Filters and Smart Objects

Lesson 20 of 21

Logos with Alien Skin Software

 

Filters and Smart Objects

Lesson 20 of 21

Logos with Alien Skin Software

 

Lesson Info

Logos with Alien Skin Software

(Simon) So this was 3D before I knew you could extrude with Alien Skin, I just did a quick 3D, and I'm not that good at it, couldn't replicate it, but somehow I landed on my feet on this one. (Lisa) Well, and also, the extrusion, let's be clear about this, the extrusion you can do in a 3D software is way more sophisticated than that Alien Skin is meant to be. So it is gonna garner different results. So be clear about it, they're not the same, but you might get away with one versus the other. If I'd have known Alien Skin could do that, that's all the further I would have looked into it. Interesting. Alright. Did that, and then-- Well it's certainly fast enough to try, isn't it. With Alien Skin, you try it in two minutes, and if it's not quite the extrusion you need, you can go ahead and go into a more sophisticated program, it takes more time. (Simon) So when the Alien Skin did just some, the real easy chroming one the back bevel, that's on and off. Now what, and it did the ...

chroming. You've seen us do that. (Lisa) Right, so it's just the face plate. I keep saying face plate, so when I say face plate, it's the piece that is sitting on the top of the extrusion. (Simon) After that I just duplicated it up, and put it on Linear Dodge, which is gonna lighten stuff. Linear Dodge will, alls Color Dodge and Linear Dodge will not only screen things and make it lighter, but it'll saturate the color so it actually gains. So that's why I do it like that. Could you put that on Normal for a second, cause I wanna talk about this. Alright, this is the difference between him and I, and I think it's why he is known more for this kind of technique then I would be, in our business, is because he will do that extra step and it may not look like much, but when he shifts that layer of the duplicate on Linear Dodge back to Linear Dodge it just adds that kiss of extraness and this is what separates folks from their style and their ability to do that extra little click click. Yeah. - So, it's nice. Well, this is the ballerina stuff. I keep pushin' it, pushin' it, pushin' it, pushin' it until I lose traction and just go off the cliff, and then... Casan reels him back in. And then I give it back to Lisa, and she goes, "Yeah, let's just put this back on here." Yeah. Now it's presentable. And from there, uh, this is more of a golden. I added two hue saturations, one called Greening makes it green, so there's your green color all saturated out, and that's on Normal. Yeah, and once again, one of the things I don't know if you noticed in the software. You can pick colors, but, I keep saying this a hundred times today, we tend to do our coloring outside. Because other people are making the decision not us, and we'd just prefer it to be more flexible, and computer processing-wise, this takes way less energy to just change the color there then to re-open a smart filter and re-render out, it takes longer. So this is just a faster of making adjustments. This is my two colors that I put in. So one goes green, this is on Normal. It's, uh, 55%, and then the second one is my predominant color, so I know I want it blue, but I put it on Overlay. Overlay, again, is going to get us saturation and it's gonna get a contrast to it. So between these two... (Lisa) Will you put that on Normal for a second so they can see the difference? (Simon) Yeah. (Lisa) Excellent, this is again, I know we've talked a lot about blending modes today because, it's amazing, one little blending mode shift, you shift that back to Normal and the to Overlay again, it's, it's totally different. Like that looks like colorized, and then that looks like something else and there's something about, and you'll see this on a print especially, it just has more of a four color patina. (Simon) It's not just a flat color, so you pick up... (Lisa) I'm going to say something here. (Simon) Go ahead. (Lisa) So there's a super hero that's got a cape that's very famous and it's a cartoon and it's very popular and there was this logo out that was all done with this software many years ago and it looks kind of similar to this I just can't quite remember which... I did that logo before Alien Skin came out. What'd you do it in? Um, Gradient Maps. Oh, you did it by hand. And the photoshop chrome filter. Oh, so he did do it.- But I would do a piece, bring it in over the s, hopefully it was big enough. That's why when Alien Skin came out I was the hugest fan cause I knew how hard it was, how time intensive it was to do it by hand. How difficult it was, and then I saw this happened? I was like, "Oh this is fantastic." So I want to, he has coined a phrase that I would like to share with you guys, it's called the $500 filter. So, do you know how we did the sharpening? That high pass on Linear Light? Well in the old days what we used to have to do to sharpen some, a figure, that was a low-res unit shot is we would make, put a gray layer on paint with light or dark to give the illusion of sharpness and it was a $500 fee, basically, for someone to hand-paint the entire character and we're not going to mention names, of course, but when you figured out how to do that that became the $500 filter because quite literally you would apply that filter and then they would send the job in and that would be billed $ for the illustration of the sharpening. It was a long time ago. So as soon as you get a filter to do it for you you still get to charge the 500 bucks, but it only takes 40 secs to do. So Alien Skin became the $500 filter, after a while. Yay. Cool, so I think we are gonna have to move on here. Alright. Do you feel like doin' that shot or you wanna let it go? Yeah let's see, so, and then (Lisa) Maybe just delete everything above it just to keep some cleanliness. (Simon) Oh my stars. (Lisa) Oh my, get rid of all that stuff that doesn't matter. Throw it away. (Simon) Okay. (Lisa) Do you see how we work? Clean your kitchen. (Simon) Uh-huh, and I wanna have my small black shadows. So this shows the shadows starting from the top. So it kind of looks like the backdrop is falling away from it and it's just a little extra loveliness... (Lisa) Which you can not do with the photoshop drop shadow, If you do a photoshop drop shadow it's not gonna gonna be tilted from top it only goes offset. So you kinda got to trick it, ooov, flip the selection like I showed you. However this is what it looks like when it's successful. When it's done beautifully. Excellent. And it's a great trick. So, again, it's a drop shadow in Eye Candy only you flip the layer first. Now one of the things, and this is a work habit and it's not good, bad, it's just different. When Alien Skin first came out you had to use a selection to these files. Well now you don't, you can actually do it on a layer and have it be flexible because of smart filters and what-not, so I don't use selections cause I don't have to, he does because he's used to it. That's how Alien Skin used to work best, and so it's just a different work method. And this, aw, this has the gold and silver on it too. Remember how you were saying face plate and then you're back? (Lisa) Oh right. (Simon) So I did that and it just, it adds a little bit of nice to it. (Lisa) 100%. !00%. Change your color.

