Sue Bryce Photoshops Man in Tree

 

Experimental Portraits

 

Lesson Info

Sue Bryce Photoshops Man in Tree

Please help me welcome back to the stage for this morning's session miss sue breath I'm gonna switch spots with you are you awkward awkward microphone hug okay I don't want to do that are you doing this morning sue really good thanks. Yeah, awesome. Well, we are so excited to see you put your magic together yes I'm gonna be a good distraction from what I have to do this after feeling about neighbors today well, if you are feeling perhaps is a vulnerable a good word don't say that okay with that car okay no no, no, you have that. But today we get to see soup rice in this pot where we all are oh, you know something where clients are? I just said actually out there every one of you post for me for one of my workshops russ adam cannot susan and then about eighty other people a lot of people that work here are people that you know really close to me here and you know and all walked on the set completely trusting of may ah and then I had tea oh, I can't believe my girl you're really ok, huh?

Sorry don't be sorry how I pull radio this is the real deal right? Because this is the vulnerability that we all feel even so it was really difficult I know, so am I excited no, you're all right and she was like the's everybody to see these images with me here in my state of vulnerability wow I didn't know you going today none of you cried way did the butt that is what your clients and our clients feel and to know that to truly marion said this is going to change you thailand yeah really wass an incredible experience for me well let's do this let's be in the moment let's talk about being the place and when we do and that's create photo shop we're gonna think about now you alright? Hey hoo yeah tissues waste everyone's way! All right, so a couple of things that are really, really important this morning this is not a foolish opposition okay? You're a photo shop instructors that come on creative live that a brilliant marriage a great titian years today lisa snyder is out of this world I'm not a technical photo shop I'm in addis that uses photo shop is a medium and so don't you be emailing me going? He did this wrong he did this wrong it's the result that I'm looking for I am the biggest heck that ever walked on this if as you well know, I've seen it once I've said it twice a hundred million times my magic doesn't come from being technical at photography or photoshopped my magic comes from the space that I hold with the women that I photograph and then the space that I hold when I retouch my images because I realized that with this photo shop tool I can create what my mind sees and whenever I would see other people's work and when I still say it, what I do is I say, how can I make them and finish up that's my first thought and so when I went to design a logo for my website was like, how could I make that on fairly sharp and that's my kind of go to place? How can I do that on photo shop? So I lent some crazy skills on photoshopped that have no bearing on technicality but a whole appearing on creativity so I want to share those with you because I feel like I don't care what level of photo shop you're at if you're technically know how to do something better than may do it, go for it. But if you don't you're going to love this because I'm going to strip it back to the beer basics mostly working in one laugh and I mostly I'm showing you the six incredible tools that photo shop allow me to draw with one of them is dodging burn those two tools are about lightning and docking darkening now when you illustrate with a pencil what's light comes forward in what stark goes back that's whose shade when you learn to draw you learned to cross hatch you lend to shade you learn to do a grady in with a pencil I can do all of that with a pencil but how do I do that on photo shop? So I learned to do that then I realized as soon as I created light and dark dip it started to blend in and tricked the island had a fully I I learned how to drop in backgrounds none of that is in lamb ask when larry said I did the dodge and boone and non distractible something what was a cold? You said non non distracted I don't even know what that is I was just like all that's pretty cool I should ask you what that means I don't know what that means, but the whole point is I've won thirty six international awards I create beautiful at work than inspires may I create at work that builds my brand? I create at work for my clients that my clients by and I do that just out of the complete joy of what I using how I use it so that's what I want to share so let's just do it let's do it so one of the things that I really love about photo shop and I was supposed to say it the other day because I know that you're laughing about it was my little rainbow colors actions I've said this so many times and so many people do not know this if you go up to this part of your little actions box these three little lines there actually it's about five four you click on there and you go in it's what's called baton mode and if you go into but merger actions looked like that and that's when you select the action and then you press play and it applies thie action to the photograph on your lived well if you go up to those airlines and take button priest but moti put a tick on button mode it comes up is a button and you can color those buttons and name them and then you don't have to select the action and press play just touch the button now when I first did my very first british opposition eighteen months ago on my first creative life somebody asked me about that and I told them and I got about eighty emails from people going I can't believe I didn't know about but mode so if you don't know if you follow me when