576 Creating a two-way portrait in Photoshop CC

- Hey, gang, this is Deke McClelland. Welcome to Deke's Techniques. Today begins the seventh consecutive year of my techniques, making it the longest running weekly series here at Lynda.com. And to celebrate, we're going to take this guy right here and place him inside of his own profile in order to create this two-way portrait shot, naturally, inside Photoshop. Now, for the best results, you want a plain background, in our case, of course, it's white, and as much contrast between the foreground image and the background as possible.

And you're going to need Photoshop CC, because we're going to be taking unique advantage of Face Aware Liquify, exciting stuff. Here, let me show you exactly how it works. All right, here's the final version of the effect, just so you hae a chance to see it on screen. We're going to be starting off inside this file, which contains those two photographs of the same model. And I should mention that they come to us from the Dreamstime Image Library, about which you could learn more and get deals and dreamstime.com/deke.php.

All right, I'll go ahead and select that logo group and press the backspace key, or the delete key on the Mac, to get rid of it. Now, notice if I tap the 5 key, in order to reduce the opacity value to 50%, that the faces line up pretty well, but the forward face is too tall, and it needs to be wider as well, which means that I need to scale the image. Naturally, I want to scale non-destructively. So the first thing I need to do is convert this image to a Smart Object by first tapping the 0 key, to restore an opacity value of 100%, and then, with the rectangular Marquee tool, selected up here at the top of the tool box, I'll right-click inside the image window, and I'll choose Convert to Smart Object.

Now before I can scale the face, I need to mask it. And I'm going to do that by pressing Control 0, or Command 0 on the Mac, to zoom out. And then I'll turn off this head on portrait so that we can see the profile. And then, because we have so much contrast, the easiest way to mask this image is to go up to the Select menu, and choose the Color Range command. Now, if you're working along with me, just click anywhere inside the background, it doesn't matter where, and reduce the fuzziness value to 20, like so. And then click OK to accept that selection.

Now if you take a look at the bottom left corner of this image, you can see that some of his shirt is selected. And so to clean up the selection, go ahead and switch to the Quick Mask mode, which you can do by clicking on this icon at the bottom of the toolbox, or just tapping the Q key. Now we want to turn off the image so we're seeing nothing but the mask. And you can do that by going up to the Windows menu and choosing the Channels command, which will bring up the Channels panel. And then you can turn off the RGB image, like so. Or if you're working with an American keyboard, you have a keyboard shortcut of Tilde.

And the Tilde key is the one directly above the Tab key. All right, so I'll go ahead and hide the imagine for now. And then, again, with the rectangular Marquee tool, I'll just select this region right here. And then we've got a little bit of junk going on in his head. So I'll Shift, drag, around this region. And then you want to tap the D key to establish your default foreground and background colors, which are white and black, respectively, because we're working with a mask. And then just press the Backspace key, or the Delete key on a Mac, in order to fill the selection with black. And then you can exit the Quick Mask mode, either by clicking on this icon or tapping the Q key.

All right, now I'm going to switch back to the layers panel, and I'm going to turn on the head-on shot, make sure it's selected as well. And then you want to drop down to the layer mask icon, and instead of clicking on it, which is going to mask the guy outside the profile, like so, and that's because it's the background that is selected, not the profile itself. And so I'll go ahead and press Control Z, or Command Z on the Mac, to undo that change. And instead of clicking on this icon, I'll press the Alt key, or the Option key on a Mac, and click on it, like so. All right, the next step is to scale this guy's face, so it better fits inside the profile.

And to make that happen, you want to first click on the thumbnail for the image itself, and then click on this chain icon in order to unlink the image from its mask, because after all, we don't want to scale the mask, we just want to scale the image. Then go up to the Edit menu, and choose the Free Transform command, or you can press Control T, or Command T on the Mac. And then I went ahead and moved this target here, which represents the center of the transformation, to below his chin. And another way to make that happen is to press the Alt key, or the Option key on the Mac, and click at this location.

Then, you want to select the width value up here in the Options bar, and change it 112%. At least that's what I found worked best. And then tab over to the height value, and change it to 92%, like so. And then press the Enter key, or the Return key on the Mac, a couple of times, to accept that change. All right, that doesn't get everything exactly where it needs to be, but it does line up the eyes rather nicely. So, notice, if I were to tap the 5 key, in order to reduce the opacity value to 50%, the eyes are lined up very nicely.

However, if I press the zero key, in order to reinstate an opacity value of 100%, the nose and the lips are not faring all that well. And also notice that we have a little bit of a problem where the mask is concerned. So I'm going to select the layer mask, here inside the Layers panel. And then I'm going to switch to the Brush tool, and then I'll right-click inside the image window, and I'll crank the hardness value up to 100%. And then I'll press the Enter key, or the Return key on the Mac, to hide that panel. All right now you want to press the X key, in order to make your foreground color black.

And then click right about here and Shift, click, here, in order to paint away that region in a straight line. I'm also going to increase the size of cursor a little bit, by pressing the right bracket key. And I'm going to click right about there in order to smooth out the bridge of the nose. All right, now I'll press Control 0, or Command 0 on a Mac, to zoom back out. And now what we want to do is move his lips and his nose upward. And we want to bulk up his jaw as well. And this is that perfect use for Face Aware Liquify, here inside the most recent version of Photoshop CC.

And so if you're working along with me, go ahead and click in the thumbnail for the Smart Object here inside the Layers panel. And then go up to the Filter menu and choose Liquify. And, again, you're only going to be able to apply this command to a Smart Object inside Photoshop CC. All right, now at least where the most recent version of Photoshop is concerned, you want to twirl open your view options, and then turn on Show Backdrop, so that you can compare the two images as you work. And I'm going to change views from All Layers to this guy right here.

