The complete guide to retouching in Photoshop: Fixing eyes, skin & teeth – Adobe Photoshop CC 2018

The complete guide to retouching in Photoshop: Fixing eyes, skin & teeth – Adobe Photoshop CC 2018

August 19, 2019 6 By Peter Engel


Before we get started in this nice long,
retouching video… I’d like to show you a few of the examples
we’re going to create along the way. So we’ll do some basic retouching
like this. Before, after. That’s using the Healing brush. I want to show you a section… where we move, say these piercings here,
using the Clone Tool Stamp. A lot of people forget
about this awesome tool. I’ll show you ways to duplicate things… and also just remove them
completely from images. I’ll show you retouching techniques… where you can remove the shine
from my shiny face. Techniques for kind of removing the… the wrinkles and bags under people’s eyes. It’s my pretty face again… and in this one we’re going to do
this kind of Liquify technique… where we’re going to go
a little extreme in one version… but I’ll show you how it works
nicely doing subtle adjustments… as well as this crazy one here. I’m going to do a simple exercise
like this… that uses Vanishing Points,
we can mock up things on walls. We’ll learn it here mainly
so we can do this one. You can see, the lights at the top here,
watch this, we can kind of… Clone Tool Stamp them out of the way… because we got this
really clear perspective. And it can be hard without
using Vanishing Point. We’ll retouch skin, I’ll show you
how to make specific selections for skin. And what to do to kind of fix it up
if it needs adjustment. Like this one here,
where it’s quite red in the skin. I’ll show you how to
make a dual selection… and kind of reduce the sun-burny redness. Before the end of the course… we’ll look at adjusting eyes,
and kind of enhancing them like this. Before, after. Before, after. Cool, huh? That’s one technique,
we’ll look at another technique… where we take the same image… but we do some even more
kind of exotic adjustments. You can see here, all that
kind of detail in the eye. Before, after. We’ll look at how to fix teeth.
Before, after, before, after. Same thing with this guy. I can kind of tidy it up nicely. So there is a lot of things
to cover in this course. I’ll pass it over to the real
me for a little introduction… and let’s get started. Hi there, my name is Dan. There are exercise files for this video,
so you can play along. You can download them free
from the link in the description. Just note that it’s an extract from
my longer Photoshop Advanced course. If you want to check on the full course… there’ll be a link in
the description as well. All right, get in there.
Enjoy the class. Hi there, this video is all
about going through… some Healing Brush,
more advanced tips and tricks. You probably already know how to use it. I’m just going to show you what
I do to make it go fast… and to give you some better results.
Let’s jump in. To get started let’s open up
‘Healing 1’; thank you, Bruce Dixon. So before we get started
we’re going to use the Healing Brush. It’s the more advanced tool
but I just want to remind you that… the Spot Healing Brush, which is
this one here, the automatic one… if you haven’t used it for a while… it has got so much better, especially
with the introduction of Content Aware. And when I’m doing
professional retouching… it is like, 70% of the work
is just too easy. A couple of tricks to get good use of it… is to make sure you’re working
on a separate layer… and we’re going to call
this one ‘Retouch’. Make sure Sample all Layers is ‘on’,
otherwise it won’t work… because it’s going to reach
through to this bottom layer… but everything’s going to end up on
this layer that we can turn off afterwards. So pick a brush size, pick a hardness,
and just click once. This is just pretty amazing.
Don’t want to get too close to the edges. So bulk of the work gets done
with this tool. Tips for using this tool. So say we’ve got a chunk here,
we want to get rid of this along here… we can probably just paint it out… but I guess I just really want
to show you my trick. You click once, hold ‘Shift’, click again,
and it joins the two lines. So if you’ve got like a long scene
that you need to fix up… you can click once, hold ‘Shift’,
and click again. It just joins the two up, and because we
used its own layer you can start to see… everything’s on it’s on Retouch Layer. And what will end up happening is… you’ll end up going too far and you
need to kind of dial it back. So with this layer selected,
and your Move Tool selected… so I’m at an Opacity of 100%. Just hit ‘5’ on my keyboard and set 50. So it’s just a lot easier, I’m not even
looking at this while dragging, I’m just… looking at my image.
Super close. Just kind of tapping, you tap fast,
like if I type ’33’ I get 33. Going to go 80, so it’s still there… just heavily reduced, even a little
bit less, at 70, more realism. Let’s say the Spot Healing Brush
isn’t working for you in your instance. I’m going to turn that layer off
and create a new one. This is going to be my ‘Retouch 2’. We’re going to use the Healing Brush… by itself now, show you how to use this… because we didn’t cover
it in the Essentials… so what we’re going to do is… click and hold down the Spot Healing Brush,
grab the Healing Brush. It works the same way except
I get to be in a lot more control. So the Spot Healing Brush just goes
and finds pixels, and it’s going to guess. What you can do is you can hold
down the ‘Option’ key on a Mac… or the ‘Alt’ key on a PC,
and click a target. Just say, I want to use this bit of skin,
please; don’t just pick anything. Pick this bit from all over here.
So that’s ‘Option on a Mac, ‘Alt’ on a PC. Click once and then let go. And this is totally not going to work… because I haven’t done this one
that says, Current Layer… I want to sample all the layers, please.
So let’s hit the target again. And now click and drag,
and watch when I’m dragging… it’s a little hard to see,
I’ll get the editor to zoom in. Can you see the target, clicking, dragging,
and moving around? So you can kind of see
where it’s pulling from. Did just a good job,
just gives you a bit more control. You, click, drag, let go. Gets fancy if you open up the window
and go to the one that says Clone Source. It works for both the Clone Tool Stamp,
which we’ll do in the next video… and this Healing Brush, and you can
have more than one source. So at the moment it’s just using this,
it’s pulling from this particular document. I click there, that’s where it is. What you can do is you can set up a group. At least five different points
you want to pull from. So what I’m going to do is,
I’m going to say… I want some kind of really
light texture over here. So this first one, it’s going to be my
lightest option, this next option here… could be from a completely
different document. Just have it open and steal from that,
it will load into the Clone Source… but I wanted kind of a medium kind
of texture, that one there. Trying to use this only when
there’s like a really high ISO… and there’s a real grain in the image,
you need to kind of match the grain. In this case we’re matching
kind of skin texture… but you get the idea.
So I set a medium point. Here, darker, darker, darker. And here’s going to be kind of
where I find something… that’s the darkest part of the skin. Probably across here. So now when I’m working I can
come down here, and say… actually this piece here is probably going
to work with that first one I took. Or something else, this one
here’s a bit lighter… so I’m going to go to this lighter option. Over here is my medium. A little bit darker, the medium. I’m not really taking the darkness book… because the Healing Brush
will match the colors… but the texture that appears in
the kind of darker areas… just end up being a different
kind of grain… than the stuff that are
in the lighter areas. Again, you might decide on
skin texture, you might have… number one is stuff from this
kind of clear patch on the forehead. You might decide number one here is the
texture from the skin from the forehead… and number two is the kind of
porous one here from the nose. There’s a little bit of like
tiny hairs that are there. So that’s just taking
that a little bit further. And if I’m honest, even when
I was doing like full time retouching… I didn’t use these points very often. There’s a lot of this. I’ll show you
a bit more of the work flow that I did… but I want to show you that feature
because some people do really like it. So let’s say we’re working
in nice and close. Space bar is obviously a really useful one. Another really helpful one,
say I’m in real tight… and I need to get a new sample point
from the other side of their face… so ‘Spacebar’, click and drag,
and I can find it… other side of the face is probably
not that hard, chin… when I go down to the chin,
and there it is. So it’s not particularly hard here… but let’s say I want to go to somewhere,
I’m not too sure yet. Say I want to go up to the forehead… instead of clicking,
dragging and dragging… hold down the ‘H’ key, click and hold down
‘H’ key on your keyboard. Then click and hold down the mouse key,
you can go over here, let go. I can hold the ‘H’ key, move down,
start working on the arm. So it means I’ve always got
my Healing Brush selected… and the H just moved to
the Hand Tool temporarily. It’s like the navigator window
that used to be up here. Another handy trick is… I find I like to kind of
move the object around… especially when I’m working
on say the edges here… you can use this tool here. It’s the Rotate Tool,
or there’s the Hand Tool there. What I do is, on the Healing Brush
just hold down the ‘R’ key… and just drag it around, and decide
I’m going to be working here. I’m just going to kind of
move along this edge. I find them, especially
with my Wacom tablet… my range of movement is a lot better
when I have this thing rotated… to an angle that kind of suits
my kind of wrist movements. ‘Esc’ to get rid of it. If you tap the R key it just moves to it,
you got to go back to the Healing Brush. If you click and hold the R key,
it’s kind of just temporarily doing it. Same with the H key,
same sort of principle. The one last thing I’ll show you
is this Aligned On and Off. There’s times where it’s great on,
and times where it’s not so great. So let’s say that I am… escaping to get back out of here,
let’s do 100%. I’ll show you what it does.
