth.

Now I am going to press the X key to switch back to black, I am going to enlarge my brush a little, and I am going to paint, like so, in this area in order to get rid of it. There we go. All right, so we have got this little hair up here, we have got this nice hair right there, and I think things look pretty good. If we were to press the Tilde key, we would be able to see the hair and the mask at the same time, and decide if it matched pretty darn well, which I think it does. Now if you think you can make it match a little better, press the X key in order to paint with white and then try painting inside of that mask, just a little more to raise the hairline, that might actually work pretty well for us.

Then I am going to press the Tilde key again in order to turn off the RGB view, so that we are just focusing in on the channel. I think, I like that better, I think that's going to work. All right, that's good. So far so good, I think people. In the next exercise, now that we have taken care of the hair and we have reestablished the hair, we have invented hair out of nothing toward the top of the scalp, we are going to get rid of his face. In the next exercise, the exercise after that, we are going to begin compositing this guy into a new background, stick with me.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26334 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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