Class Description

Learn how filters and smart objects can enhance your images when you incorporate them into your retouching workflow. Make adjustments to your file without overwriting your original image. Professional high-end retoucher Lisa Carney will show you the many tools within filters and how to use them to improve and speed up your post-processing workflow. You’ll learn about:

  • Transforming edit functions
  • Camera Raw Techniques
  • Understanding Liquify
  • Blur and distort techniques
  • Adding textures and stylized looks
  • Incorporating third party plugins into Photoshop® like Alien Skin Software and Nik

Gain more control over your portraits or product retouching by understanding and incorporating filters and smart objects.

Reviews

Pat Saizan
 

This is one of the best courses I have taken on Creative Live. Just amazing. This is geared towards intermediate to advanced Photoshop users. So happy to see an advanced class!! Very happy to see Alien Skin being used as a part of this course. Highly recommend this course.

a Creativelive Student
 

I can't say enough about this class. I am looking forward to watching this again and applying all I have learned at my leisure. Lisa Carney is am amazing instructor and I loved Simon as well, they did an awesome job! Just the handouts alone are well worth the price of the class. Thanks for another class filled with excellent content and lots of laughter. I own all of her classes and will certainly purchase any other's she instructs. Way to go Lisa! Well done and Exceptional!

Jeph DeLorme
 

Great class presented in a way that keeps your attention. This class is packed full of fun ideas with a ton of great take-aways for your 'bag of tricks! I would recommend this class 100%!