Let’s zoom in. So with it aligned
what’s going to happen is… if I set my point here
and I start, I like this… but I start dragging across,
can you see the little target? And if I let go because
I got close to the edge… and then I come back again
and start drawing again… can you see, it goes back
to where it started. So it’s kind of aligned perfectly
from wherever this is… it doesn’t really matter, can you see,
it keeps following it. It’s exactly like 200 pixels across
and 200 pixels down. Doesn’t matter where you are,
I end up over here. Can you see, it’s grabbing
bits of the chin there. Totally wrecking this, let’s go undo. Whereas let’s say we’ve only got
like one patch of nice skin… the rest of it needs a lot of work. You can set it there, and it
doesn’t matter where you are… I can click over here now,
and can you see… still pulling from that original image,
so it’s not aligned anymore. So if you’ve got one and you’re
kind of building it out… doesn’t have to be skin,
say it’s some brickwork or grass… you’ve just got a nice patch,
you just want to keep going back to that. The only trouble with it is that you’ve
got to have a repetition potentially. All right, so that’s going to
be it for the Healing Brush. Let’s move on next to
the Clone Tool Stamp. Don’t think about skipping that one. The Healing Brush, yes took a lot of
the work from the Clone Tool Stamp… but there are some cool tricks
which I’ll show you… that make it useful to go
into your tool kit. I’ll see you there. Hi there, this video is all
about the Clone Tool Stamp. The Healing Brush is amazing
but there’s just times… especially along there, there’s edges,
like this nose ring here. We just need a little bit
of Clone Tool Stamp help. If you already know how to use it there’s
a couple of little tips in here… that you might not know
about so hang about. Let’s go Clone Tool Stamping. Let’s open up the ‘Clone Tool 1’. So working on this image,
there are parts of it… that are going to be easy to do
with a Healing Brush… but there’s going to be
some tough parts… that are going to need
some Clone Tool Stamp. So these spots here… Spot Healing Brush is going to be
the one that I’m going to use. Just going to work on these. Now when you are working, remember,
undo, make sure you got your own layer. Retouch, so you can kind of… turn it off or adjust that later on. So here’s perfect, and then we get to
this nose ring, say we want to remove it. The trouble with it is,
if I try and paint it out… it’s going to kind of get all
milky and yuck across it. So I’m going to undo, let’s start
with the inside nose here. So the Clone Tool Stamp is… like The Healing Brush we learnt in
the last video, we can set a target… but instead of–
let’s have a quick little look. If I set the target of the eye here
and paint, watch this, when I paint… will finally go now, the Healing Brush
would try and blend it in… whereas the Clone Tool Stamp
does none of that. Basically just a copy and paste,
but in a brush. So where this is helpful is,
say along these edges here… it’s very clear, I don’t want it all milky
and blended like the Healing Brush does. I want to set a target of say,
maybe this nostril. And I want to paint it over here
but you can see the angle’s not right. And this is where, I guess
the little trick… is for the Clone Tool Stamp. Is rotating it around,
so in this clone source… you can go to ‘Window’, ‘Clone Source’. There’s an angle here,
and you can drag this around. You can see, I can drag it
left and right… to try and get it so it lines up. There’s a shortcut for moving it around. If you hold down the ‘Option’ key
on a Mac, and ‘Shift’… or ‘Alt’ key on a PC, and ‘Shift’… and then tap the less than
or greater than key (>) to rotate it… you can see, up in my Clone Tool Stamp
it’s going in like little tiny increments. So if you need to do a big swipe… it’s probably better just
to drag it across here. You can see, I’ve kind of got it here,
I’m just tapping it around. Hold it down even just to
get it to where I want. And now even though I’m pulling
from over here, hopefully… it’s going to retain that edge. Maybe just going to paint in
a bit of this. Same with this edge here, I’m going to… you can see, it remembers the rotations,
that’s not going to work. So you, doesn’t really need
to be rotated across here. I grab this part. That will rotate it. Always get the wrong way. Cool. A bit of that side as well. And the other parts are going
to be just the Spot Healing Brush. It will do a great work
of this in here, mostly. Paint it all out. Awesome. There’s a bit there that I left behind. So it’s a mixture of both, do I use
the Clone Tool Stamp all the time? No, it’s a– once every now and again we’ll do
the same thing over here. I’ll show you one last little trick,
so I’m going to grab you. And I want to paint across this bit… needs to rotate just a bit,
I can use my shortcut… but say it is like– dragging this thing’s a bit weird,
you click, hold, and drag… and if you hold it for long enough
and drag it, you can start to see… what the original is being rotated with. It’s hard to understand unless
you’re using it all the time. So just drag it one way, check it,
drag it the other way… but what you can do is
– I’m going to reset it. – if you do need to go
in big increments… say you see a target for there… and it needs to go over here, what you
can do is to click once in there… put it kind of where you need it to be,
then hold ‘Shift’ and use your up arrow. And you can see, it’s kind of
moving across there. So holding up, it’s moving
in just bigger chunks. Is this faster?
Not the angle that I picked. And it’s not the right bit of the area,
but I guess I just wanted to show you. I reset that, set my target. And it does need to go
around a little bit. So remember, ‘Option Shift’,
I’m using comma or the greater than. If you’re on a PC, it’s ‘Alt Shift’. Going to paint across here, probably
paint out a little bit as well. Another bit. Rotate it around a bit more. Cool so it’s the right angle now. I can kind of paint in here to a part. Same with it over here,
I’m going to use a smaller brush. Down here, but it needs rotating. Grab that bit. Around a bit, turn around,
just to kind of go round that corner. And then… I’m going to zoom out… and probably need a bit of work on
the hand as well where it joins the two. And because it’s on its own layer… turn it on, turn it off,
turn it on, turn it off. A little bit of work there
that I want to go back and do. I hope you learned something new
about the Clone Tool Stamp. Let’s get into the next video. Hi there, welcome to
the Patch Tool video. What does it do? It’s really
good at duplicating people… but that’s not its main use… it’s really good for getting rid
of large objects all in one go. It keeps being used quite
a lot in retouching… for removing things
like bags under eyes… where there’s just a lot
of surface area to change. And my favorite use, shiny Dan,
not so shiny Dan. Shiny, not shiny, shiny. It’s great when you are stressed because
you don’t like getting photographed. And there’s people watching
that you don’t know. Stressed Dan, calm Dan. Stressed Dan, calm Dan. I’m going to stop talking about
myself in the third person… and let’s get into the Patch Tool. From your ‘Exercise Files’,
open up ‘Patch Tool 1’, ‘2’, and ‘3’. I’m going to start with number 1. So the skinny version is Patch Tool,
just removes things. It’s like the Spot Healing Brush
with the Clone Tool stamp… but it has its own purpose. Let’s say I’m using the
Spot Healing Brush… and in another tutorial
in the Essentials course… we just kind of painted people out,
that worked most of the time… but let’s say this one here,
because this person crosses… background here… we’re just leaving Photoshop,
and it’s done a pretty good job. There’s some messing down here. If I undo it and do it again though,
it’s kind of one of those tools where… you’ve just got to cross your fingers. Sometimes it’s great,
and then sometimes really bad. I’m going to go back again. The Patch Tool is hidden underneath
the rest of these Spot Healing brushes. It’s more about– think of
the Patch Tool as intentionality. Like I’m going to draw a box
around the outside of him. I said box, a squiggly line. Click and drag around the outside. The cool thing about it is–
make sure you’re set to ‘Source’. Then just click, hold, and drag… and can you see what I’m doing here,
I’m intentionally saying… I want you to kind of use
this area here, then let go. It does a very similar job but gives it
some kind of boundaries. So I’m going to ‘Deselect’. A little bit work there that I might
go into, with the Spot Healing Brush. But to be honest, if I showed
you this image beforehand… I bet you wouldn’t notice. Sometimes I get a bit too hung up on
doing details that– like, is that– A detail, no, that’s just probably an
original image, I’m going to ignore it. Now the one thing, and what we’ve
done in the previous tutorials… is we all went… “Okay, new layer, make sure it’s
selecting all the way up,” doesn’t work. You actually have to be
on your original layer… so you should do it back up first… which I haven’t done. The quick way to do it is either
click and drag this down… or just hold ‘Command J’… or ‘Ctrl J’ on a PC… and it just, whatever layer
you’ve got selected… or groups of layers,
that makes a duplicate. I’ve already wrecked the bottom layer
so let’s just carry on. The other thing to know about
the Patch Tool is, this thing here… you mean to drag it around,
and I’m not very good with it. This is a rectangle, wish I could
just use my Rectangle Tool… and then switch to the Patch Tool. And pull from there, please. So you can use the Lasso Tool,
or the Quick Selection Tool. Whatever you want, you don’t have to use
this kind of built in Selection Tool. The other thing to do
with the Patch Tool… there’s a few things we’re
going to learn about it. The other thing to know about it though
is, if I go to ‘File’, ‘Revert’– ‘File’, ‘Revert’ is just a handy one,
nothing to do with the Patch Tool. Just get you back to when the
document was last saved… instead of going undo for a million times. It’s got a kind of another use,
so I’ve got my Patch Tool here… I’m going to do the same
thing, squiggly line. How decent! That’s not bad. Most of the time you want
to use it to Source… this one here you can use Destination. So we’re doing a different
thing now, we’re saying… instead of you kind of removing, I’m going
to drag them along here, and watch this. It’s a new guy, I use that never. But it’s there, we’re getting advanced. You might have a really good use for it. Let’s go to ‘Patch Tool 2’. So in terms of retouching,
often it’s the Spot Healing brush… a little bit Clone Tool stamp. With the Patch Tool, there’s kind of
two places it gets used. If there’s anything that’s like
a large part that needs to get updated. So we’re actually going to
‘Command J’ this one, this time. I’m even going to call it ‘Retouch’.. And I grab my ‘Lasso Tool’… and I’m just going to grab
everything kind of underneath here. And instead of Destination,
make sure it’s on ‘Source’. Click, hold, and drag it to
a nice bit of skin, let go. I’m going to ‘Deselect’, you can see there,
it’s just nice for doing larger chunks. If you’ve ever watched any
YouTube channel on Patch Tool… basically this is the one
thing it gets used for. To add a little bit of
extra awesomeness to it… I’m going to undo before I’ve done it. So I’m back here, I’ve done my selection. What I’m going to do is… there’s a little known
feature in Photoshop. It’s not just the Patch Tool,
watch this, I do this… and it can get very fake very quickly… because we do have
wrinkles under her eyes. So what we can do is, first of all– so what I want to show
you is under ‘Edit’… and this one here,
says ‘Fade Patch Selection’. Now this will say, fade whatever
the last thing you did. That’s really handy, it’s like an undo
but it’s got an opacity slider. So that is– I’ve done nothing, and I
can kind of find just a happy medium… of like, instead of it being
perfect just a little over here. A nice thing about that is,
if I click ‘OK’, ‘Deselect’… like a little bit of
the background through. I could do lowering
the opacity of the layer… if you’re like, “Why don’t
you just do that?”… but that lets me do it
per actual selection. So some of them, you don’t want
it to be completely unfaded… some of them, you want to
be faded more than others. Going to grab this. We’re ignoring
the chain we saw in the background. And this one here, I want to fade… but I want it to be not
as much as the first one. The other trick here is ‘Command H’. And depending, if you’re
using a Mac or PC… if you’re using a PC it will just work… it will remove the Marching Ants,
just temporarily. On my Mac here, it’s a
shortcut that gets used… both for Photoshop and for
the Mac operating system. And Photoshop just says… “Hey, do you mean, like hiding
Photoshop or hide the extras? We want to hide the extras. The selection is still there. So ‘Command H’ toggles it back on and off,
and it just means when I do the Fade… because it’s a little
hard to see the edges… so if I go to ‘Fade’ now
and I drag it back… without that selection there,
just becomes a little bit handier. You find a happy medium, you can see you
can kind of individually fade parts. You might find that useful. So it’s great for large patches,
hence the Patch Tool. What I find it super useful for is… here’s me, shiny me… so the Patch Tool is really good at–
‘Command J’… grab the ‘Patch Tool’, I’m going
to draw this around here. Shiny bits of skin, it’s really good for. Grab all of that. Get a bit more specific, grab this part. Goodbye, shiny Dan.