you it just started and you didn't know about but motive is one of the most interesting things that people do not know about finish up the reason my rainbow colored is because I'm a girl and I'm we'd like that and I like rainbow colors but before I start I just want to talk about this I don't believe when you teach something you should make an excuse for what you do I'm not making an excuse for not being technical and funny shop I'm extremely good at it but what I'm doing is showing you the vision that I yes I also don't make excuses for how vulnerable I feel as a human being god don't cry again because the thing is is it the end of the day can you imagine what it's like to sit up here so this is my ninth creative live experience and I keep getting asked back and I'm so lucky to be able to be aspect but at the end of the day you know I don't do this easily this is not I go through a lot of stress to do it because I wanted to live I want to teach I want to share I want toby rial I want people to be inspired and uplifted and I want them to lynn but it's not a show it's something you have to really give of yourself and I feel incredibly honored to be able to do it but I always walk on the set and a complete place of vulnerability and I try always to be really honest about that and today out of all the creative lives have done I feel more vulnerable today than ever and that would be even when I photographed jill's and I mean I was bawling my eyes out and I feel more vulnerable than that day and you would be laughing at me right now if she's watching she probably is laughing at me so last night I sat down I looked at all of the images that I took yesterday and I'm going to show you them out of camera so that you know exactly what they look like and I was very, very happy with what we shot in that short amount of time I got very, very excited by what we're shooting and I just wanted to keep going I feel like if we had more time I would have just just I love to just keep experimenting with it so let's just have a quick look at what I chose where like it and what I'm gonna work on today so there I stuck it to the wall I tried to keep my perspective the same as the wall I've got a picture of the wall I have no idea how this is going to come out it's either gonna work or it's not and so what I do is when I have a concept, I shoot mado I shoot the elements and shoot the feet, I shoot the legs and then what I do is I start retouching it and frankly, if it doesn't work at some stage, I've got to keep pushing through that it's not working or I've gotta bail out okay, now I've done both but ninety eight percent of the time I pushed through it so you start to overwork things you start over oversee it needs you start to hate your image and then you start looking at other people you know your partner comes in and you go what do you think he looks and goes on you know and then your eyes no snow and you start looking to other people but you know I realize that when you create something artistically there's like this is not working stop shoot another background okay, try another background drop in some more you know, a different background. So this image here had four different backgrounds before I got it tio this stage and this is not a great granted the award print that actually one is such a beautiful handprint on find out paper and it took me four bet grounds to get this background and you know, I remembered maybe going at it for hours and hours and hours on end we don't have hours so I've got to teach you a cz much as I can about the structure of it and hope that what I do really works but I need you to stop and ask me I don't care how dumb you think the question is, okay? This is photoshopped creativity for dummies today this is from the beginning drawing with fetish shop cutting and pasting on my six favorite tools it doesn't get dumber than this and it's so much fun, so if you're just like, I'm a bit last year, throw your hand up and ask us, is a whole lot of people out there wanting to know these questions as well, hoping that somebody, alas, the same damn question, and I don't mind that. All right? So I stuck it to the wall, we had some artificial light in the studio, I asked at the inn for the light to be turned off in interestingly enough, I preferred these ones, so this year's and I always have this, you know, very strong belief you've got to believe it. I don't believe her pose, you know, I start to believe it here, okay, so you can see her face just comes into an engagement. I dropped her chin to the side. Now it looks more like a body language to may, and I'm like, oh, yeah, I get it. So last night, I started to pull the elements on the image that I like, so I like this one, so I pulled my favorite skirt, my favorite feet, and you can see see how I'm going to start dropping the man, so I want to show you how I do this, because it's very cool. And then as I start to see it, I don't like that mouth. I don't like that finger. This was the element where I could potentially put something in her hand. I may do that at a later stage, but for now I need to work on the ones that I can show you. And as I go through, I love this hip movement so straight away I see that tension and a here. This is where she had the pain in her hands. I have the option to put a dagger to put anything too. Find a way to hold something or I could just remove it. And she's still holding a fist. She's got a good shape in a hip to meet it. Body language is believable. I've got something to work with so I dropped the elements on this one. Same elements I'm working on four body language is that I like same for elements to see the ultimate image. Okay, so then I get to hear and I get to hear and I loved that, but just a little I peeking at me the elements aaron, you can