I'm gonna pull this out into its own document so I can show you what this is. This is a pattern of leather. I think I see some people getting this. Yeah, right? I'm telling you. So, rather than cloning skin or finding skin, leather makes an amazing skin. So this is, I'm gonna-- I would like to walk you through this. As I said, if you take the course, you will get this pattern. Let me find it real quick. Here it is. So what you want to do is, you just do a Command A. Go up to Edit, Define Pattern. It's gonna want to name it with whatever the file name is. So you may or may not want that. You may want to call it whatever you want. "Lisa's Happy Leathery Skin". Whatever you want to call it. It is now a pattern, I can now close that. I'm gonna close this, and I'm even gonna close this. Gonna go to my "Add a Adjustment Layer" option, I'm gonna click Pattern. Well sweet Jesus, that's huge, right? It's way too big. The file I gave you is big, just in case. So you're gonna wanna scale this dow...
n, and I mean way down, like maybe 10, maybe 15. It depends on your file size. All right, I'm gonna Option, click on the layer in between. Yeah, might even wanna go to 5, but who knows. Now, well yikes-a-rama, that's a little sharp. Sometimes you want to have it sharp. Have you guys ever done a shot and you've blown out something and you have no skin texture? ♪ Ahhhhhh ♪ Here's how you add it, all right. So, I'm gonna suggest we need to blur it. Uh-oh, what comes up here? You need to do one of two things. You need to either rasterize the layer or convert it to a smart object. I have to tell you, my preference is, I don't want it to be a smart object, I'd rather just rasterize it, and then if I need to refill it, I will. Please label it what it is. You know leather, what was the scale? That's what you want to label it. Was it 10, was it five? Because the minute I rasterize this, that's gonna go away. And I don't need to blur it a lot, maybe .5, maybe .8. Please put a black mask on it, Command I, to invert your mask if it's already got a white one. And then be gentle, be gentle. And paint it in. It might even need to be blurred a little more. When you paint it in, you might like what it's doing, but overall you want it less? Well, then just change your opacity of your layer to 50%. This can be done with a car. You can put paint texture. This can be done with a wall. So let's say that-- Remember that seamless we cleaned up with the guy's feet, the guy's legs? What if you really wanted to have that seamless texture? Pebble board on pattern, right here, and paint it in. You could do pebble board pattern and warp it, like twist it so the texture actually looks like it's bending. So, are you starting to think about this a little bit differently, a little about adding different elements, other textures? So the takeaways on this one are, again, dust and scratch. Did you guys notice, we did dust and scratch in two different spots? Did you notice that the legs, do you remember the legs? That dust and scratch on the legs was crazy, it was 40, zero. It was obliterated. The dust and scratch we tend to use on the detail or gray layers are small, small little moves. And then the 50% gray is awesome opossum sauce, and what we want to do with that is we want to be very gentle. Again, it's great for crow's feet, that kind of thing. Pattern fill, pattern fill's gonna be your favorite thing, I think, from now on. Well, it's my favorite thing, and we'll talk about that. I think that's all I want to show you on this image. Oh, well, I do want to say one other thing. I did a pattern fill (laughs). I'm laughing at myself. I wrote "new skin from a friend". It's not really new skin from a friend. It's new skin from there. There are stock images out there, where people have already made someone's skin absolutely perfect. What you want to do is place it in position. I could use those lips though. Anyway, that's another conversation. I'm gonna do something different, you guys. Once I've placed it in position, I'm gonna pull it out. Completely out of my file. I'm holding the option key, and I'm dragging it to the "Add a New Layer" icon and that is gonna let me take this here and put it in a different document. Do you remember those actions you're gonna get free with the class? I'm gonna run the basic frequency separation. I then gonna see my gray layer and I'm gonna say, "My New Little Friend". I'm gonna drag and drop, holding the Shift key, that texture layer into my file. She can go away. Look at those lips, I could use those. No I couldn't, it looks funny. I'm then gonna drag that into my frequency. I'm gonna turn off the pattern fill. One of the things you guys have to remember to do is link it. Option, click on the line in between. That's gonna be a big thing you guys are gonna forget, it's gotta be linked. You want these all happy together. I don't want her everywhere. She's-- never mind. Hold the Option key, click on "Add a Mask", take the paint brush. Oh, I need to adjust her. Do you see her nose is coming up? No big deal. Now, I want to be honest, on the screen resolution that you all are looking at, this is gonna be really hard to see, this stuff shows up on a print like I can't even tell you. For print work, all this detail that you're looking at shows up a lot. So now I've got skin texture running-- I'm sorry the screen's a little funny. Oh, I've got a little problem on the forehead. No big deal. I hope someone's having fun out there. I'm gonna paint it out. And you want your opacity of your brush to be 100%, maybe. Oh, we don't want her eyeball. So, as you can probably see, the trouble that's probably happening is she is not gonna fit everywhere I need her. Her forehead's gone, her cheeks-- So, do you remember when I did the lasso and I picked sections of the face up before? You're probably gonna want to do that with the gray as well. And just move it up. Like all I have to do, I can clone this or I can move it. But the idea is, you are not stuck with the shot you have, you can use other elements. All right, I'm gonna talk about other elements even more now, and you don't have to look at my tired face. Best thing right there, leather texture. Maybe that's where that phrase comes from, right? You know, skin like leather.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Retouch images using Photoshop’s frequency separation technique
- Swap and combine elements within a photograph
ABOUT LISA'S CLASS:
You will learn how to use frequency separation technique in Adobe Photoshop® to adjust, and swap out elements to enhance images. You can combine elements from different images to enhance a single image. For example, taking skin from one image to use on a blown out skin image. By separating the colors and details you can work on one element without affecting the other.
WHO THIS CLASS IS FOR:
- Intermediate to Advanced Adobe Photoshop Users
- Portrait photographers
Adobe Photoshop CC 2019
ABOUT YOUR INSTRUCTOR:
Lisa Carney is a high end retoucher who has spent over two decades working with the most dynamic players in the print, motion picture, and television industries.
Besides being a regular presenter at the Adobe MAX conference, her teaching roster runs the gamut from beginners to professional retouchers, and includes universities, design studios, movie studios, corporations, and private students.
Lisa has worked with all major movie studios and many television networks including Disney, Buena Vista, Paramount, 20th Century Fox, Fox Searchlight, Sony, Universal, Newline, Columbia, MGM, ABC Television, ESPN, TNT, CNN, CBS, CW,Warner Brothers and Sony.
Advertising credits include Burger King, Baskin-Robbins, Lowes, Jordana Cosmetics, Strategic Perceptions, Mattel, Chrysler, Mercedes, Mazda and Best Buy.