Let’s remove the forehead here. You, and a non shiny bit of forehead. Off. Let’s turn that on and off. If you try and do it individually with the
Spot Healing Brush, you can get lucky… for this, remember,
intentionality, the Patch Tool. We’ll say, “Go here, exactly.” All right, Patch Tool, that is you done. Let’s get into the next video. Hey, it’s me again, I just
want to quickly jump in. If you’re watching,
but not following along… you can download the exercise files
I’m using in this course free of charge. They’re down in the link
in the description. Also note that,
quickly check this stuff out. This is some of the content we create… in the Photoshop Essentials
and the Photoshop Advanced course. It’s a mixture of creating
beautiful Photoshop work… as well as all the professional
work flow tricks and techniques. It’s my paid course. There is a link in the description
for that paid course. If you like my teaching style, and you like
what you see here, check it out. But for now let’s continue on
with the free stuff here. You don’t want to hear me
talking anymore, let’s get going. Hi, it is class project time. In your 10 Retouching folder there’s
another folder called Class project. Inside there is Retouch 1;
Thank you, Nino Ubazle. In your Class projects, these are the three
tools I want you to use to practice. So the Healing Brush,
but not the Spot Healing Brush. Use the manual one, be intentional. Get used to that, setting targets
if you haven’t done that before. Making sure it’s on our own layer… so that the retouching goes
through to the bottom layer. You’re going to have to use the Clone
Tool Stamp, especially around… let’s have a look. This part here, especially where
the shirt kind of crosses over here… you’re going to have to rotate it around
a little bit as well to match it. Probably along the back here as well. That’s going to be probably
the toughest part. Other than that toughest part,
going to use the Patch Tool… and that’s going to be good
for these larger chunks… of the chain on the shirt here. So selections, and kind
of move it in across. So the end result is, I’ll remove
some of the spots on his face. The chain gone, and that’s it. I want to keep him quite
natural, that is your job. I don’t mind if you go a little
overboard doing your practicing… or if you keep it super subtle… but I’d love to see what you do. So the last step here is… share with, either via the
assignments here or the comments… or hit me up on social media. Instagram, is bringyourownlaptop,
just tag me in, I’ll see it. I always comment, it’s cool
to see what people do. And that is us, let’s get
into the next video. Hi there, this video is all about
using Liquify to retouch. Specifically using Photoshop’s
kind of facial recognition. Just when you thought this man couldn’t
get any more handsome, 5-head, forehead. More manly chin? Just drag it out. Everyone looks cuter with bigger eyes.
Ah, look at me. We’re going to go from smirk to… ah, approachable smiley man,
lips as well, definitely bigger lips. It is that easy, let’s look
how to do it in Photoshop. To get started let’s go to ’10 Retouching’,
open up ‘Liquify – Face Aware 1’ and ‘2’. We’re going to start with
this handsome devil. We’re going to use ‘Filter’,
and we’re going to use ‘Liquify’… but we’re going to be professionals. So we are going to right click background. And say, you are a Smart Object first,
so we can turn it on and off. Good to compare our adjustments… and later on we just tear it off
if we go too far. We are going to go so far in this one. Because it’s me, I’m allowed to
distort my face as much as I like. You are too, I give you full permission. Now if you open it up,
it sometimes jumps to Face Detect. Anyway, if it doesn’t,
go from our Forward Warp… down to this little guy here, ‘Face Tool’. And somehow magically, every time
I open an image with the face in it… it seems to just know where
the eyes are, the nose are. Like face recognition is pretty amazing… where it’s just built into Photoshop.
So cool. So you’ve got two ways of
distorting faces, or adjusting. You can do it generically over here. There’s this little drop down here,
it says Face Aware Liquify… or you can do it actually
on the actual artwork. Let’s do the generic stuff,
and you can– let’s do eyes first. Let’s make sure that– we don’t have to,
but let’s link them together… so that when we adjust one side
they both come along. It could be really handy when there’s
just this like weird perspective. You know that the person’s eyes
are the same size… but just the angle of the face. The bend and the lens just makes it
look a bit weird, so you could… come in here, break the link… and just move one, bigger than the other,
make the other one smaller. Looking good, Dan. Now you can just work your
way through these, right? So I’m just going to link all of these
because it’s just– it’s experimenting. You can stretch the height of
the eyes, and the width… separately from just the overall size. You can tilt them. Let’s say I want
to tilt this guy down a little bit… just need to kind of rotate him around. Can you see? Wiggle, wiggle. Zoom in a bit more. Distance between the eyes… if you wish your eyes are just that little
bit further apart or a little bit closer… there’s a slider for that. So nose, mouth, they’re all adjustable… but what you can do is… with this tool selected you can
actually do it on the artwork. You can decide all of these little dots
have a different kind of adjustment. So you’re looking for the little
white dots, so nose height, nose width. One of my favorites, the lips,
I can just– here you go, Dan. Look at that. Didn’t quite
grab my bottom lip. Looks like I’ve been punched. Really depends on how much
of the lip you can see. So if you can’t do it here you might go
in and actually go to the Bloat Tool. I’m going to pick a Brush size. And I’m going to just kind
of express my lips manually. There we go. Now if we go back to face recognition… it’s probably going to pick
up that lip a lot better. These ones are cool,
you can give yourself a smile. It’s weird doing it to yourself. I’m smiling, he’s smiling. This photo, I was going for like cool,
serious Photoshop trainer. Now, fun approachable Photoshop trainer. It’s pretty amazing how it locks
in all the different muscles. For me, what I really want
is I want a nice big chin. Here you go. Look at it, manly. Now I can just keep going and adjusting,
you get the idea, right? So face recognition, pretty amazing,
you can adjust them globally over here… or just on the art, just work a way
around and decide what you want to do. The other one to mention is, and probably
for me the most, it’s my forehead. I’ve been told I have a 5-head,
mainly by my little brother. So I can reduce that a little bit.
I need to Photoshop, and maybe a fringe. My fringe, about halfway down
the back of my head now. Anyway if you go too far
you can click ‘Reset’. Let’s click ‘OK’. But because we did it on its own Smart
Folder we can turn it on and off. The only other thing really
to share with you… is that you can do it for groups of photos,
which is pretty amazing. When I say groups of photos I
mean groups of people in photos. Somehow facial recognition
works for lots of people. Same tool; I should have made
it a Smart Object first… but what you can do, up over here,
you can select the different faces… you can see, face– it’s just
left to right, one, two, three, four. So I can pick the fifth person and say,
“You my friend, need big eyes.” “You my friend, need to smile more.” There we go, everybody. He’s smiling, he’s kind of smiling,
she’s not smiling enough, come on. Let’s go. One thing I’ll do before we go is that… say, when I’m retouching,
often, kind of main trick is… to make the eyes a little bigger. You don’t want to go too far, so we
went quite far in this tutorial… we just yank them up because it’s funny… but when you’re doing serious retouching
it’s all about the subtleties. People look happier, healthier, prettier
when their eyes are just bigger. So I’m going to lock these two together,
we’re just going to make this guy’s eyes. So you end up doing like these
tiny subtle adjustments. What you’re looking for is this. Remember Puss and Boots? People look cuter when
their eyes are bigger… especially when their pupils are bigger. What we used to do is just
grab the ‘Bloat Tool’. Couple of clicks, gone a bit far,
but you get the idea. Did a lot of work for a swimwear company they did
a lot of men’s bathing suits. And what the Art Director wanted was… he wanted guys, but he want
them quite feminine… so we ended up messing in
with the cheekbones… kind of messing with the face to kind of
give them a bit more feminine features. Rather than the one we did with me… where we give ourselves a
nice big thick jawline. If you ever use Liquify to do
this before it was really hard. To do it naturally,
now we’ve just got sliders. I can’t believe how good it is. And the trick for us as Photoshop users… is how subtle we need to be, especially
if you’re doing work for say models… kind of portrait pictures,
you don’t want… your kind of finished product
not to look like the person. Especially messing with the eyes,
distance of eyes, those types of things. You can end up changing a person that just
doesn’t look like that person anymore… it’s only subtle little adjustments. You don’t want them walking
into an interview… and people not recognizing them. “Hey, this is not in your head shots.” But lowering your 5-head down to
a forehead, I’m okay with that. Let’s go here, he’s got a head on, so it
still kind of works, it’s pretty amazing. We’re going to click ‘OK’, undo, undo. Much more handsome this man is. All right my friends, that is
Liquify using facial recognition. Let’s get into the next video where
I set a pretty exciting class project. Hi there, I want to put
this design on this wall. We’re going to use an underutilized
tool in Photoshop… called Vanishing Point; look at that. Moves around the walls,
Perspective is all pretty awesome. It’s a little bit jumpy, but you can’t
beat it for Perspective Matching. Look at that. Let’s learn how to do that
now in Photoshop. To get started we’re going
to open up two files… from your ’10 Retouching’ folder. There’s ‘Vanishing Point 1’ and ‘2’. The first one is a JPEG, and it’s going
to open without any hassle. Because the second one is an AI file,
Adobe Illustrator… it’s going to come up with this
little Import PDF box. Now in this case, mine’s defaulting
to 1164, I think that’s the original size. This is something you might have to do it
just depending on the image you’re using. So try it first, whatever size it comes. Then you might have to resize it… because if it’s too big or too small,
it’s not going to look right. Don’t worry about it for now,
I’ve made sure it works perfect. I’m going to click ‘OK’. It’s just a graphic that we– I think we did this in the
Illustrator Advanced course. If you’re keen on Illustrator
and 3D blobby text… you can go check out that course. So for this to work we need to
be on ‘Vanishing Point 2’. Let’s go to ‘Select All’,
then just go to ‘Edit’, ‘Copy’. We just got it on our clipboard,
we don’t need this anymore. Back to ‘Vanishing Point 1’. Let’s go to ‘Filter’, and let’s
go to ‘Vanishing Point’. So Vanishing Point allows
us to create planes. So I’m going to draw out what
I think is a square in here. Because Photoshop doesn’t know
we have to tell it, we have to say… I’m going to start there and kind of
come down to about there. Maybe pick just kind of fuller lines
of the bricks. And then come back.