see the dress is going to go up under the either so that's kind of potentially work beautiful, eh? And I think I love this body language here I felt like it had a little bit more tension was a little bit more dramatic and personal self so I was like yes I'm going to go with this one and then the artificial light went off in this side natural light came on and I actually preferred the flatness off the artificial light but I did choose one of these from the serious because I like the pose and I also like that light so I did choose one and I chose that one with her he'd looking down so think about the mood of your hand placement in face like I told you yesterday what is her body language? What is the words trying to convey in the image? How do I pose her feet? How is she stuck into that wall? Is she floating? Is she stuck a she trapped is she and bondage is she holding herself? What is her body language? What is it saying and then start adding the elements to it so I made her jump to try and get the best feet that I could because I'm going to put in the feet into the composition nicky flipped the skirt I love the hoop on next good and then I made sure my shutter speed wasn't too fast wasn't too slow wasn't too blurry and I got some shapes that I liked and that was it now the longest part about that c that was sticking her to the wall on dh. Then we got to hear I love this shot. She looks like a broken bobby door. Isn't that hilarious just right there. That was my first test just to get my light. And then I was in position. And then I stretched my arms and I started to photograph here there. And so I just thought, well, I have so many options with this image I think that elements to this image will be endless. Okay, so when I flip it this way, you can see where I'm going with it, but have a look at the difficulty you face with her lying flat. I could never have done who he liked. Then in five minutes, if she was standing up, that would have been a two hour here style. But you saw me build that here. I stuck it on a head with one clip, and then I twisted it, and then all of a sudden she had this epic here. I would never have got that. If she was lying in water, I would have never got that. If she was standing, I would never have been able to make her jump with this hairstyle or if I'd stuck her to the wall standing up I may have got it, but it wouldn't it wouldn't have been that easy so it had so much coolness I don't like your left hand there so I keep working I keep working until I get to um that was my first one that I liked the first one that I liked with hands see how her foot twisted in but they're the hands where I really like them I'm going to flick the skirt up so it looks like it's floating a little bit more I really loved the hands up here I felt like as she lifted her hands up her body language changed I don't like the top hand too much, but you can see as I start to change here hu tin came down I really like that and then I loved that so I started to work her feet to show you how I could remove all these elements and then when I got to here he'd shape here I was just like yes, I love that so making sure that you're creating those hid shapes chin down, making sure you're working those hands because once you get done and you open your images on photoshopped, you can't change those hands okay but I could change her feet so see on this this is what I photoshopped and this is really important I was started to remove the letter and I started to pinching her waist now somebody who was very lane in long or still look wide if they don't have a breast waist hip ratio so everybody, no matter how slim they are, no matter how cuvee they are gets a pinch in the waist because if we pinch in this waste we make our boobs in our hips bigger, which gives us an hourglass and when we have an hourglass we have the ultimate feminine shape okay boys don't need that triangular they go shoulders down to the waist women that hourglass, they go out in out very important we try and create this shape by member was telling it to push a hip out push your hip out but she's long and narrow so I needed to do two things I needed to warp her foot down and I needed to warp your waist in and then remove those elements. So I quickly did that, so I'm going to show you how I quickly did that and then I started to have an image that I could start over laying so that two may was where I wanted to be that to me she was floating she was elevated, I could put her in a rain I could put her in the sky, I could put her in a band I could put here on a fake wall on a background I could put her in storm clouds you know, I think of every element she could possibly be floating in right now and I haven't done any compass it on a skirt it so I could flip his scared up I could turn his skirt into elements I could tend her skirt into black crows like no white, the huntsman I could turn his skin and to smoke I could have a vapor rising I could have her transparent I could have a see through I could have you know how many different ideas could you possibly put with this image? So I'll show you how fast I did that because it's really important that you see that all they had to do was make the model structure first and then I could get really creative so what I want you to think about now is when you pose and shoot you shoot the elements in the girl oh, you gotta nail down the post the hands, the feet, the expression okay, you gotta get all that on camera the exposure and the sharpness all of that is vital in capture then you shoot multiple elements but don't just shoot the elements he think he need shoot mohr elements that really extend yourself in your elements now the good thing about elements is right now if I was to retouch this image and it doesn't work and I didn't take