Transform tool, wrap modifier and blending sliders and modes
- [Voiceover] The ear can be a tricky form to composite, especially because we have a very different angle in our texture image compared to our goblin. Here, I'll show you some techniques for forming the ear and mouth. Let's back out a little bit and take a look at our ear that we have hiding up here and let's go ahead and cut that out and we'll want to try to ride the ridge as much as we can.
But once again, it doesn't have to be perfect because we will be feathering everything out. Just kind of making that a little softer, hit the OK button. We will paste it down, drag it into our scene just like we did. And so the things we want to look at here are we've got this ear and we have to find the similarities. So we have on the outside of this ear it's kind of like this little protruding flap that's kind of inside of that, we've got all these really interesting ins and outs and that's really what we want to capture on this.
So we're still going to use some of these ridges and just kind of see how they fall into this ear because, realistically, the goblin's ear is a little too mechanical, it's got this really straight edge to it. So this nice little internal movement here, this flap on the back side of this ear image would actually look pretty good. So let's go ahead and grayscale this and we'll also do a quick little levels adjustment just to get kind of in the same ballpark as far as value range.
And let's go ahead and drag this out, lighten it up a little bit, and hit Command + T and go to Warp, actually let's go to Distort first, and this will allow us to grab some of those corners and just try to get it as close as we can just by using the transform corners. And then we're going to move into Warp and do just some subtle adjustments.
We want to try to match up the outside ridge as close as we can because we are going to be airbrushing a lot of that out, but the closer we can get it then the more realistic the inside of the ear is going to look. And another thing you'll want to do is kind of bevel this out early on if you can to create kind of that bend because you are creating the illusion of dimensionality on this plane and so the Warp tool is really nice for doing this because you can kind of pull and pinch and this internal square right here needs to almost look like a very similar plane to the side of the head.
Okay let's go ahead and dial that back up. I think that actually looks pretty good. We won't really know till we get into the masking part of this, which I will do now. And we're just gonna really lightly start to blend out this edge. It helps to have some kind of a Wacom or stylus, but you can also do this with your mouse, it just takes a little bit longer. And then you'll also notice that I'm creating a little bit of a shadow 'cause I know that that ear is darker so I am going to remove some of it with a mask, which reveals the underneath layer, which tends to be a little bit more intense from a value perspective.
And then you'll notice here we've got some really interesting things happening because I didn't really bring this down far enough. And then you have to make choices whether you're gonna use the image, stock image, or you're gonna use the goblin underneath. So this is really up to you and what you feel is appropriate for the look you're going for. And also keep in mind that you can come over the top and airbrush a lot of this stuff out anyway. Okay so I think that's a good start to our ear. It's a little bit further back than I wanted it to be.
I'm actually gonna do a quick little warp to it and just pull that in a little bit more. Back in and just adjust some of the mask a little bit and that's looking a lot better. So let's move on to the mouth. I've got this really cool image of a mouth and what I'm really looking for is kind of this wrinkly pattern on the top of the lip more than anything. So I'm just gonna grab some of that and try to ride the line as much as possible, not a huge deal.
And let's go ahead and select the lips, Control copy, paste it down, drag it over. You'll notice that this is quite a bit lighter so we will have to do some value adjustments in this. So we'll do that right now. Start to bring in some of that depth, make it look a little bit closer, pull down the light output somewhere right around in there. And then now, we can just start warping this. Bring this down a little bit.
And same kind of thing, you have the choice what to use from the image and what to use from the base goblin. We'll kind of get this up there somewhat close and go right into the masking. Now, this is where I get a little bit more erratic with the behavior of this brush in the mask. So we'll knock that out, allow the nose to show up a little bit more. But I'm gonna dial down my brush into these little circles as I gain momentum towards the mouth, the lips area, and I can just kind of float that in a little bit and reveal what I want to.
We'll also attack the bottom edge here 'cause I really like that lip texture. And you can even lightly kind of brush over the top of the lip to pull out some of the values from underneath. So even just that makes quite a bit of a difference in our goblin. And then of course, just like we did on the last video, making a layer of overlay to add some blacks and whites to it just to kind of help bring back some of the values you might have lost during the composite.
And like I said, this is something we can do later on as well, but if you do it as you go it just makes it a little bit easier to kind of organize your thoughts and ideas. Now that we have some additional complex forms in place, let's focus in on color texturing.
Creature creator Rayce Bird, the winner of Face Off, teaches how to take an existing image of a goblin sculpture and apply textures to help bring the goblin to life. Members will learn how to use blending sliders and the Transform, Warp, and Liquify tools in Photoshop to make the textures believable.
- Choosing the right texture images
- Creating the illusion of form with texturing
- Compositing the ears and mouth
- Adding color
- Refining the lighting
- Color correcting the composite