How far back? You can see there, I’m trying
to line that, line up… I’m getting way back here, working for me. Click once, and then coming up… can you see I’m trying to
line up that blue line… following the ridge of the bricks,
which is surprisingly hard. I want that last one to be straight up and down. I think I’m there. Now it’s a little hard to see because
it’s blue, hopefully you can see it. The way to test whether
it works or not… or where the Perspective is okay… it’s one of these white squares
in the middle. So here’s the first one,
there’s one at the end… and somewhere in the middle. If I grab it and drag it down, you can see,
it’s kind of following the brickwork. If yours is wrong, say you
get to the top here… I’m dragging the top middle one now… if I get to the top here,
go slow, this program here… it’s like a little mini program,
like Liquify… except this one crashes all the time. In my experience. It’s this amazing tool that’s been in
there forever, but nobody uses it. So I don’t think it gets
much developer love, anyway. Say that it doesn’t quite
line up like mine does… you can grab these
corners and adjust them. What will end up happening is
eventually it will say… you see, they went red. If it goes red, it says, there is no
chance that is a square wall. That’s Photoshop going, not even close,
like that’s physically impossible. There’s a twisted wall. If it goes yellow, goes, you’re kind of
close to a wall… whereas it goes blue, it says,
that’s a feasible flat shape… that I can work with. Blue’s good. Once you’ve got it
you can either click ‘OK’… and go off and copy that graphic. We’ve already done that, right?
We went ‘Edit’, ‘Select All’, ‘Copy’. All we need to do now is go to ‘Paste’. Weirdly we can’t use the long version,
or in this kind of like vanishing world… so it’s going to use your shortcut. On my Mac it’s ‘Command V’,
on a PC it’s ‘Ctrl V’. Here you get this one with the
dots around the outside… just click it, hold it, and drag it. And hopefully, freaking out, drag it again. And it started working.
I’ll leave that in there in the edit… because that’s just the way
Vanishing Point works. It’s a bit jumpy and clunky. It’s really cool though.
Awesome, huh? So I can slide this down, and I know… it’s going to kind of
match the Perspective. Very cool. When you get into the position… you might want to resize that. I made sure that our files we’re working
with in this class work fine with it. You might find this image way too big. You can get around it. It’s probably easier going back into
the other file and resizing it… and before you copy it… but if you want to, you can,
over here there’s a Transform option. See this tool here, it grabs the corners… I can hold ‘Shift’, and I can shrink
it down and kind of get it to… the size that I want. Don’t be afraid to zoom out. Sometimes the transforms end
up being way off screen. So zoom right out, you might just see
your transform handle way out here. When you are happy with it,
let’s click ‘OK’. And yes, it’s kind of fused in there. So we’ve done it, the quick,
and dirty, and bad way. Why? Because it’s kind of
fused to the background. So I’m going to undo, and I’m going
to show you some cool tricks. Let’s go a little bit further,
first, let’s make a new layer. Make sure that layer is selected,
there’s nothing on it. Go back into ‘Filter’, ‘Vanishing Point’. Let’s drag out our wall again. My first wall, not a success,
you can see, it’s, “No way, Jose.” I’m going to drag it down… to the floor, it’s getting close. This one here should give us
a good indication. You can see, it’s not quite
lining up the floor. Awesome. Drag the top one up. Not quite perfect either. So once you have juggled it around… you can add another plane. To do that, you hold down ‘Command’ key
on a Mac, or the ‘Ctrl’ key on a PC… and you’re looking for any of
these middle options, not the corners. So there’s a middle,
we’ll do the floor next. So hold down the ‘Command’ key,
click, hold, and drag out. You’ll see, hey, cool, huh?
The floor as well. We’ll do this back kind of wall as well,
so I’m going to click on this. You got to kind of click on them to get
them to activate, so just click on them. I’m using this tool up here,
it defaults to that tool. So I want this back plane,
see this little white handle here? Hold on that ‘Command’ key again,
or ‘Ctrl’ key on a PC, and drag it out. And you can see, this one here
just didn’t quite work. So it’s just not matching the angle. And it’s not that this isn’t
a square wall, it might not be… but it probably is, it’s probably
just the angle of the lens. We’re just really close, and the lens
is doing some weird stuff to it. So we can swing these little planes. What I remember, these are
obviously good for doing walls… but really good for like book covers. Say you’re doing an e-book, you can
do the front cover and the spine. And you can dump your mockup on to it
and it kind of folds itself around… but let’s swing this guy here. So it’s a the same thing, you
grab the middle handle… and just hold down the other key,
which is, on a Mac, ‘Option’…. on a PC it is ‘Alt’, and just click,
hold, and drag it, and go slow. Go very, very slow,
you can see it’s a bit weird. Go super slow, if you find like it’s
moving all over the place, yes, it does. So I’m swinging it, you can see left
and right, kind of swings it like a door. Now I’m trying to get my wall
to line up the bricks. So it’s actually going to have
to swing around quite a bit. It’s really finicky. I’m a pro, I’ve done this loads… but I’m still finding it quite tough here So I’ve swung it round close to my bricks,
it’s being pretty good. So holding nothing down now, just grab
that edge, that stretches it out. And it goes off into the distance. If it needs a bit more swinging… hold down the ‘Option’ key
on a Mac, ‘Alt’ key on a PC. And go mad. You can do this one. This is probably just this finicky. Little trick is, just click in there… and use your up and down arrows
to get it close. I’m happy with that. So now when we paste… just like before, I’ve copied it already
before we come in here… you can go back out, you can click ‘OK’,
go and copy it, ‘Select All’, ‘Copy’. Resize it if it needs to be,
come back in here… ‘Select’, ‘Filter’, ‘Vanishing Point’,
and our blue lines are back. Go ‘Paste’. Then you can click, hold, and drag. The cool thing about it now is,
once it stops freaking out… here we go. It will go, hopefully around the wall. Awesome, huh? Don’t worry about the pixelization,
it will go. Once we hit ‘Return’, it’s just
kind of trying to do its thing. Super cool. Love it. So I am going to go to here. I’m going to put this
along and transform it. I’m not going to transform it,
I’m happy with it, click ‘OK’. The big trick there was… because we used a separate layer,
you can see now it’s on its own layer. And that is the Vanishing Point. Before we go, I’m going to show you… how I would, in this case mock it up
a little bit better. Nothing to do with Vanishing Point
anymore, just tips and tricks. So what I’d first do is, with this layer
selected I’d work on my Blending Modes. Who remembers the shortcut
for Blending Modes? Yep, it’s… make sure you’re in ‘Move Tool’,
otherwise it doesn’t work. Hold down ‘Shift’, tap the ‘+’ key
on your keyboard. So I’d work my way through here… and just see if it is anything that
worked for me, like I’ll be like… I’ve already practiced,
and I know there’s nothing. So what I did was I left it at Normal… and what you can do is– I want
to load this as a selection. There’s a trick, I can hold ‘Command’
and click the ‘Thumbnail’. It just loads everything on
that layer as a selection. If you’re on a PC, it’s ‘Ctrl’,
and just click the ‘Thumbnail’. I’m going to turn off that layer… because what I want to do is,
on my Background Layer… I want to copy and paste… because what I did was is,
I just want a chunk of this. And what I wanted is all
this pointing in here. The goop that goes between the bricks. I don’t know if that’s called pointing… but the cement that goes
between them, they’re white. I want them to be actually black. So I just inverted it.
How do you invert stuff? It’s under here, I know it’s ‘Ctrl I’,
‘Adjustments’, ‘Invert’, there it is there. So I’ve inverted it just
so that that’s black. I don’t need it to be blue, so I’m
going to hit ‘Command-Shift-U’… which makes it black and white,
that’s probably in here too. ‘Command-Shift-U’, there it is there,
‘Desaturate’. Why? I’m just looking for shadows, right?