anything of the skirt flicking so think about it if I was smart, I should've got nikki to flick the black skirt on the floor right and do a whole lot of shapes with a big billowy shapes because then I would have had these multiple elements to put in his kit but I didn't do it too easy to screw up the ultimate shot because you did not think like that now why don't you think like that? I would love to say it because I was live as on a timeline I had an audience I was up a letter but the truth is is when you get him creative mode you don't think like that how many times have you down a chute? I'm just a portrait shoot and gone damn it, I didn't do the flower shop dammit I forgot the elbow dammit! Why didn't I do that pose because you didn't write it down you didn't create a shoot list you didn't write a list and ticket off do the elements for the skirt do the elements for the birds do the element for their smoke you know things like that and I didn't do it, but what I can do is cut areas out of biscuit moved them around so I will show you that but again so you're going back to your heck vision were you hacking it when you should have pricked for it now I would rather heck something than prepared ok I'm a big hecker and a terrible prepper I'm not somebody that researchers I try it and when it fails I learned from my failure and then I don't do it again but that's not research that's failing looming that's how I work I told you I'm a slow study I've got friends that a big researchers and preppers it drives me nuts I'm like why just do it do it and try but so often I regret what I do because I don't print well you know big lease in personnel v type whatever you know I'm a heck that's how I roll try not to heck you're at work try really hard to primp there is element so if you make a list now I want you to do this chin shoulder hands expression that all belongs to the face off the person you are photographing no matter how beautiful your images if you have no connection in no expression you have nothing it means nothing hands hourglass think of the body if it's a male his hands need to be strong his shoulders need to be ford he needs contrast on his body and muscles if it's a woman she needs femininity shaped body language take these off outfits elements here making sure you're getting them hands and feet, hands and feet sharpness exposure? Nail it down multiple elements the ago then you go home, build your model and now you start building a creative image. Look at this. As she started to move, I realized I had so many options to put on this background it's crazy and I actually thought what would be really cool is if I give this image here as a download for the course. And we make a competition that you take this model image and you put a cz many elements into it as you want. And we put it back on the facebook page of the block and we judge the beast one like make it your own, do whatever you want to this image, make it your own do it is a competition. Seen it back in let's all give me this high res file just like this and you go and take it to the next level. Your style whenever you want to do just take here, but when I can do is I can give you four options. I can choose my four favorite poses that doesn't have to be this one, but it would be kind of cool if you all were trying on the same girl to see the difference in the styles that people can pull out from one model. So there it is that's it pricked the letters being removed what I did do you have a look now you can see in this image that there's a bit of movement in the background, okay? So instead of the background being sharp even though I focused on your eye to point a what I've done is I did lay a mask over the top now I say lay a mask a select a copy and paste puts a layer on top that's my layered mask I didn't even do the lamb a shortcut and then what I did was I went up and I did image blair filter blue motion blur team presents I put a movement blair on the background and then I erased her back through the center so she still sharp and all I did was put emotion into the background to separate her from the background and the reason I did that is because quite frankly, when your eye now look so that this separation in the background and you start thinking of what could go between the background in here. All right? So you came to try this you came to do something with this model and try and create something with my model shot to see how different don't crop the image just come up with elements that make that amazing and I'll give you two weeks to do it oh oh yes and I will I'll pick the winner I'll pick a series of one hour and I'll come out with a cool prize so maybe it could be a private mentoring session with me and lar on skype or something where you can pick lower you could pick me or something like that we can talk to one of us we can do a folio review we can do something like that or I'll find somebody to give a prize that that would be good enough and I want you to really just bring forward as much creativity as you possibly can with an image that you saw shot life so there it is that's how I chose here I'm going to show you that and now I'm going to show you how I did that ok so that took me about a few minutes I cleaned her up a print dear now I'm ready to go so now I have to do the same thing with the girl in the ivy wall and then I have to do the same thing without tree roots guy have a look at that here okay so that was one of the images I chose is a final but the cool thing about this image here is the here to me is so beautiful I would fill in this bitter here here or I would pull it out and I'll show you how to do that and then I would change her feet to one of the feet that I liked because she doesn't look real in this position but that half of the images so