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Photoshop CS5 One-on-One: Mastery

Simulating chalky white paint


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Simulating chalky white paint

I've saved my changes as Good-looking paint.psd and in this exercise, we're going to add these white accents of war paint that you see in the Final Na'vi girl.psd file and I'm going to go ahead and merge in the yellow war paint as well, these little yellow dollops right. And we're going to integrate the texture and we're going to add the inner Bevel effect, the whole number. So let's go back to Good-looking paint.psd and I'm going to switch over to the Channels panel, scroll down the list and you can see this alpha channel right there called white paint and I'd like to take a close look at it.
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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 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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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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Simulating chalky white paint

I've saved my changes as Good-looking paint.psd and in this exercise, we're going to add these white accents of war paint that you see in the Final Na'vi girl.psd file and I'm going to go ahead and merge in the yellow war paint as well, these little yellow dollops right. And we're going to integrate the texture and we're going to add the inner Bevel effect, the whole number. So let's go back to Good-looking paint.psd and I'm going to switch over to the Channels panel, scroll down the list and you can see this alpha channel right there called white paint and I'd like to take a close look at it.

I'm looking at this white paint layer going holy moley, what did I do right there. All of a sudden, I have this really sharp edge. That ends up not really affecting the final composition because of the luminance blending, so it ends up dropping out, but maybe I should get rid of it in the first place. So I'll go grab my Brush tool, what the heck, by pressing the B key of course and I'll reduce the size of my cursor a little bit and I've already got my foreground color set to black. That's handy. So I'm just going to paint kind of along that edge to make some of it go away, like so, and good enough, what the heck.

It's going to look great after all. It looked good when it was a problem, so why wouldn't it look good after it got fixed. I want to make sure though that my alpha channel matches the image, of course so I could scroll up to the top and click on that eyeball, but I wanted to tell you about a shortcut. Instead of going to all the trouble of finding an RGB image and clicking on its eyeball, you can just press the tilde key, and the Tilde key is the one directly above the tab key into to the left of the 1 key on an American keyboard. It's kind of a crazy keyboard shortcut. It's left over from back when you press Ctrl+Tilde or Cmd+Tilde on the Mac in order to switch to RGB, you don't do that anymore but you still control the display this way.

So press tilde to show the image at the same time you're seeing the channel, press tilde again to hide that image. All right. So anyway just wanted to show you that. I'm going to zoom out and of course I wanted to fix the mask because it had problems. I'm going to scroll down to this white paint channel and I'm going to Ctrl+Click on it or Cmd+Click on it to convert it into a selection outline. Then I'm going to switch back to the image which I can do by the way by pressing Ctrl+2 or Cmd+2 on a Mac, assuming default settings and I'm going to press the M key to switch back to the rectangular marquee.

All right, let's make a new layer called white paint. It's going to be another adjustment layer incidentally, so make sure your cyan paint layer is active, go to the Adjustments panel, you'll see the Hue/Saturation Settings because cyan paint is currently active. So to make a new layer, you return to your adjustment list by clicking this left pointing arrow head in the bottom-left corner of the panel and once again, we're going to do this with Hue/Saturation because it happens to work out great. So I'm going to Alt+Click or Option+ Click this second icon in, on the second row that guy right there, and then I'm going to call this one white paint of course, and click OK. And the values I'm going to enter may kind of surprise you.

I'm going to change the Hue value to -20, and then I'm going to Tab down to Saturation and do nothing with it and then I'm going to increase my Lightness value to +15. That's it. That's the end of the adjustment layer. It doesn't look very good at all. It doesn't look like, a) That it's integrated into the skin tones at all, nor does it look particularly white or chalky. Well, if you want to make it nice and white and chalky then we need to go ahead and switch to the Screen blend mode and that's going to bring things out quite nicely, so now we have kind of a little bit of a chalky effect.

I don't believe it for a minute though because it's not integrated into the textures of the face, so once again we're going to take advantage of Luminance Blending. Now, so far I've been showing you that you can go to the Layers panel menu and you can choose the Blending Options Cmd or press my keyboard shortcut there, there is another way to work though. It's just that it's a little bit problematic until you get used to it. You can double-click on the layer, but here's the thing, you got to double-click on the right part of the layer. If you double-click on the adjustment thumbnail, you'll bring up the Adjustments panel, so that's not right.

If you double-click on this little chain icon, you're going to turn off and then back on the link between the adjustment and its mask. If you double-click on the layer mask thumbnail, you're going to bring up Layer Mask Display Options and if you double- click on the name of the layer, you're going to change the layer name. So what you do? Well you move off to anything else. Some empty area, and you double-click there, and that brings up the Layer Style dialog box. Just yet another secret handshake inside Photoshop, and we're going to go down to the ultimate secret handshake in my opinion, which is this Underlying Layer slider, and I'm going to take that black triangle up to 30, so anything with a luminance level of 30 or darker from the underlying images is going to force it's way through, so these very dark details in the eyebrows are showing through the white paint.

And now so that we have more natural transitions, I'm going to Alt+Drag or Option+Drag the right half of this black triangle over to a 100 and we get this effect right here, looks pretty darn good. I'll click OK in order to accept the modifications. Now we need to add that depth using the Bevel and Emboss effect, but there's no way I want to go into that dialog box and Enter all those values again, and thankfully I don't have to, because you can copy an effect from one layer to another just by pressing the Alt key once again or the Option key on a Mac and dragging Bevel and Emboss on to white paint and dropping, like so.

Now you saw just a moment ago, I'll undo that modification, you saw how I've got this little fx icon that appears as I do the drag-and-drop, that appears on a PC. It doesn't necessarily appear on the Mac, so that's platform specific, but it is really cool. But anyway notice that I went ahead and duplicated the effect, thanks to the fact that I Alt+Dragged or Option+Dragged. It's very important. I duplicated the effect onto the white paint layer. All right now we have yellow paint on top, turn it on, you'll see that it already has its own Bevel and Emboss effect.

It's the exact same one. Now I created this layer differently, I didn't use the Hue/Saturation adjustment layer this time, I just painted these tiny little blobs using a brush set to yellow. That's it and then I added Bevel and Emboss and the only thing we need to do with it because notice its covering up other war paint in the image. So we don't need to reveal skin texture, all we need to do is make the pigments blend with each other a little bit and I'm going to do that by changing the blend mode to Multiply, like that there. We have now created all of the war paint inside of this image, just for the sake of tidiness, I'm going to go ahead and tuck these guys under here, so that I'm collapsing all of the layer effects.

I'm going to click on yellow paint, I'm going to Shift+Click on cyan paint. I'm going to go to my Layers panel menu and choose New Group from Layers to group them together, don't have to do that. Again, I'm just being tidy man here. And I'll go ahead and name this group war paint, and that's it. Click OK and we have now applied all of the war paint to the Na'vi's face. The next step is to bring in this background foliage, which is really appearing in the foreground, and we'll do that in the next exercise.

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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