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In this movie, we'll take on the model's legs, as well as the patterns of the fabric of her shorts. Now, you'll see that I went ahead, and created a new layer, by the way, and applied my changes to that layer, which is a step I neglected in the previous movie. I'm going to go ahead and turn off that layer to reveal the original photograph. And then I'll click on the background and press Ctrl+Alt+J or Cmd+Opt+J on a Mac and I'll call this new layer legs and fabric and click OK. Then I'll press Ctrl+Shift+X or Cmd+Shift+X on a Mac to bring up the liquefied dialogue box.
And I'll click load last mesh in order to start up where I last left off. Then I'm going to zoom in on the model's legs as you can see here. And I'm going to zoom all the way to 100% and let's start things off with a pucker tool. I'm going to increase the size of my cursor by pressing the "}" a few times and then I'm just going to click on those legs in order to taper them. And I don't want to go too far with my modifications, but I do want to give her back some ankles here. And I might also narrow the foot just a little bit. And then I'll press "W", switch back to the warp tool.
And I'll reduce the size of my cursor, and I might kind of give her an ankle by dragging out a little bit. And I might add some definition to the foot as well by dragging up on it so she's just got a little more of a taper going on. And the degree to which you want to do that kind of stuff is totally up to you. But obviously you don't want to make it look inauthentic or ridiculous. The liquify filter is notoriously used to make models who are already very thin look tragically skinny. But we do want to give her legs some form and definition.
Now I'll switch back to the pucker tool. going to increase the size of my cursor and then click on this ankle to make it a little narrower. Click on the calves as well, and I'm trying to click for less and less time as I kind of go up the leg there. And, about here looks pretty darn good to me. I'm gonan scrol up, and I'm doing that with the scroll wheel. And I might at this point, switch to let's say the blow tool. And try to see how that works o the calf up above because we might be able to add a little curvature up there. And possibly some on this left hand calf, as well.
Alright, now let's take a look at the fabric in her jeans. And again, I'm looking at this detail at 200%, so we're getting a jagged preview. I'm going to press the W key to switch back to the board tool. I'll reduce the size of my brush, here, and I'll just drag over a little bit, like so. And the thing is this fabric is extremely unforgiving, because it's essentially serving as a kind of grid of the changes we've made. So if it starts slumping inward at a point that doesn't make any sense, then that's going to be a little suspicious. Now here I think we can get away with it, because after all, this would be the hem.
But I'm not so sure about these details over here, this is where we start really running into problems because her leg's not going to be shaped kind of like this. I mean where's this lump coming from. So I'll increase the size of my cursor so it can take in a fair amount of these details here. And then I'll drag down like so from both of these points. I might reduce the size of the cursor and take that down as well. And this may do us pretty well. We've got a little bit of an issue goin' right there, and I'm kind of wondering if we want to reconstruct that detail.
I misread this when I was trying to edit the hand. She's got this little bit of a sash or belt that's wrapping around her hand, and that's a detail that should probably be left in. However, I can't let the arm do that, so I'll press Crtl+Z, or Cmd+ Z on the Mac to undo that change. Lets go back and get the forward warp tool and try to scoot this detail in a little bit so that she has a normally shaped arm. Again this scalloping here is just something we're seeing at the 200% zoom level, it doesn't really exist. When I try to flatten this a little bit to, drag down here and see how that looks by zooming out to 100%.
Looks like we still have some non straighten and this is going to be totally up to you how seriously you take this stuff because it is not pleasant to try to deal with. And there's really no great solution that I can pass along to you. Except to do incremental warps and just be patient as humanly possible. This area stretch is something we're going to have to tolerate, it's the price of lifting these details when we didn't have much to work with in the first place. Now her arm to me is looking a little bit, sort of lumpy, so I'm going to warp that side in just slightly, and I'm going to side in as well.
Maybe taper this section of the arm too, and then let's try taking this little bit of forearm up, so she has a little more definition associated with that. Alright, let's go ahead and save this mesh off as well. I'll click the save mesh button And then go ahead and create a new one called phase 2.msh and I should say something. It might seem like I'm going nuts with saving these msh files, but you'll never go wrong by saving every single step especially in a complicated project like this one. Meanwhile, these files are way smaller than they used to be.
With Photoshop CS five, every one of these files took up about 24 megabytes. Now they take up about 1 2 megabytes, so my guess is Photoshop has added some compression to these files which is great. I'll go ahead and click the save button, in order to save off that file then I'll click OK in order to leave Liquify, and now let's see what we were able to do. I'll go ahead and scroll down to the legs. If I press Ctrl+Z or Cmd+Z on the mac, that's the original version of the legs, and the patterns inside the pants and if I press Ctrl+Z or Cmd+Z again, that's what she looks like now.
In the next movie, we will take on the tilted head, join me.
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