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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.
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.
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