I just want the lights and the darkness… to apply to this thing here… which is just way too strong,
like it’s crystal clear, it’s perfect. I don’t want that,
so what I’m going to do… is turn them all back on, I’m going
to have this guy above him… and then I’m going to find a Blending
Mode for this to blend into the color… which has been on top of the wall. And it’s not black. Looks kind of cool, ‘Multiply’. Depends on what you were looking for. If you were presenting this
to a client as a mockup… you might just leave it full color,
like look how awesome it’s going to be… but if you’re looking for faking it,
that one’s kind of cool, Hard Light. Linear Light. Luminosity, I think I’m happy
with the luminosity. In Luminosity, I’m going to lower
the opacity of luminosity. Just so that it’s there without
destroying it too much. And that’s the way I went about it. What you might do as well is that… you’ll find that this thing here
has a good bit of grain in it… whereas my version here doesn’t,
it’s like perfect because it’s vector. So with that layer selected,
we might add a bit of fake noise. Make sure it is a Smart Object
so we can turn it off later on. ‘Filter’, ‘Noise’, ‘Add Noise’. I’m just going to– where is he? Decide how much of this I want. Lots of noise, a bit of noise. I probably want– I’m just guessing. But adding a bit of noise
to try and match… maybe the ISO or the kind of–
bit of the background can help. Another thing that can help is adding
a corresponding noise to the background. It’s kind of destroying the background
just to blend it in… but that’s what I’m looking for. I’m looking for it to look realistic. So ‘Smart Object’, I’m going to select it. I’m going to go back into my Noise,
I’m going to use this one here… because it should apply the exact same
noise that I did last time. Click ‘OK’. And it’s just so that they
kind of match a bit more. Destroying the background, I know… but I think there’s more
consistency across that. And that is mocking up our design… using the hidden treasure,
that is Vanishing Point. Let’s get into the next video. Hi there, this video is all
about using Vanishing Point… to do some tricky stuff where we need
to remove these lights along the top… but there’s some weird
perspective going on. We need to repeat this part down at
this weird perspective, and then… Vanishing Point comes along,
helps us out… gets us 80% of the way there anyway. There’s a little bit of fixing up to do… but let’s explore how to
use Vanishing Point… to clone and heal at weird perspectives. To get started, in ’10 Retouching’ folder,
grab ‘Vanishing Point 3’. Let’s say our problem is here,
we want to remove these lights. For what reason? I didn’t know, but it’s
a really good use of Vanishing Point. Let’s just say the architect,
the interior designer… didn’t like them anymore… or let’s say it’s graffiti or rubbish… or something other than lights, we just
need to get rid of them, even a person. So like we did in the last one,
we need to set up… it’s probably best to work
on its own new layer. Then we go to ‘Filter’,
and go to ‘Vanishing Point’. And we need to tell it the plane, so in
this case I want to kind of click here. Come down here. Across here. It’s pretty easy because there’s… a reasonable kind of
Vanishing Point lines to follow. It’s harder when it’s
just like natural ground. Works so much good with,
like structural architecture type stuff. Click once, and it’s gone red… because it says, there’s no chance,
it’s a flat object. So what I didn’t do is I didn’t– I just kind of used the top
up here and guessed it. So what I’m going to do is
drag it down, these corners. So that I use what I think is a… it’s not perpendicular, I want–
the word is at a right angle, that will do. So I know that kind of
crosses across there. Once you get it and you’ve used
something in the object… to get your right angle maybe… is I can drag it out by
grabbing the middle one. So now that is– it says it’s blue… it says, I believe you, I trust you,
and that is what you say it is. Now what you could do is… I could do this other plane here. I can hold down ‘Command’ key and drag
that middle dot to make a new wall… but what I find is it’s easy
to work on one plane… and then the other plane afterwards. Otherwise your Clone Tool stamping
ends up running down the walls… and it looks a bit weird. The other thing to know is… say we spend some time giving
this Vanishing Point plane to look nice… I find I just click ‘OK’,
then go back into it… then it’s committed to the history… because Vanishing Point has
a tendency of crashing. Just been my experience. So at least when it crashes now
my plane is still here. It’s been half an hour in here,
retouching, and it crashes. I have to go back and set up
my plane, and ah, painful. So what we’re going to do is… we’re going to use this here,
it’s called the Stamp Tool. Basically it’s a mixture
of the Clone Tool Stamp. That’s not the word… it’s called the Clone Stamp Tool
or the Healing Brush Tool. They’re one and the same. Basically you can turn
Healing on and off here. So with it off, it’s just
the Clone Tool Stamp… with it on it starts blending colors. In this case I want Healing to be ‘on’. And in terms of the alignment,
depending on what you want to do… I want it off in this instance,
I’ll show you why. So in terms of brushes
I’m going to have mine at about… about 150, hardness at 50, copy that,
for yours in this exercise. And the first thing we need
to do is set a target. So setting a target is
like the other tools. You hold down the ‘Option’ key
on a Mac, the ‘Alt’ key on a PC. You can give it a click somewhere
where you want to get started. So I’m going to say, you there. What you’ll see is, see the green target?
That’s where it’s stealing from. The cool thing about is, watch this,
when I just kind of move my mouse down… I’m not doing anything,
just kind of move my mouse… you can see, the Perspective changes,
and that’s what makes this thing perfect. What makes this thing grateful,
like stealing content from here… and pasting it down here,
because if you spend time and line it up… this is going to be always
everyone’s biggest problem… is lining this up, so I’m going
to get this to here, line it up. Moving my mouse around, click and drag. Cool, huh? It seems to blend in nicely. This brings this to this, aligned. With it on, watch this,
if I click and drag… and then let go,
and click and drag again… you see, it’s kind of
starting where I left it. So the green cross keeps starting
back there, and that might be fine… but there’s lots of occasions
where you turn that off. I’m going to undo a few times. Because what I want to do is,
I’m going to say… I want you to steal because this
is my only real good chunk… that doesn’t have any lights in it,
everything else is a bit weird. So what I want to do is
click, hold, and drag. And when I let go… it goes back, see the green cross,
goes back to there. So I’m going to go back to that originally
sampled layer bit, I line it up again. This lining up is going to
always be the downfall of this. Now, I’m not going left
and right, I should. Left and right, don’t go up
because it’s getting the edge. Can you see that, I guess that’s
an important point, if I go up… you can see, my green cross
eventually gets close to the edge… and I end up with this kind of weird line
that appears on the top there. So I’m just going to make sure I work down,
and I might use a slightly bigger brush. So I’m going to start there. Actually, no, I’m going to start again
and paint over the top. And just go wiggle back and forth
a little bit, I’m getting both aligned. Here you go, let go. It’s not so you let go before
it starts blending things in. Don’t go up, I just told you that, Dan. So I’m going to grab this bit here
just to fix this bit in here, a bit of… Blending Mode awesomeness.
Don’t go up. Just go down. I can do this. See those bits over here? I set the target over here,
try and get the line to line up. You can start to see I’ve got
a bit of duplication going on. I guess it’s just one of the,
not the pros or cons… just, you’re going to be a bit
more careful than I’m being. I’m going to try and fix it up
by going over the top of it… trying to get the spacing right. So you paint down, about there. I’m going to set up another one about here. And one more down here. I’m going to try and get this
last little bit here. Get everything to line up. Cool. Same with these guys, I’m going to
set a target up here, try and line it up. And backs it out.
Keep an eye on both your cursor… you can see the Perspective line
hasn’t quite perfectly got it here. So I might just use a smaller brush,
I’m not kind of destroying this too much. It’s fiddly. I’m not going to lie to you. I picked a really fiddly example. Wish I just picked a brick wall
like everyone else does. Architectural lines, a lot tougher. People are going to notice. Smaller brush. Pretty good. These guys here, I can’t really get
rid of those lines in Vanishing Point… because there was no, like there was
none of these that didn’t have one. So I’m going to click ‘OK’,
because it’s on its own layer… I’m going to kind of turn
this on and off and see. Is it brilliant?
Yes, that’s pretty good. Is it photo realistic?
Probably not. But what I’m going to do is,
I am going to… use say something like the
Spot Healing Brush to tidy this up. Spot Healing Brush,
maybe the Patch Tool. The only problem with the Patch Tool… is that this is on its own layer,
which is quite cool… but the Patch Tool doesn’t work
when there are two separate layers. So I select both of these,
and hit ‘Command E’… ‘Ctrl E’ to merge them together… or go to ‘Layer’, ‘Merge Layers’. And now these guys need a bit of work. So I use my Lasso Tool to grab this. Go to my Patch Tool,
find somewhere that I like. Just kind of work my way through
fixing these guys up. It’s not perfect, it’s way better than
trying to do it with ‘Edit’, ‘Transform’. What you can do now is go
back into Vanishing Point… and work out this last plane. And see if you can duplicate this
across a few times. Now I’ll do that. Last thing we should do is
this last plane here… there’s a weird light hanging across it. So we’re going to go to, own layer,
go to Vanishing Point. I’m going to hold the ‘Command’
key down and grab this plane. I’m going to click on this plane
and hit ‘Delete’… actually ‘Back space’ to get rid of it. It’s got rid of the whole thing,
it’s okay, put you in. Doesn’t like it, sees yellow.
Sorry, buddy. That’s not a wall, you can
see why, that’s not great. Cool. Looks better. Awesome. I’m going to grab
my ‘Clone Tool Stamp’. I probably go okay,
then come back in, let’s do it. It fills the Vanishing Point
just in case it dies. And I’m going to try and replicate
this over and over again over here. I have to make it just
a tiny bit smaller… because I don’t want to bring in
the lines from above. ‘Clone Tool Stamp’, I want you. Trying to bring it down a little bit
so it’s not grabbing the edge. A bit bigger. I might just tidy it up a
little bit further across. You, I’m going to try and
paint you into here. And with the Healing Brush on, it’s going
to try and blend that white that was there. So I’m going to turn it off. I just want the good old
Clone Tool Stamp… because the colors are
blending pretty good. I grab this bit, set a target. A bit that way, bit that way. Grip the middle bit. Here’s some updates. Now that I’ve got all
these colors in here… I might go and grab ‘Healing Brush’ on
to get it to blend in. Now I can see bits of white
kind of poking through. So it’s probably going to blend it. See it’s kind of yanking
bits of the lights out. So what I’m going to do is… I’m going to grab my ‘Selection Tool’,
and just make sure that this isn’t… just a little bit lower. Now using my Clone Tool Stamp,
I’m going to say, you. I’m going to try and make that bit nicer. This bit here as well. Beautiful. Let’s click ‘OK’. It’s on its own layer,
and we have fixed the roof. You can see how the Vanishing Point
got us 80% there, 90% there. Some touch-ups with the Patch Tool
or the Spot Healing Brush. So that is Vanishing Point. It has some quirks, add it to your toolkit
of Photoshop awesomeness… but as we saw here,
needed a little bit of extra love. Maybe the Spot Healing Brush,
the Patch Tool. But it can be super helpful for getting
that kind of big stuff locked in. All right, on to the next video. Hey there, it’s class project time. In your 10 Retouching folder,
under Class Project… there’s these two,
Vanishing Point A and B. I want you to take this whale we made
in our Illustrator class… and put it on this building. I want you to mock it up… like we did in the first of
the two Vanishing Point videos… where we mocked up the kind of
graffiti thing on the wall. I want you to wrap it around the building. It can be small on this building… it could be wrapped
around both buildings… maybe down the side. It’s up to you, but I want it
to feel like it was there. What I’d also like you to do is… I want you to remove
the antennae along the top… and move these lights here off the front. And when you’re finished I’d like you
to share it with me, see how you win. So two images,
put the whale on the building… remove the lights and the antennae. Not sure why I’m saying antennae, antenna. You know what I mean, the
satellite things of the roof. All right, on to the next video. Once you’ve done your homework,
you stay here. I’ll be back when you’re finished. Hi there, this video is all about how to
make really quick selections for skin. So in this case we just warmed
up her skin a little bit… and this one here, we removed a bit
of the red cast from her face. It’s all about how to get this really quick
skin selection using Adobe Photoshop. First thing, is in ’10 Retouching’,
open up ‘Skin Tone 1’ and ‘2’. So Skin Tone 1, we’re just going to
select and just warm up the skin… and Skin Tone 2, we’re going to
remove just a little bit of red cast. We’re going back to a tool
we’ve used before. I kept it in the retouching section. It’s hard to know where to
split these things up… but I figured if you’re coming back
to this, retouching is a good place for it. So what we want to do is
select all the skin tones. And under ‘Select’, ‘Color Range’… we’ve kind of ignored it earlier on,
there’s an option that says Skin Tones. That works pretty good, there’s an option
that says Detect Faces… and I find that can be good,
and can be bad. I find in this case,
it’s not working as well. I want some of this kind of
mid tones here in the skin. Play around with the fuzziness, high, low. I don’t want to get it so that
it’s getting a lot of the skin… but not too much at the background. So this thing here, think of
it less as detecting faces… and think option 1, option 2. Option 2 is fine for me now. If yours isn’t doing the same as mine
you can select to ‘Gray Scale’ down here. And let’s click ‘OK’. With that selection I can
go to ‘Adjustments’… and let’s say I want to warm it up,
but I find the most handy… it’s using Color Balance, there’s this
little scales here, this balance one. You can play around with
all three of these. Probably mid tones is going to
give us our most adjustment. I’m just going to warm up so
I go from blue to yellow. From cyan, just a little bit red. Turn the Eyeball ‘on’ and ‘off’
just to warm up the skin. Now what you’ll also notice is that
it grabbed a lot of the background. A nice easy way to fix that is
to paint it out on the mask… but we’re going to use our trick,
we hold down the ‘Option’ key on a Mac… or the ‘Alt’ key on a PC
and just click on the mask. Goes fully black and white,
then when we’re using our Brush Tool… black is my foreground color,
mega size, hardness, pick that. Because what I want to do is
I want to leave the skin tones… but I don’t want to
mess around with the… kind of warm colors that are in
her clothes, that are in the brickwork. Make sure it’s not set to Overlay,
set to ‘Normal’. Overlay can be handy,
we looked at it earlier on… but in this case I just want to kind of,
like belt out this real quick. Let’s zoom off to the side even. At the moment I’m just
removing from the mask… so that it’s only working on this skin. Now when we turn it back on,
the same thing… hold down the ‘Option’ key on a Mac,
‘Alt’ key on a PC. Now it should only be affecting the skin. Did she have yellow skin?
