Skill Level Intermediate
- [Instructor] There's a new feature that was recently added to Photoshop. It was actually an addition to one of the existing filters. Now, to demonstrate I'm going to show it to you this week because I'm amazed at how many people haven't seen this. I did a little talk a couple of weeks ago and there was about 60 people in the audience and only one person knew of this, and it's really cool so I think I should show it to you guys. And that is a little addition to the filter called "liquefy". Now on the screen I have a little shot of me, shot by my good friend Greg Gorman, and it's just a face you can do it with your own pictures of your face your kids, whatever, right? Here we go.
I'm going to pull up liquefy. And there it is, and you'll notice that it's looking at the face, see? So it's face-aware liquefy. There's a little function right there. So what's going to happen is you'll see that I have eyes, nose, mouth, shape, the face shape itself. Well, let's start down here even though it starts over the eyes, let's play around with the face itself. See, if I can give myself a little more forehead, a little smarter, or a little more Neanderthal kind of. Okay, then I could bring up my chin. Yeah, I have no teeth now, or just really make it nice and long, see? The jawline, give myself a little stronger, straight look there, narrow it down a little bit, I lost some weight.
The face width itself, look, make it wider, or thin me out. Oh, we'll just bring that one back to zero, we'll leave that one the way it is. So, now, we'll look at the nose. We can raise it up a little bit, lower down, you see that? Or make it a little thinner, or widen out a little bit. You can even move it back and forth, say, achoo, see? A little animation there. Okay, and then the eye themselves, look at that, we can play with all this stuff for the eyes.
The distance between 'em, the tilt, kind of like that, give 'em a little downward look, like that, kind of sad. And the eyes width, wider, narrower, the height, the size, all that good stuff, let's make big, bulgy eyes, or kind of like sad, there you go. And we'll go down here to the mouth. We'll go to the mouth where we can play around with the lower lip, the upper lip, all those things, the height, and all that, but what we'll do is we'll come to the smile, see, and give myself a big smile.
But, with those eyes, it kind of looks labored, so what I'm going to do is going to bring it down, make it look sad, so I click okay. And there it is, here's before, and then after looks kind of sad, and I'd rather choose this one right now because it is with a little sadness that I have to say that this is actually the last Pixel Playground. I just wanted to show you this guy to give you an idea of all the stuff that's in there, that you can still find on your own. Now, what I'm going to do with the rest of my time is...
A couple weeks ago, actually a couple months ago, I started introducing my new piece that I'm working on. Now by the time this episode airs, it should be pretty much close to done. What I'm going to do now is I'm going to show it to you in it's current state. Now this is what I first showed a few weeks ago where I just used this to create a little flowerpot, right in there. Now at the time I said that this was a work in progress and that this whole wall wasn't done, and everything, but here is the current state of that same little spot right here, and we'll click.
And now you can see that this has been done, there's been a little aging done to the stone and so on so we can kind of go up a little so you could see and start going up, in fact let's pull back a little bit. I also showed you some little clams, too. Well, let's go, pull back. There's the current state of the image. You can see that I still have a lot to go in the building here, the street, there's no people here yet, and there's still one building missing back here. Those clams that I showed you, well, they're right here. Let's get in real close, there's the little clams.
And you can see there's little crabs, and some oysters, some fish, some cuts of tuna, a little fillets, a halibut then some shrimp there and the reflections from this side panel here and that happens to be Greg Gorman, the guy that shot the picture, right there. But here you see we got some crayfish in there and some other cuts of fish, and some red fish, all these little things in there and there's my wife and I having dinner. It's in the future so I'm a little grayer. And so on, so is she. Now, let's start to look around and you'll see that there's a lot of things going on here.
Lot of little details. These trees, by the way, right here were done using the tree function which I've used for quite a few episodes. The ones back here have very specific shapes, so these were created using Photoshop's tools. At some point, they're going to be finessed even more. That bus is juxtapositioned, but you can start to see the buildings in place. And I talked about the reflections and how they were created, now the car isn't finished but now we can start to go up on the building itself. Like here, talk about reflections, there's this little light there and it's got the little cars in the street, up the street and so on, all coming into place.
And we look down here, way down the street here and we can start to see other buildings in place. Now these are really tiny, if I was to bring up the rulers there you can see that there's an inch, gives you an idea how small these guys are. But, they're going to look really nice when they're printed really big. Let's get rid of the rulers now, you see this building here. Now, I started experimenting with my clouds, it's not quite right yet, this was my first experiment with the clouds so I'm just going to show you those.
Way down here I got some clouds, here we go. The far clouds, right there, this is where I started playin' with these guys. And then when you see them, then you get the feel of what this little thing is going on here, see? All the little sunlight is hitting that building, there's a little skyline visible in the shadows. So that building is being bathed with the sun at the very top, 'cause it's pretty tall. Now, eventually when I start to create this, it's going to have a nice kind of a pinkish sunset, you can see the reference I'm going to be using down here, let's just turn it on, so you can see that.
And this is just a little attempt, it's not going to be the final clouds, it's not going to look like that at all. But, reflections have been a very important thing throughout, okay, like we'll get in close to the restaurant here, and we'll see that... Talked about this reflection was created, well here you can see that this is glass up here so it's reflecting the street across just like this here is reflecting this area, okay? Everything has a reflection, the top here is reflecting what's above, so you see all these are reflections. You get in real close you'll see that these glass, also have little reflections of the buildings.