good but that's the beauty of compass it I can like one arm and shoulder and just swap it and here you're just creating so many little elements so here's the tools that I use on photoshopped that I want you to know that you're going to see me use all morning one of them is walk free transform war I do not use liquefy you can battle it out in the chat room you can battle that out on facebook I do not care okay liquefy moves too many pixels that soft and you're pushing in a little bit like they're aiken moved half an image in one stroke on warp it is fast you do not wait for it it is really effective and it is by far the ultimate illustrative tool I walked and I frayed transform I dodge and iben okay these air really important elements I cut and I paste okay because nothing is better than really texture okay I clone everything and I used my paintbrush tool so that fit so let's go and show you something oh now going to show you my tree roots guy look at that here I opened this image simply so I could catch that section of here out been here too may is magnificent. I did nothing to it. You saw me? I didn't print that here. It was already plated that teller bought it. I pulled it out the rubber band still on it. I stuck it in here with one little clip and went like that when I look at that that's so coal it doesn't have to be had it doesn't have to be expensive, you know, it just has to be fun and I just love it so absolutely love that. Okay, phillip phillip came in so that's green's really yellow? I don't know why philip came in. I shot him took ten minutes we shot him and the various poses this is everything we shot teaching in the body. We've gotto show you how to make all of that muscle and it's a new, stronger will silhouetted I'm going to show you how to put tree roots into it elements into it this was my favorite image. I love the intensity on his face I love all of the ticks turner's arms but more importantly, you can start to see the abs. There we'll be in in the airs. Maybe abs look good, but without making it look like burnt strokes, which is really, really important I love that and that I wanted for the armpits. So we'll see if that works this here I'm going to actually make them wider because he was very muscular, but he's also very lean and long. So I'm just going to show you how to make him bigger because this is a beautiful shot of his face, his arms. But I just want his back and shoulders to be a little thicker, so he's, really strong through the core, and I'm gonna show you how to do that. And he was just beautiful absolutely amazing guy and he's so good he's jumped up there did really had to do, and then I've got eva's world what would you like me to start with ivy, eva, philip or cassidy and black? Philip wants me to go straight there. Okay, here we go, then, right. The first thing I have to do with philip is choose my favorite image, and I'm pretty sure in my mind I'm here. I feel like the intensity of him holding gives me multiple options to tear on the tree roots out. I feel like it's a beautiful shot and I love this. So I've got a couple of choices here, and one of them is to go into the eye roll file. And open it and raw so I can just show you straight out of camera I do like to open and roll because I just want to do a couple of adjustments but more importantly I need you to know that I haven't done anything to it okay um it's this no secrets you know there's no secrets here it's pretty good I always take my recovery tool up because I instantly take the boot off my highlights you know why I want my highlights if I want highlights I'll put them they can our dodge them they can because then they more painted lee a soon as I have really highlights and there I have to try and bring them down it looks too real I'm always trying to be more illustrative I also slightly dropped my contrast and the reason I dropped my contrast is because I want always to end my own contrast back in again as I see fit that's the image I want first thing I do is print my model so you're gonna love this this is something I always do it's it currently higher is so what I'm gonna do is I'm going to extend my background and the reason I'm extending my background is I want to put a little bit of space around him and I could have shot this wider but I told you I don't even think of stuff like that when I'm shooting this is something year you can start doing and I never ever, ever this is how extend my backgrounds a copy and paste entire areas like this and I just extend them out now why don't clone it? Why don't it? I simply used their real background it's dark you're never going to see it it's going to be composited over I'm simply filling in my space you can even do this you can go to your brush toe you can highlight the area that you want to copy and you khun you know then you get this little paid swatch here you can go to your walk tall and you can simply cut out this whole area just extend it but see, you're going to see this line here because that's the top of the highlight and that highlight came from him on the top window just drifting over so that's why? If I copy and paste like this I can actually pick up ty extinctions and extend them and you no longer see the break in the background. I think I extend all of my background, said this I do copy and paste for everything when I'm illustrating copy and paste is the fastest way for me to pick up real pixels and image and transfer them and extend them and I simply copy and paste I have it set up his appreciate you khun go command see command and then I flatten all of my images because I do not need to keep this background and layered form. I just do not need to do it after I've done that, I can pull my backgrounds from any side, and I can just copy and paste I build entire rooms and