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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 Fire Engine Red.psd, and in this exercise we are going to paint the teeth inside of the layer mask. We are going to paint them black in order to protect them from the effects of the hue/saturation layer. So I am going to go ahead and zoom in on these back teeth here on the right-hand side of the lips, and I am going to get my brush tool. And I, of course, I am going to make sure that my layer mask is selected here on the cherry red layer. And I also want to make sure that I'm painting with black, because if I start painting with white I am going to paint more modifications into the teeth, which is not what I want to do.
That would be a mistake. So I will go ahead and press Ctrl+Z and Command+Z on a Mac to undo that modification. Drop-down here to little switch view icon and click on it, or I can press the X key to ensure that I have black as my foreground color, also a right-click inside the image window. Notice that my diameter is set to 60 pixels and my hardness is set to 100%. And that's those same settings I wish using inside of the Quick Mask mode in order to paint in the lips that will work for the teeth as well. All right, so I am going to go ahead and Escape out of that panel. And now I will paint inside of the teeth in order to protect them, like so.
And here I am going to take advantage of that shift clicking technique, when I get near the lips, because I don't want to run the risk of painting into lips right there. So I will click and Shift+Click like so, in order to fill in some of these details. And you can decide how meticulous you want to be. It's not really essential that we do that much work inside of the teeth; I just thought you might like the experience of seeing how you can paint away details inside of an adjustment layer or some other layer, and of course, temporarily using a layer mask. All right, so I am going to go ahead and Shift+Click, like so.
May be click along this area. What ends up happening, where these teeth are concerned, is that the shadows in the teeth end up turning red on us. And that's just a function of the fact that we took that saturation value so high. So if I revisit those adjustment layer settings right there by double-clicking on that thumbnail to bring up the adjustments panel, you can see that I am not colorizing anything. I am not adding color where no color existed. I am just exaggerating the heck out of that color by increasing the saturation to +80.
All right, notice I cannot paint inside my image. That's because the layer mask is not active. Well, then I could take advantage of my keyboard shortcut, Ctrl+Backslash or Command+Backslash on the Mac, or I could just click on that thumbnail icon if I preferred. And I will paint away some of the teeth area right there in order to cleanse them and keep them nice and neutral. And this goes back to that thing; I think I mentioned this before, when you are trying to make teeth look nice and bright, it is not really a question of making them light or dark.
It is not a question of, for example, dodging the teeth. It's a question of getting rid of the saturation. So in our case we are trying to make these teeth as neutral as possible, and that keeps them looking very, very bright. All right, now I'm entering this area of tooth right here that looks like a gum or something in the mouth, and I am going to have to reduce the size of my cursor in order to get into this area. So I will click and Shift+Click like so, in order to paint away that region along the top lip, and now I will click and Shift+Click down here in order to paint away this region next to the bottom lip.
And again, be very careful not to paint away the lip, however, if you do, you can always paint it back in by painting with white. So if you don't notice that you made a mistake till later, don't worry too much about it. You can paint that lip back end by hand if you want to. Now then let's view the mask in the panel of the image. By Alt+Clicking on it or Option+Clicking on that layer mask thumbnail there inside Layers panel. And notice now that we have some sort of lumpy stuff going on here where this layer mask is concerned. I am going to increase the size my cursor and paint in some of the details that I might be seeing sort of out here in the mouth region of the image.
And I'm assuming that little bit should go as well. Although this kind of dangerous, making these sorts of assumptions, because I can see the RGB image. So I don't know if I am making a mess of things. I will take advantage of that keyboard trick, tilde backslash, in order to switch back to the full-color image, and sure enough everything is fine. Now press backslash tilde in order to switch back to the layer mask, and that of course can be achieved by Alt+Clicking or Option+Clicking in both directions there on that layer mask thumbnail. All right, but I don't like the lumpiness, and there is a way of smoothing off a mask inside a Photoshop if you so desire.
Before we do that, let's return visibility to the image, and I might just want to go ahead and paint like so inside of that layer mask in order to paint into the dark crevice of the mouth. Now I'm not making any difference where the full-color composite image is concerned. But I am painting some details in and out of this layer mask. So I will go ahead and Alt+Click once again on the layer mask thumbnail - that is an Option+Click in the Mac - in order to see the layer mask independently of the image, and I just wanted to make sure I was filling in some details over there just for the sake of basically gaining an accurate mask.
All right, let's say we want a smooth off our contour, so we don't have these roly-poly, lumpy edges going on. The way to smooth a mask inside of Photoshop, you may recall, if I had a selection outline like this and I were to go up to the select menu and choose the modify command and choose smooth, then I could round off those corners. For example, if I raise that sample corner radius value to 12 pixels, I would apply 12 pixels of rounding to each one of those quarters like we are seeing here, and we would get a round rectangle. And that's basically how smoothing works.
That is how you smooth a selection outline. I am going to click off the selection and de-select it. For everything that you can do to a selection outline, there is an equivalent in the world of masking. So, for example, the equivalent of applying feather to a selection is to apply Gaussian blur to a mask, the equivalent of applying the smoothing function to a selection is to go up to the filter menu, once again it's a filter. We go to noise and we apply medium, and if you loaded DekeKeys, you have got a keyboard shortcut of Shift+F8. And when you choose the median option, notice, if I go ahead and raise this value to 8 pixels, which is what I recommend for this image right here.
We are going to smooth the heck out of the details inside this image. Problem is that not only am I smoothing this stuff I painted right here, and this was before with the lumps, notice that, and this is after, no lumps. But I'm also getting rid of the good detail around the lips, and I worked very hard you may recall to capture that detail using the color range command, and then keep it, when I refined the edge inside the Quick Mass mode. So there is the detail I had before, and I will go and zoom in actually, so we can see this, up close and personal. This is that awesome detail around the lips, and this is what happened when I smooth it, so I don't want that. I will cancel out.
I am going to grab my Lasso tool. And it's very common you use selection tools inside of masks by the way, very useful as well. So you're basically using a selection inside of a different view of the selection outline. That's how powerful masking is. Anyway, I just went ahead and drew a general selection around this interior of the mouth, which contains the teeth, and that's where the roly-poly edges are. Now I will go up to the Filter menu, choose Noise, and choose Medium or press Shift+F8, if I loaded DekeKeys. And now we are just smoothing off the bad lumps, and we are not doing anything to the good edges.
Click OK, and I have now smoothed off that selection, brilliant! Now I could Alt+Click once again on this layer mask thumbnail there or Option+Click on the Mac to view the entire RGB image, my selection outline survives, and I could use it for another purpose if need be, which is again, a really great thing about masking. It's a really great thing about Photoshop in general. Anyway, I don't want this selection; I am going to press Ctrl+D or Command+D on the Mac to get rid of it. We have now done a brilliant job of enhancing the color inside these lips and keeping the teeth nice and neutral.
In the next exercise we will finish off this project by setting the lips against a black background.
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