A little bit too much. In this tutorial, I guess I’m trying to–
we’ll go a little bit too far. So I’m going to click on it again,
lower this down a bit. You may even turn down the opacity
of this whole layer. So ‘Opacity’, slide it down
just to warm it up. It was a bit gray before,
I’m happy with that. Let’s look at another way of
doing it, so Skin Tone 2. This happens a lot when you’re shooting
on something like a cell phone… where you get some kind
of reds in the skin. I’ll show you a little trick for this,
so we start the same way. We go to ‘Select’, we go to ‘Color Range’,
we pick ‘Skin Tones’. Detect Faces, in this case
works really good. Fuzziness… maybe where it was. Click ‘OK’, so I’ve got a selection. Now it’s up to you, whether you’re
a curves or a levels person. I’m more of a levels man myself. What we’re going to do is instead of
trying to adjust the whole thing… we work on just the red channel. There’s information on all
three of these channels. You can see, green and blue are
kind of in the middle here… but red, it kind of lumps to the side
so what we can do is kind of shift it. We can shift the mid tones. And maybe even some of the darker ones. Just to remove some of the red. On, off. It’s pulling some of the color
out of it here. So I’m going to use my ‘Option’
or ‘Alt’ key… and just paint out the bits
that I don’t need. There’s an easy way to select skin… and a few little extra tricks
to work on your mask. You can move on now while
I spend a while… just clicking. Nice and big, paintbrush, remember
that shortcut, still can’t remember. On a Mac, ‘Ctrl Option’ key,
drag left and right. If you’re on a PC,
hold down the ‘Ctrl’ key… and click and drag the right mouse button. The weird one, the right click. Click, hold, and drag it left and right,
up and down is the hardness. Option, click it again, so just the skin. Just working on the red channel. And in this case I remove too
much from the hand as well. I close it down here,
it’s a bit of red in it… so what I’m going to do
is paint the other way. So a smaller paintbrush. I’m going to hit ‘X’ my keyboard
to bring white to the front. I’m going to paint that out. Again, when you get
into the corners again. I do that, and then toggle ‘X’
to go back to the black key. Just paint it in because–
it’s quite forgiving… because it’s over this black stuff here,
so paint that out. And I’m not even going to worry,
maybe that bit there. So that’s how to select Skin Tones. You might be warming it up
with Color Balance… you might be removing some of the reds. If it’s got a cyan cast or a green cast… you do the same thing, but we got
the green channel in levels… or blue, or green, or red. That’s it for this one, I will
see you in the next video. Hi there, in this example we
are going to take our eyes… and just give them a little boost. Enhancing what’s there, using the
Dodge and Burn, and the Sponge Tool. Let’s do it now in Photoshop. To get started, from your
’10 Retouching’ folder… open up ‘Eyes 1’. First thing we’re going to do
is we’re going to duplicate it. So with the layer selected, ‘Command J’,
or ‘Ctrl J’ on a PC to duplicate the layer. Even give it a name. Call it ‘Retouch’. Now this video is
all about enhancing what’s there. The videos after this, we’ll look
at faking it a little bit more. So let’s look at enhancing rather
than faking in this video. We’ll see how far we get. So first thing we’re going to do is
we’re going to saturate the eyes. So they’re brown eyes,
we’re going to make them more brown. So click and hold down the ‘Dodge Tool’
until you find the Sponge Tool. Sponge Tool has two modes,
Desaturate and Saturate. We want to ‘on’ Saturate. And in terms of the brush
we want something… something that’s going to
fit around the pupil… and in terms of the hardness… I have mine fully fuzzy, hardness of ‘0’. And then with the flow,
somewhere in the middle. What we’re going to do
is just slowly work. When I say slowly, it’s not 40%,
it’s going pretty fast, 52 exactly. So don’t worry if you go too far. We’re going to dial this
back with the opacity. So it’s okay to go too far. This other side here is going
to run into some problems… because there’s not a lot
of saturated color in here. So I can keep working this,
I can work a little bit… but eventually you’re
going to find that… it’s there but it’s a bit pixelated,
not amazing. And it’s going to be one of the issues,
well not the issues… but one of the things we run into when
we’re retouching, say this side here… it’s a very strong light being used. So this side’s always going to be dark,
just going to have to live with it… if you want this to be natural. Don’t worry I’ll show you how to fake it. Let’s say that works for us. So it’s saturated now, let’s look at
working with the lights and darks. So basically we want to make the–
kind of shines brighter… and the pupils darker, and maybe
a little bit around the outside too. The best way to do it is–
it’s in that same little group… Dodge and Burn,
Dodge makes things whiter… Burn makes things darker,
so grab the little paddle. So we’re going to brighten it up first. And what are we going to brighten?
I’m going to brighten the highlights. I want the highlights to get brighter. Exposure is just like how much of this is
being applied, I have mine low enough. I’m going to click this a couple of times. Just to brighten up the shine. Same this side. Not too far on the side because maybe
this one is darker for a reason. You might decide that you want to lighten
up some of the centers here as well. So you go to Mid Tones,
and I’m going to wreck it. Maybe this side just needs
a little brightening up. Maybe the same with the eyes, in this
case because the eyes are quite gray… I’m going to use the Mid Tones… I’m going to keep it quite low
and just not too much. Always goes too far using the Burn Tool. That’s okay, we can turn it down. Don’t you worry. So how are we doing? Yes. Last tool is the Burn Tool, and if
you’re like me, looking for shortcuts… you can switch to the Burn Tool. I’ll toggle between these two tools,
it’s not a problem… but if you are on the Dodge Tool,
and you want to start burning something… say you’re dodging the eye,
and you want to burn this bit… just hold down the ‘Option’ key on
a Mac or the ‘Alt’ key on a PC. Nothing really changes over here… except now, these exact same settings
are being used for the Burn Tool. You can see, I can kind of
darken up my Mid Tones… or let’s do it the long way,
go to Burn Tool… and I’m going to pick a size in
here for the pupil, darken that up. Same on this side, darken that up. It’s going on through too thick,
so I’m going to lower down the exposure. And yes, it’s way too far… but now we can, with this layer selected… go to the ‘Opacity’ and just kind of
lower down to something believable. Turn this layer on and off. You can see, we’ve worked the eyes up… without having to fake them. Now I picked this image because
it’s kind of in the middle, right? It is– the eyes aren’t totally,
like obscured and pixelated… but it’s not a super high res
stock photography image. So this is a bit of realism here. So first up, saturate them
using the Sponge Tool. Then dodge and burn them. Dodge makes the sparkles brighter,
the whites of the eyes brighter. And the Burn Tool, we just
use for the pupils… and I use a little bit around the edge
to define the eye a bit more. All on its own Retouch Layer
so that we can lower the opacity. I’ll show you one other way of
doing it, and is it faking? Kind of no, I’d say this is enhancing. So I’m going to turn off my Retouch Layer
and do a different method. This is going to be my ‘Retouch 2′. What I’m going to do is I’m going
to grab my Brush Tool’. Pick a Brush size that kind of
fits with the eyeball there. Hardness, I’m going to bump up
the opacity so you can see it there. Hardness, I’m going to have it about… 80-ish. Now I’m going to pick a foreground color
that matches the eye color that I want. Let’s say, instead of making
them green or blue… let’s just enhance the brown that’s there. So I’m going to pick a kind
of a warm okrey… orange color. Actually I’m going to lower the
hardness a bit, bit fuzzier. And we’re just going to
work in the eye here. Pretty caveman. Do the
same on the other side. Zoom out, and then it’s just
finding a Blending Mode. So remember we had the problem before,
there’s just not a lot of hue in the eye… to bring out, remember,
we tried to use the Sponge Tool. Now with this layer selected
let’s work through the Layer Modes. The shortcut is ‘Move
Tool’, hold ‘Shift’… and tap the ‘+’ key. Or you can do the long way,
just keep clicking on these… until you find something that is… let’s say you–
Color Dodge, let’s keep going. See what else is there, Color Dodge. Saturation is quite nice. Color Dodge is a bit extreme… so it will depend on the
color you’ve chosen. Say you’ve chosen green eyes… you’ll find that a different one
of these will work. Let’s say Color Dodge is cool,
looks a little vampirey… but we’re going to just lower the opacity
to something more believable. Just turn it on, turn it off. We might still go through
and duplicate this layer. And not use the saturation
but definitely use… the Dodge and Burn. Make this a bit brighter. And my Burn, holding down
the ‘Option’ key… just to darken up the pupil there,
same on this side. Darken up the pupil, close that out. So kind of just a different way,
we get to a similar place… and it’s mainly just changing
the way we got the color. Was there an existing color that we can
enhance or did we have to fake it? So on, off. That’s the second version, on, and off. I’m just dragging across these eyes. Let’s turn on this one here
where we did the saturation… with the Sponge Tool instead of this one,
so this one versus this one. You got to decide.