backgrounds by copying and pasting in compensating on just like that. Now see, that doesn't work, because this bit here is darker on the side, then this side, I even do this. I've got two choices I can well, this layer is still open, goto my dodge toll, and I can spray it literally dodge it back until it matches that layer and hang on like that, or I can go like this and go to my clone stamp. Now, I try not to climb the background because, well, when it's going to be compensated on doesn't really matter, but I try not to climb my backgrounds because I feel like it looks kind, so if I can copy and paste oh, copy in place before I clone anything, you're gonna absolutely crack up when you see how I removed the letter from that shoot, and then when it's needed I simply dutch in there, and I have a perfect background of a good extended background, I've got space around him, I'm happy with that. All right, so from here, what I need to do is I want to move his shoulder and let me show you why he's warping, not liquefying. I'm going to extend his chest, his arm and his shoulder all at the same time. I have two choices. I want to just move. This whole area is that way. All I do is less so it copy and paste it. So when it's on a layer looks like this, okay, so, it's, just a little circle I go command tea, right? Click warp and then I go like this, and I just pull this whole area out and I could decide how big I want to make his arm the good part about the girls as we generally make them smaller. And we made the boy's bigger. So unfair. All right, I always make sure I go to my a racy tool and I looked for the brake line in the brake line is where I cut down on this image to make sure that there is no brake line there, there or there. And when you look at this, this is where I wass I'm moving pixels, but I could move an entire shoulder and one poll, you couldn't do that one going liquefy you'd have to tap along, tap along, tap along well the one thing I love about waters this you get to keep the rial line off the outside of his shoulder, you've just moved it out see liquefy you're actually moving that line, you know? You're not liquefying the center of his arm and pushing the realign out, you're actually pulling that realign out and it doesn't look real, so I see my model fears and then I'm going to do any photo shop on him that I need to do it because this image is very strong, I don't think I need to take off anything I don't need to remove his scars. I don't need to remove anything like that because I think it belongs in this image. What I do need to remove is this so I pretty much used clone that everything that's, one of my all time favorite tools hang on, let me flynn now I can flatten his arm because I don't need to keep his warp in layer I really now would only keep something in a layered form if I was going to change a background or change texture, I would not keep players and this stage at this stage I'm just making my model how I want him for my final shot, so here he is he's proved he's reading to go and now he's ready for some artwork he doesn't need anything else that is it. Okay, so now I've got a look at my elements. So what I did with cassidy was I walked her foot, removed the letter, fix it, but annie here the pillow that she was lying on, I trim to waste a trim teo, a major of face was perfect. Now she's reading a photo shop so now he's reading a photo shop so let's, get going. All right, I have not had a look at these, but I cannot wait to see them. Um that's the ivy wall here's my tree. This is my little tree that I found that I walked back and got a photo are what back three times in the light and couldn't get a good one, and I've got lots of crazy little options, and now I'm going to show you how this works. Oh, look at that. Isn't that incredible? I walked past that, I stopped and we won't pass it every single day on the way to this cafe in sydney that we go to in every single day. I just had to stop and look at it, and every day I think, oh, I must bring my camera, I must bring my camera must bring my camera, but you don't go for a walk in the morning with your big camera. You know you go for the walk in the morning with your iphone and when I saw this triangle here all I could think of was an amp it oh I just saw that I'm tearing out and I just saw the sin you often arm reaching up and let to me look like muscle and bone and I was just like wow so the very first time I experienced learning how to do this was what I showed you used today first thing I'm gonna do is I'm going to save this image you know why? Because I have this really awesome way of whenever I'm teaching fetish shop my father's shop just stops it goes I don't want to play anymore and it tends off and then I go well and it always happens right right at the moment when I needed the mice so I will always save us I go and because I don't work on multiple layers I'm going to save multiple images step by step but the good thing about that is you get it on a pdf and you can follow your notes and you can follow the steps as I've done it so every can I do something major I'm going to save it is an image and you can watch the progression of the image change until it's a full blown image okay, so one of the most incredible aspects of working with your creative I was this if I am going to look at his skin tone and then I'm going to look at this gray it's going to make it quite hard so I'm gonna show you a little secret this is what I worked out I'm going to cut like this with my lesser tall up here like that and I'm just going to simply draw a little map of south africa on and then I'm going to pick it up with my moving tool and I'm going to drop it on top, okay? And then I'm going to go command tea and I'm going teo resize and I can walk this and I can at this stage