Notice the layers are listed in opposite order inside this dialog box, at least that's the way it exists right now. And so I'll go ahead and choose the bottom of these two numbered layers, which represent the catalog numbers for these images. And then leaving the Mode set to In Front is just fine, and opacity value of 50% will allow us to see both images as we work. All right, now I'll go in, zoom in, and scroll upward a little bit. And I'll switch to the Face tool right here, which you can get by pressing the A key. And then you want to hover over the mouth so that you can see this four-way cursor.

And that's going to allow you to drag the mouth upward, like so. And you want to make sure that the top of the lips are aligning with each other. And now move your cursor up to above the nose, so, again, you see that four-way cursor, and go ahead and drag the nose upward just a little bit so that it aligns to the profile nose. All right, now let's say you want to make this guys smile just a little bit. Then you can move your cursor over this dotted arch right here. Notice the tool tip read's "Smile". And then just drag it upward. And as soon as you release, Photoshop will go ahead and pop open the mouth options, so that you can see the smile value.

And I ended up with a value of 25. And go ahead and drag, from this location here, you should see the word "Jawline" pop up on screen. And go ahead and drag the jaw out as far as you can. That's going to pop open the Face Shape options here. And notice I now have a Jawline value of 100. All right, now, if I move my cursor over to the side of the face, I will see the words "Face Width". And I'll go ahead and drag that out a little bit. And, in the end, I'm looking for a Face Width value of 50, so that we're making that face much wider indeed.

And now I want to take his forehead down, so that the hairline in the two images matches up. And so I'll go ahead and hover over the top of this outline, so I'm seeing the word "Forehead". And then I'll drag this all the way down, so that my Forehead value's now negative 100. And now I'll go ahead and move down to the bottom of the image, so that I'm seeing the words "Chin Height". And I'll move that chin either up or down. And, for my part, I came up with a Chin Height value of 50. All right, finally, I decided to make his eyes a little bigger.

So I'll go ahead and twirl open the eyes by clicking on that twirly triangle. And then notice here inside the most recent version of Photoshop CC, you have independent control over the left and right eyes. I'm just going to go ahead link those two eye size values together. And crank either value up to 50, like so. And that is going to increase the size of the eyes as we're seeing on screen. So you could go higher if you want to, but I think at 100 things look pretty weird. I'm going to change that value to 50, once again, and then click OK, in order to apply all of those changes.

And just to get a sense for what we've done here, this is the "before" version of the image, and this is the "after" version. All right, now finally, I want to merge in a little bit of the original profile shot. So I'll go ahead and grab this layer right here and drag it and drop it above the head-on shot. And then I'll drop down to the Add Layer Mask icon, once again, at the bottom of the Layers panel. And instead of clicking on it, I'll Alt or Option click on it to give this layer a black mask. All right, now we want to paint inside of it. So I still have my Brush tool selected.

And then right-click inside the image window. And I'm going to crank the size value up to 400 pixels should work. And I'll take the Hardness value back down to 0%. And now I'll press the D key, in order to instate the default foreground and background colors, so that my foreground color is white. And I'll paint along the front of his forehead, like so. And then I'll reduce the size of my cursor, you don't want it to be too big. And I'll paint in some of the hair from that profile shot, like so. But you don't want your cursor to be too big, 'cause then you'll paint in a lot of blurry here.

I don't want that, so I'll press Control Z, or Command Z on the Mac, to undo that change. And then I'll go ahead and zoom in so I have a closer view of things, and I'll paint in the shading from his brow. And then I'm going to reduce my cursor even farther, and paint in some shading from the bottom of the nose. Now you don't want to go too far, because you'll paint in the profile nostril, which is not what we want. And so if that happens to you, just tap the X key, in order to switch the foreground color to black, and paint that region away. All right, now I'll tap the X key again in order to restore my foreground color to white.

And I'll go ahead and paint, like so, around the lips. So notice I'm trying to leave some highlight on the top of the bottom lip right there, but I want to paint in a little bit of shading, across the bottom of both the top lip and the bottom lip. Now it looks like I've gone a little bit too far with my painting on the top lip, so I'll press the X key in order to make my foreground color black, and I'll paint some of that stuff away. All right, now I'll tap the X key again, and I'll paint in the bottom of the jaw as well as along the neck, going down a little bit into his shirt.

Should work out pretty nicely. And now I'll press Control 0, or Command 0 on the Mac, to zoom out. And it looks like I've gone a little bit too far right there, so I'll press the X key, in order to make my foreground color black, and paint some of that stuff away. And I may do the same thing inside the nose. All right, when you think you have everything the way you want it, go ahead and turn on this Text layer, up here at the top of the stack. And, in the end, I decided I wanted to align the text with the eye. And to make that happen, I'll select the text layer, here inside the Layers panel. And then I'll switch back to my rectangular Marquee tool.

And I'll go ahead and marquee the eye, like so. And then I'll select the Move tool. And then, finally, go up to the Options bar, and click on the second icon, Align Vertical Centers, in order to align that text, like so. And then you can press Control D, or Command D on the Mac, in order to deselect the image. All right, and finally, I'll press Shift F, in order to switch to the full screen mode, and I'll go ahead and zoom on in as well. And that's how you create a two-way portrait effect, with the head-on shot set inside a portrait, here inside the latest version of Photoshop CC.

Now, next week, in my second episode of 2017, I'm going to show you how to create this custom chalk type effect inside Photoshop. And it turns out to be really easy, too. Deke's Techniques, each and every week. Keep watching.