I think I like this one… but I think I like the situation just down
a little bit more, bit more believable. That’s it for phase one of eye retouching. Let’s get into phase two
where we fake it… but with faking it comes
some pretty amazing results. I’ll see you in the next video. Hi there, in this video we are
going to retouch the eyes with… I’m going to say medium faking. We’re going to add all this
lovely detail into the eye. We know it’s probably there, but it’s
milky and gray in the actual photograph. Let’s look at how to create
this now in Photoshop. First thing is, if you’re working
through the tutorials… you can save and close the last one,
it will save as a PSD. What I want to do is just
reopen the JPG again. So from ’10 Retouching’, open up ‘Eyes 1’. And we’re back here. So what we want to do is we want
to grab the ‘Adjustments Panel’… and we’re going to use ‘Levels’.
What we really want to do is… we’re not worried too much about
the rest of the document… we’re just kind of zooming in on the
eyes here, we want to enhance the eyes. And when I say enhance,
we’re not here to make them perfect. We just want more color out of it. Just a richer, lighter color. Even a bit extreme. So we’re not worried about this,
we’re just getting some… let’s have a look, on, off. Just a lot more light here in the eyes. Next we want to do is,
I want to remove this mask. You can click on the mask
and just say, ‘Invert’ it. So I’m not really removing it,
we’re just painting it all in with black. And what we want to do is,
with our ‘Brush Tool’… have white as the foreground color. And in terms of the size, it’s going
to get super small and super soft. So mine is 5 pixels, hardness of 0. Let’s turn down the Opacity a bit. When I say a bit, a lot,
I’m going to zoom in. What we want to do now is draw in the
little lines that appear in her eyes. Even that’s too thick. So I’m going to go down even smaller,
2 pixels, it will depend on your image. Something small like that. Because what we’re trying to do,
I’ll show you this example. You can see this, kind of
gross zoom up of an eye. You can see all this detail in here,
and that’s what kind of… that kind of milky way galaxy
awesome lines in here. Really help an image stand out… plus we want these kind of,
like little ripples in here. So we’re going to use this
as our visual guide… because what we’re going to do
is draw out little lines. And once you get started,
it’s going to look a bit weird… and you’re like, “There’s no way
this is going to work.” But keep building it up. What you’ll find, if you’re like me… I can draw down fine, drawing up
this way, it’s a bit kind of weird. So what you can do is
hold down the ‘R’ key… hold it, hold it, click and drag,
let go of it. And it means you can kind of
just work around this eye… in what’s maybe just a bit
more natural selection. Don’t worry if it’s not all perfect… because there’s kind of
cross hatching loopy stuff. It is fine, plus we’re going to turn it
off a little bit, lower it down later on. So what we’re doing really is… we’re not really drawing on it,
we’re just… showing through in our mask… if I ‘Option’ click the mask,
or ‘Alt’ click the mask… We’re just making little holes
in it so we can see through. If I disable it, this kind of bright area. That’s what makes it look
a little bit more natural… than maybe just painting
with the Dodge Tool. So keep going. Just keep overlapping,
working your way around. R key, if you want to get rid of it… you don’t like the rotation anymore… ‘Esc’ key kind of gets
it back to square one. R key again. What I’m going to try and do now… is I’m going to try and do
some of those little loops. Now I’m using my mouse mainly because… if I use the Wacom,
it comes out a lot better… and often people aren’t
using like a tablet. Tablet, the nice thing about it is that
you’ll end up having a little bit… these are quite like fat lines,
or at least they’re not tapered at the end. So if you’re using a Wacom tablet… you’ll end up with just
kind of nicer tapered line. So if you are using a Wacom… you might find your result
a little bit nicer. You can start to see, it’s getting there.
I’ll hit ‘Esc’. There’s a few little bits around the
outside here that I need to remove. Got a bit crazy with it,
so with the mask selected… I have black as my foreground color,
I’m just going to paint these out. So it’s not coming over the edges here. Not realistic. Now we’re doing with lighter colors,
you can do the same thing. You can grab, in ‘Adjustments Layer’,
I’m going to turn this one off. Go to ‘Levels’, and in this one
I’m going to darken it down. And do the same thing,
click on the ‘Mask’, ‘Invert’ it. I’m going to turn the other layer
back on, with this one on the top… I’ve got my layer selected, I’m just going
to paint in some of the darker bits. Same thing, same sort of brush. What did I have? 2, 3 pixels?
Can’t remember. Make sure white’s your foreground color… and just kind of paint in a few
of these other bits. I’m going to raise opacity
of mine to maybe 60%. Maybe some shorter little lines. Zoom out a little bit. What do you think? It’s kind of cool. So turn these off, turn these on. This goes into my little bit of fake,
but clear conscience retouching. They’re probably in there. I just kind of brought them out,
you can see my terrible drawing. Actually kind of adds to this effect. What I might do just to finish it up is… Background Layer,
I’m going to duplicate it… because I’m going to do
some dodging on this. Dodging has to happen on the pixels. It’s destructive, so I’m going
to do it on its own layer. So ‘Dodge Tool’, like in the last one… I’m going to just enhance these a bit. I’m set to Midtones, it’s not what I want.
I want to grab the highlights. I got my exposure down quite low… and I’m just going to pop
these up a little bit. Same with the eyes, not much. Actually these need to be Midtones,
because they’re quite gray… they’re not operating, we know
they’re white, but Photoshop sees them. It’s kind of Midtones, do the same
over here, just a little bit. Same for that. Maybe switch to the Burn Tool. And I am going to burn the Iris. You’ll see that we don’t have it over here
so I’m going to grab both these layers. I’m going to hold down my–
I’m going to go to my ‘Move Tool’. Hold down my ‘Option’ key on a Mac,
‘Alt’ key on a PC to duplicate them. And you can see, I’m just moving
the mask which is quite cool. So even though this side
here is a lot darker… it’s not bringing all these light bits,
it’s just bringing the mask across… showing through the darker version of the
side, quite realistic if you ask me. You could go and redo it for
this side as well if you wanted. If you felt like there was some repeating
bits, that were quite obvious. I think it’s not, I think it’s fine. So let’s compare it. Let’s look at the Background Layer here. Let’s hold down the ‘Option’ key
on a Mac, ‘Alt’ key on a PC… and it just turns them all
off except for this one… and all back on, all on, all off. So get this eye especially,
my favorite eye, it’s the good eye. What I might do with the dodging there… always go too far,
just lower it down a bit. On, off, a bit nicer. Click again, ‘Option’
or ‘Alt’, click this. I’m happy with that,
if you’re not happy with that… we’re going to steal a trick
from the last tutorial. So just a new layer on
top of everything else. Let’s call this one ‘Eye Color’. I’m just going to use our
‘Blending Mode’ again. So ‘Brush Tool’, I’ve picked a… color for the eyes, it can
be a different color. I was going to use the same color, brown. Turn my Opacity up. Make sure that edges of your brushes
are kind of fuzzy… so you don’t get into
the whites of the eyes. You can color it all in, it’s pretty basic. Wow, pretty simple tool to do. I’m not changing the color… you could totally change the color
if you were using green or blue. Now the trick is to find a
believable Blending Mode. Like we did before, ‘Move Tool’,
hold ‘Shift’, hit ‘+’. And just work your way through until
it becomes like a werewolf vampire. ‘Color Dodge’, for something
a little bit more believable. Color Dodge is working for me,
it’s just the Opacity. So I’m just going to tap
the number keys, ’50’. I’m going to come right
down to maybe 30%. On, off. Now let’s check it, let’s hold
down the ‘Option’ key, ‘Alt’ key. All right, looking cool. If you still want more, there’s one more
eye retouching video… where we totally fake it. It’s kind of creepy, but it’s kind of fun. And it works 60% of the time, every time,
I’ll see you there. Hi there, this video is all
about fully freaking an eye. We take the original image here,
we fill out all the detail in the eye… by doing something a little bit creepy
with this one. All right, time to get creepy. From your 10 Retouching folder
open up Eyes 1 and 2 again. You might have to save and close
the previous exercise. So 1, and Creepy Eye 2,
and yes, it is what you imagined. So I found this eye, mainly because
it has a full kind of pupil in here. So I can use it for all
sorts of situations. What sorts of situations? One eye is blinking, one eye is closed… one eye is a little bit lower
than the rest of them. They’re just really out of focus. So the previous two videos
are just not going to work. So I am going to grab my
‘Quick Selection Tool’. I’m going to select all of this. There’s some bits up
here that I don’t want. Do not worry too much about it,
this is quite a forgiving tutorial. All right, time for a class project. You might have noticed
throughout this course… I sometimes call it class exercise,
sometimes class project. You’ve probably seen that. I will try and remember to call it
class projects from now on. What I want you to do… we’ve gone through three different ways
of doing eyes, enhancing it. Remember, dodging, burning, and increasing
saturation using the Sponge Tool. That was the first one, then we
made an Adjustments Levels layer. You could use curves, and then
we painted those lines in. Then in the last one, we totally faked it,
we used somebody else’s eyes… found a good Blending Mode, and used
that to create the detail in the eye. So in your ‘Exercise Files’,
under ’10 Retouching’, ‘Class Project’… there are these three. Work your way through all three of them. With the three different techniques,
hone and practice your skills… and then share them with me. When you do share them,
I’d love to know what you did. Which technique you used,
maybe mixture of both of them. I can’t wait to see what you do. All right, on to the next video. Hi there, this video is all
about teeth whitening. Before, after, before, after. It’s easier to do, and the cool thing
about it is once you’ve done it once… you can reuse it over and over. Ready, that is the after, ready,
before, after, before, after. It’s a nice retouching trick. Let’s learn how to do it now in Photoshop. To get started, from your ’10 Retouching’
folder, open up ‘Teeth 1’ and ‘2’. Let’s start with number 1. To get started let’s make a real,
just basic selection. So I’m going to use
the ‘Quick Selection Tool’. I’m going to zoom in. Brush size, I’m just
going to pick the teeth but not the gums… but we’re not spending too much time here. It’s easy just to get most of it done