do anything I want in terms of movement now watch this when I start to move it around, I start to see how the shape fit into his body and the first thing I see oh is his collarbone nice. So if I go down like that and then up like that, look how that just fits in to his collarbone shape now I think all what if I go collarbone bicep right there so it's tearing out right? They're all wait a minute what if I twist it here and go like this and drop it under his hand and I can have it coming so his this is the part that he's tearing out and it sits up into here and then I'm like, wow, I can already start to say how this is going to become his chest. All right? So now look at this. This is hey, trick your own eye when you trick your own eye. It's freaky! I'm going to go to my actions here and I have set my actions for color, but I'm going to show you the easy way you go command b and that's your color wheel. So remember when I told you the aspect of working on color in order to take away blue, you need to end yellow so when something's too blue, you wanna add yellow, you take away blue and you edlund yellow what if I make this here? The same tone is his skin because as soon as I do that, I'm just putting color into it. All I'm doing is stopping you from seeing it as a great tree and I'm going to trick you into step for me because I'm doing it. I'm going to trick you into start seeing it is his muscle and sinew. Then I go command curves in command emits a shortcut and I'm going to drop that highlight down because as soon as they take the highlight out of it, then it's there is it's starting to look like it belongs on him slowly. Now I'm going to go back to my color and I'm just going to keep adding color to this image until it starts to look like him now I haven't I haven't changed the turn of the image yet, nothing I'm just trying to trick my own eye and so now watch what you're I does, I'm going to come up to here and I'm going to go to my erasing tools team person and I'm going to start lightening around this hard line, and what it does is I'm on one hundred casino pacenti I'm on team present, flo what I'm doing is as I start erasing, you're going to see that it's going to start to grow on him, okay it's, no different than when laura was putting fish and textures on used today and then erasing back around the skin on the background. What I'm doing is doing it here now I have to decide whether or not to keep his arm so before I decide to erase this, so if I have a look, see how his arm comes down there and there's a space do I put it inside his chest so his arms really or do I join the arms that looks like his arm's connected let's try that first, all I have to do is a race between the tree roots until I find the gap and then what happens is it starts to grow on him like this and I'm simply just using my erasing toll on till it's growing is part of his skin and what happens is the teacher off the wood the teacher of concrete the texture of anything becomes skin it's crazy and as I start to race back I can start to see how that becomes now look each of his skin and isn't that what it looks like it's slowly tearing out of his skin and it's becoming really freaky it's becoming this part of him then I'm going to go along here on that shadow I'm going to take it off his top arm because I want his cheese to look like it's his heart underneath and that he's ripping across and im a put a rip into his top arm oh you guys are so dark making me start with this one but this was the one I was most excited about I mean pretty schmitty but this is wonderful how look at this the mind is a crazy thing it starts to see scars it sees a wound I see a heart in there what does that text here? Where did that come from? Why does that look like a beating heart? You know, how does that look like veins and all of a sudden the rib cage you know the idea is the brain identifies with shape and so it starts to see something that's not even riel but all I did was change that color and build it and all of a sudden it's just start just taking over now at this stage I can do anything I can go back to my free transform I can make the wound bigger, I can swap the room wound around I can change the direction or not I can just keep working but this is we've got to start deciding a few things you've gotta start going is this working? Does this look really does this fit in here if it doesn't fit in here, take it off start again and now you can see as I'm starting to feather here's a little trick here I've gotta leave this texture because this texture looks like a skin age doesn't it? It's starting to look like his skin's dry pealed ripped apart rotting you know? So what even I put in there imagine if I can't meet if I got a carcass and I used that imagine if I took something with bones I have to make the applicable to the texture that I'm putting into the element that I'm using and then as I do this have a look this is what I discovered my food try when I started to get really good at this I looked at this and I was like oh see this branch here has a highlight and so instead ofthe rushing in like this and trying to make it look like it's growing try this and steered go back to here and go to your client's damp and instead extend with your client step down like this so it's growing in like that instead of a racing back so this is where I start cloning the branch down into his arm and then I can start going like this and then start feathering up into here so I go back the short cut for a racer is e for a racer and then I just start bringing in here just so you know when I do my creative at work I you know I don't share in the morning I get up in my pajamas I will un boots so put me here in a band I don't put makeup on I get really duty and artie and I want to smoke cigarettes