What I do want to mention is aside from just healing there are a couple of things that we can do. If you have gaps in the eyebrow, okay, we can fill those gaps a little bit, and I'll show you how to do that. I'm going to put a new blank layer, and I'll call this Eyebrow Gaps. Now you could obviously draw the eyelash, I mean eyebrow hairs, but you can also clone eyebrow hairs and then rotate it so it blends in perfectly. So I'll take my Clone brush. I'm going to sample over here. When I start brushing, it does line up, but if I Command T, rotate to match the shift of the eyebrow, what happens is suddenly I'm able to fill that as well. So I'll do that if she asks me, hey, could you please fill in all the eyebrows that are thinned out? So I'll do that, Command T, and then just rotate, and I can even put that somewhere else if I wanted to. Like so. So in just a quick step, you're able to fill in eyebrows, which adds a nice look as well, I think.
I like it. I didn't even notice it needed ...
doing until you did it. It looks really good.
Yep. Okay, so one other really neat tip is undereyes. Sometimes you have under eye lines. Sometimes you have areas that are a little bit rough. I'll show you how to tackle that really quickly. Usually the undereyes are a multi-complex problem because you have lines under the eyes and a thicker texture. What I typically will do is keep a little bit of those lines but lessen the texture. And the way that I do that is again, with a Clone brush. I'll select a new layer, I'll call it Undereyes, select my Clone brush. Now I'll keep my flow low, maybe 5%. I'll come over here underneath, I'll quickly just... A few strokes. And what happens is it softens up that texture just a little bit, but also it softens up the appearance of those lines without taking them away. So using one reference point to soften up another. Okay? Okay. So one other quick thing I want to show you before I go on to the next step, is going to be filling in areas like this. And that's the same thing that you did when you filled in the background. I'll sample areas that are closer to here, and then simply just fill it in like so. And what happens is it lessens the appearance of the background.
That's right, and so your flow is low and you're sampling from current and below.
Exactly. And I'm sampling right next to the hair as well.
So I don't have to pull from any other image.
The lighting will be consistent as well, because you're doing that. Great.
Fill In Hair.
It’s one thing to have a creative imagination but bringing your visions to life requires a specific skillset. You need to understand the technical challenges facing you to move from concept to planning production and finalizing your image. The amazingly talented duo of Bella Kotak and Pratik Naik will walk through every detail to creating your conceptual vision. Bella will help you understand how to evaluate locations and environment, pose your model, see color in a new way, and create beautiful props on a budget. Pratik will share his vast knowledge of color theory, color toning, and compositing images to streamline your retouching workflow. This class will offer an in-depth look at creative production and retouching process.
- How to concept and develop a scene
- Color theory and how it applies in camera and in post production
- Location practices to guide your eye toward beauty in common environments
- Communication tactics for collaborating with other artists
- Lighting techniques for composite images and fine art portraits
- Basic retouching of an image
- Color toning techniques in Capture One
- Compositing techniques for bringing an image together