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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.
All right, friends, here we are back inside the 'Avatar' composition, and as you may recall, we're starting with this base photograph of an everyday average human girl captured here on earth, by Jason Stead to the Fotolia Image Library. And over the course of 22 layers, we're building up this fantastic composition of this Na'vi creature from another world. And we're now poised to create the eyes, more specifically the irises and the pupils right here. We don't have much to work with in the first place. If I Alt+Click or Option+Click on this eyeball to turn off all the other layers, you can see that her original irises are quite small, we only have half irises to work with really, because they're cut off by the eye at top here.
And the pupils are dinky, presumably because this is a bright day and the sunlight is coming into our eyes. But our 'Avatar' creature is not built that way at all. The Na'vi have huge eyes, as you can see, these big old, sort of greenish, golden eyes with these ginormous pupils here, and all this reflection activity going on. So we're going to have to do a fair amount of work and we've got to do a good job, because eyes are mission critical. We recognize each other by our eyes.
Eyes are the windows into the soul. And they've done a fair number of studies where viewers are viewing an image, and they can track where the viewers are looking. And we spent most of our time, where portrait shots are concerned, looking at the eyes. So we've got to get them exactly right, and we don't have much to work with in the first place. So this is going to be a fairly complicated project. We're starting at this point here. I've gone ahead and saved out my progress as Blue skin brown hair.psd. And it contains all the layers we've made so far, that is the two liquefied layers, one for the eyes, it's called liquify eyes, but it's really for the mouth and the nose as well and the cheekbone here.
And then we have another for the brow & the nose, that's covering up those eyes, you may recall. This is what things look like without that brow & nose layer. This is what they look like with that brow & nose layer. So very important that aspect right there, the bridge of the nose. And then we have all these layers inside the blue folder, these grouped layers, that are ultimately coloring her skin blue without affecting her hair at all, leaving her hair nice and brown, those beautiful braids. All right. So I'm going to go ahead and twirl that close again.
If you twirl open this group called eye layers, you'll find just about all the layers that we're going to use. And you could just start turning them on if you want to. For example, here is my irises, right there, those are the irises that I'm going to start work from. But you may wonder how in the world I got them in the first place, and that's something that I'm going to show you, beginning in the next exercise.
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