and do crazy things like that like I like it how it used to when I was young and stupid and and I get this feeling like I'm really like yeah and I just love it and then I get lost in and then people will call me and I get really interview did and insular and I don't want to talk you know because I just want to create I get lost in this and before I know what I'm I find it really is absolutely amazing um you know experience to be lost in my sort of weird little creative self what I want to do is keep my shadows so I come up to here I wantto keep these here keep tuning your layer on and off looking what's underneath there keep having a look at those shadows and how they're applicable to the deep of your image which is really, really incredible. Does this look easy? Is everybody on board with me? Am I being too easy talk to may doing great people are saying just holy crap this amazed how fast and how how effective that is there was one quick question how you did the quick flip when you did the copy paste what was the shortcut for that where you were flipping thing? Oh yes. So when you go command thee and you put a layer on like that, then you go command tea, which is transform I just took this box here and flipped it there. Okay? So I just I just manipulated that box. All right? So now what I'm gonna do is I'm going to show you a little bit of dips. I think two things are not working. I love how it's cutting into his bicycle in looking fake I love how this area is looking like really skin chick that out that's looking papering the two things that are not working this here is too bright and when it's bright it comes forward when it's dark it goes back so I've gotta push that bright area back and this here is not working so I need to decide whether to take it off his bicep or blend it in but I want you to believe that this looks really and so in order to do that I've got to get to a stage where I feel like it looks riel so what I'm gonna do is I'm going to come up to my layer here I'm just going to go always my shortcut for dodging been I'm going to go to my boon till I'm going to burn at thirty percent on the mid type no on the highlights because mid tone highlight shed I was means it's just going to focus on burning the highlights I'm just going to burn in here I'm going to go to sixty because it is not enough it's not working for me and I just kind of dark in this area here okay? So I'm just I'm drawing what I'm doing is the wakame tablet is the ultimate purchase the way come tablet is allowing me to shade okay it's doing it very gradually you can see it but it's allowing me to darken it if it's not enough I'm going to go to my brush till I'm just going to select a little bit of color out of here you know I just like all to select and then I'm just going to brush in it say temper scene a little bit going should its client stamping on beef a brush all select in the maybe a bit of color like that I'm going to go to ten percent I'm going to make my brush smaller the short captain mason making your brush bigger and smaller is your breck it's a lot of people don't know that if you hold your live two fingers over your brackets if this camera can actually pick that up this is a really big one when you learn to photo shop I see people photoshopping with one hand all the time they're going back and forth back and forth photoshopped was designed for two hands this is my shortcut for my brush it's on my left finger I go live brass bigger breasts smaller breast bigger breasts smaller breasts bigger breasts smaller oh you know I'm working like that because to may I can work faster and definitely and the bracket is they're really good short cut for that so I'm here I'm just burning in taking it little highlight off because I'm trying to push this area back now I'm going to show you I don't think I'm doing a very good job of that I feel like it's looking fake I feel like that studying to stand out so I'm going to show you when I flatten it down and, yes, I'm going to flat in it when I'm happy with it, it's going to go flat, I want a flat meant to start working on my next layer. No, I'm not going to keep it life, you can keep yours life, but I don't keep my life, okay. I don't want a life, I don't want it to exist is a layer. I don't want to be working through multiple layers I want to illustrate, I want to be blown away by it, and trust me, when I get a section that I love, I just want I just want to keep steering it, and I'm like, look at this. This is just, oh, my god, are loving it so much like it really blows me away. When I believe it, I flatten it. I think they're going to be some people crying in the chat rooms.

Class Description

Bring your most imaginative ideas to life with Lara Jade and Sue Bryce's dynamic workshop on illustrative portraiture. This course will stimulate your creative senses and show you how to produce magnificent conceptual fine art portraits.

Lara Jade started her own lucrative career as an international fashion photographer by doing experimental self portraits, fine art and book covers. Sue Bryce is a multi award-winning Illustrative portrait photographer who specializes in creating beautiful images that look straight out of a fashion editorial. 

Lara and Sue will break down every step of their process — everything from scouting for creative props and settings to styling and shooting your portrait. Finally, this dream team will bring all the elements together in Photoshop and show you how to polish your raw photos into pieces of art that reflect your own unique imagination.

Reviews

Susie
 

fantastic to see Lara in this; she's so natural and inspirational, and so generous with her resources. I would love to see her do another course, maybe with Felix too as I love his lighting and creativity. More, please!