and then brush in the edges… using your Brush Tool
a little bit later on. Don’t get the gums. Don’t get the gums.. But again, we are going to fix this
later on so don’t worry too much about it. Most of the teeth. First up is, we need
some consistent color… because there’s bits of
whites and bits of yellow. You might have darker bits
of brown in there as well. So what we need to do is
get some consistency. Easiest way is to go to
your ‘Adjustments Panel’. We’re going to use the ‘Hue & Saturation’. And what we want to do is colorize it It’s kind of weird, right? But at least
it’s a consistent color. We don’t want it to be consistently pink. So crank out the saturation
until you find– you want a yellow color, I know we’re
just trying to get rid of yellow… but I’ll show you what I mean in a second. So if you find just a
kind of a warm yellow… something like that, and then
crank the saturation way down… because if you go 0 saturation… nobody has that white teeth,
or at least gray teeth. So you need some yellow in there. And that’s the trick. If it’s not perfectly white there
needs to be some yellow in there. So let’s turn it off. So lots of yellow,
and inconsistent yellow… whereas just a little
subtle hint of yellow. So that’s one part. Next part is we need to
make them more white… or at least see more white. So what we’re going to do is
grab the ‘Rectangle Tool’… pick a Fill color of white… and just make sure you
draw our rectangle… across the whole lot of
the teeth covering it up. So I want to mask this white
into the teeth. So what I could do is hold
‘Command’ on a Mac… or ‘Ctrl’ key on a PC to
get that selection… and have like two selections going. So I’ve applied a Layer Mask
to this one as well… but the trouble is, we’ll end up having
to adjust a couple of different layers. So it’s a stage like this
where it’s really handy… to have this Layer Mask on a group… and just have everything inside it,
we’re going to have three layers. Levels, there’s white rectangle,
and there’s Hue & Saturation. We’ll just get them all
to use the same mask. I’m going to undo that. I want the selection, which is cool… and I want to delete that layer mask
because I’ve right clicked it… I’m going to select both of these,
hit this little folder down here… put into a group, and now apply
the Layer Mask to that group. Just means that these guys here don’t
need their own individual masks. Perhaps doesn’t look amazing,
we’re going to fix the edges. The first thing you want to do
is have your rectangle selected. And we’re going to play
with a Blending Mode. So remember, I’m going to
click on one of them… then make sure I’m on my ‘Move Tool’,
hold ‘Shift’, hit ‘+’… and just kind of work your way through
until you find one that you feel works. It’s probably going to be Soft Light. It’s not always though, so I guess I want
you to have to work your way through… and find one that works,
Soft Light here makes it nice and white. Probably a little too strong, so we’re
going to lower down the Opacity. Again, we’re not worrying
too much about the edges… we’re going to feather those out. To check how far we’ve come… who remembers what I can click here
just to turn that layer on by itself… and turn all the others off.
You remember? Yes, you do. If you’re on a Mac, it’s ‘Option’, and give
the Eyeball a click, or ‘Alt’ on a PC. So definitely more white,
not super believable just yet. We’re going to do two more things. One is the levels,
we just need an increase. There’s just kind of– it’s too
washed out in lots of places here… but let’s create,
‘Adjustment’, ‘Levels’… and in here we’re just looking to just
maybe bring up the blacks a little bit. Just so that there’s a bit more
kind of contrast in the teeth. Don’t want to go too low with the
Midtones, let’s keep those nice and high. Maybe a little bit high here… in the highlights. Now it’s up to you, do these levels
need to be turned down a bit? And maybe this Hue & Saturation. Does it need less of the yellow,
maybe just a touch. Before we go and adjust
all three of these… let’s kind of blend the
edges a little better. You could go and see how well you
go with just selecting the mask. Just select the mask and see
how you go with feather. I’m probably going to start with feather
and then brush it in. Let’s click ‘OK’. It’s looking better.
Undo, redo. That might be enough for you… but you might have teeth in
the background here that– let’s turn this one on and off,
I’m okay with it actually. I might feather it a bit more,
but I also want to show you– let’s just work on the mask
with the Brush Tool. Make sure, in your Brush Tool here… is using a Special Effect brush. Go back to General Brushes
and just pick the first one. I have my flow at 100%, and maybe
turn down the opacity a little bit. What I’m trying to do in here is… there just needs to be a little bit more
of a realistic blend between the gum. And if your selection was really bad… you probably have to go and spend a bit
more time just kind of making sure… there’s kind of transition between
the teeth and the edges here. Just working the edges just a little bit
to have a little bit of realism… between the transition of pearly whites… to this kind of more,
hiding underneath the lip. Should be a little darker. Maybe not these guys. Definitely here in the gums, you can see
the gums ended up going quite white. What I’m going to do is, to get
into this little area here… I’m going to go to 100% Opacity… and I paint it out. Toggle the foreground and
background color over here… using the X key, and just paint it back in. It’s easier to get into
the corners that way. Same with you, ‘X’, paint it out,
‘X’ again to toggle it back. So black is at my foreground. I’m happy enough. Now we’ve got our blend working better. We’ve got a kind of walk around
your office or your lounge. Wherever you’re at, because after
looking at it a while it just… it becomes really hard to know whether
you’ve gone too far or not far enough. So go make a cup of tea, come back,
and then look at it and go… “Hmm, is this believable?” If you’re finding it’s not after
a little walk around the room… come in and start working
through the levels… click on the levels part and decide… do I need more of this, less of that? Does the whole layer need to be
turned down in terms of the opacity? The white triangle here. We pick Soft Light, you might
try a different blend mode. The Opacity might be needed to
be turned down a little bit. And under Hue & Saturation, does it
need more yellow, or less yellow? Let’s go for the big reveal,
let’s hold down ‘Option’… click on the ‘Eyeball’, or ‘Alt’. Whole lot better. I finally close one eye, I’m not sure why. Whenever I move it around, I’m kind
of checking it out, I’m like… It’s looking good. Close one eye, does
it look good in one eye, the other eye. I doubt that helps, it’s what I do.
Now, once you spend a bit of time… creating these three little layers
you can totally reuse these. So what we’re going to
do is grab the group… and this is going to be my
‘Teeth Whitening Layer’. Let’s say ‘Teeth 2’, this is a
bit more of a realistic example. I guess nobody gets that sort of closer,
and what you end up with is… kind of generic,
this photograph’s not amazing. If you zoom in it’s kind of
a little bit out of focus. But the teeth need to be fixed, tidied up. Well, not terrible teeth, but they
could use a lick of white paint. So ‘Move Tool’, select the group,
‘Command C’, ‘Command V’. It’s brought through
that group of whitening. All we need to do is right click… delete the Layer Mask… make sure that this white box
is over his teeth. You might just make that white box huge. So that the next image you use,
you don’t have to be as specific. And what we’re going to do is,
let’s click on the ‘Background Layer’. We’re going to add a Layer Mask. And a cool little trick is, instead of
adding a Layer Mask and then… trying to paint it all out
or fill it with black… what you can do is, as you
click ‘Layer Mask’… hold down the ‘Option’ key on
a Mac, ‘Alt’ key on a PC… and it just applies a Layer Mask,
but the inverted version. Instead of a white mask it’s a black mask. What we can now do is
grab our paintbrush… and either start with the
Quick Selection Tool… or just start with a brush like I am. Picking our hardness that kind of
matches the edges of the teeth here. I’m using white as my foreground color,
my Opacity is up 100%. I might turn the Opacity down to something
like 50 by tapping ‘5’ on my keyboard… and just slowly but surely
working the teeth. Again, we’re going to have to probably
do some adjustments, levels and… the Hue & Saturation to make
this thing believable… but you got most of the
work done in the group. There’s just some tweaking you need to do. Looking loads better already. Remember the R key. You need to move it around. ‘Esc’ to rotate it around. I’m leaving just a little bit
of yellow in the corners there. Don’t make it too far
removed from your life. A whole lot better. On, off. And now you can go through,
drop this down and decide… do I need to mess with the levels a bit
more, maybe lower them down a little bit? Raise them up a bit. Make your tiny adjustments… to match to that a little bit. Nice. Hue & Saturation, I’m happy
with how the saturation is. Watch them, on, off, on, off. And that my friends is
how to whiten teeth… using a mixture of Hue & Saturation,
a big old white layer and levels. Now with levels, that
some time is optional. It doesn’t always need it. It did need these two examples,
but lots of times it doesn’t. And if you keep them in
a nice little group… you can reuse them on different documents. All right friends, I will
see you in the next video. Hi everyone, it’s class project time. I’m going to set you loose on a project
we started in a previous tutorial. It’s the one we did with eyes. So, in your ’10 Retouching’,
under ‘Class Project’… there’s a file,
and they’re called ‘Eyes C’. We did the eye, so hopefully
you’ve done that. Don’t worry if you haven’t,
but grab this file… and we’re going to work on the teeth. So her teeth are perfect. We’re going to have to be
reasonably subtle with this one… but use the same techniques.
So there’ll be a Hue and Saturation Layer. There’ll be a white Layer
with the Blending Mode. And we’re going to adjust the levels. I want you to see if you can get
it so that it’s hard to tell. You can make gleaming
white teeth if you like. Maybe make three versions. Before, realistic, and then Colgate smile. And what I’d love you to do is… I’d love you to share it, but I want
you to share the before and after. So take a screen shot of it as this,
and your version, that you’ve finished. And maybe the super cleaning white version
if you want to as well. I’d love to see it, drop it in the
assignments or in the comments… or tag me in social media. All right, I will see
you in the next video. Hi there, it’s me again. If you enjoyed
the video, could you give it a thumbs up. Consider subscribing to my channel as well.
I give away lots of this free stuff. This particular video is… just one video of over a hundred videos… that’s in my full Photoshop
Advanced course. There’ll be a link in the
description for that. If you want, go check that out. All right, happy YouTubing.