Even this car, right there you could see little reflections of the buildings, all these little reflections will be put into place. Now, what I want to do here is when the building is finished, you see that all these cars are not, there's no detail. They're pretty much the basic shapes are there, but I haven't put much detail, in fact this doesn't even have detail in that taillights yet. Now, looks a little funky here, that's because I do have some places for people. So, I have some people and there's going to be two people there there's going to be some people walking around here.
You can see people on the corner, these are some proposed people that I've already photographed and got them ready to go into place. So, right here, once this building is complete, then I can then finish these cars, because a major part will be the reflection of this building down in here. So what I'm going to do right now is I'm going to come up here, right on top of here, and it doesn't matter the people I'm going to go ahead and merge this, I'm holding down my option key to merge visible. So it's going to merge it into one pile here, and we'll call it "reflection".
Okay, so now, I'm going to go in here and find... I'm going to get my move tool and make sure auto select is on, I'm going to turn off that reflection just to find this car, so I'm going to click on it. And there's the car. So now I'm going to take that reflection, and put it right on top of that car right there. Okay. So now. The car itself. So what I'm going to do here, is I'm going to take this car and I'm going to come in here get close and I'm going to make a selection. I get my wand and right now I have it set to tolerance to 2, there's a default of 32, if I take that car and click on this, see, it selects pretty much all the car, that pretty dark tone.
So I'm going to deselect that and bring the tolerance down to about two, real low, so that way when I click on the rear window, just that gets selected. So now that I have that selected, I'm going to go over here to this reflection that I created here and say "mask it", there we go. So now, what I'm going to do with that is I'm going to take off the link, right there, and I got this reflection right in here, so what I'm going to do is I'm going to make sure auto select is off and I'm going to move, and there you can see that the reflection is what's moving, right? So what I'm going to do is I'm going to bring it straight down right here to about, there, okay, so it's going to pick up just the tops of those lights there.
And I'm going to go in here and just select this portion. Now remember, that that's a big picture there, right? So I'm just selecting the little portion that I want. Right in here, and it's actually a little higher here. Yeah, that's good right there. And what I'm going to do is I'm going to go in there and say "flip vertically", there you can see it now, it's upside down there, right? So I could even shrink it down a little bit, so we'll shrink it down inside there, just a tad, like that. And bring it over so we can start to see those big letters on top, right there, okay? And we'll shrink it down a little more just to exaggerate it, there we go, there it is right there.
So now what's going to happen, I can get even tighter. So now that I'm right into this area here, I'm going to select that, and I've studied the way the reflection should go on this glass, so what I'm going to do is I'm going to warp it into place. So I come over here and I start to warp this guy so it starts to follow the angle of the glass itself, you can see it's starting to get these nice little curves going through there, just inside like that. Kind of twirl this around a little bit, just like that, there we go, and click okay, deselect.
Now that's inside there, so what I'm going to do is I'm going to bring down the opacity for that layer, so we're seeing through it, see? It's just this little reflection. Okay, now let's go back into the car itself. Now let's just say that I've got the inside of the car all created which would be masked inside of this, but what I'm going to do is just make that window transparent, so what I'm going to do is I'm going to give that layer a mask, and I'm going to select that window again, right there like that. And I'll set my foreground color to black, come over here to my mask for that layer, I'm in the mask, and I'm going to say, fill it.
Foreground color I got to set to about 30%, yeah, let's do it 20%, let's do 20% and click okay. There you can see that the window is now transparent. And when we turn that other layer right on top, there's your reflection, and you see through the glass and you can see where the reflection is in place. So you start to see how this whole thing will be completed, all the reflections will be in place, you can see that this window has reflections in there. You can see all these windows have reflections, everywhere there's an open window, there's a reflection.
Here we have a reflection and we have a reflection of the blinds, we have a reflection of the building across the street. All these things is what makes something look real, makes it look like it is part of the environment because it's reflecting it's environment, it's catching shadows, all the things that have to make something look real. And it's just a question of looking, observing their surroundings, look at how lights work, and whatever it is that you even want to create, there is a way of doing it in Photoshop.
It's just a question of going there, studying those tools and have a good time doin' it. Well, I must say it's been a real pleasure spending the last couple of years with you guys, and doing this every week, I will still have titles here on lynda.com and they'll be more dreamscapes and things in the future and if you want to just keep in touch, you can go to my website, it's right there, I'm going to come in close so you can see it. And, hopefully I'll see you down the road at some point have a great time and don't forget the best way to learn is to sit there and play with this stuff, push the buttons and see what they do.
Take care of yourselves.
Q: Why can't I earn a Certificate of Completion for this course?
A: We publish a new tutorial or tutorials for this course on a regular basis. We are unable to offer a Certificate of Completion because it is an ever-evolving course that is not designed to be completed. Check back often for new movies.
Q: Why are some of the 3D menu items grayed out when I try to follow along?
A: The 3D features in Photoshop CC require a computer with at least 512MB VRAM. If your computer doesn't meet this criterion, the 3D menu features will be greyed out.