Practical Uses of Face-Aware Liquify
Let's talk about practical applications for this, right? Of course, everything that I've been doing that's a little bit silly. You guys, we're seeing some of the practical you're thinking about it, and you're, like, in your head that, you know, what could the practical applications of this being I know that there are many, um, but I want to just talk about some real world requests that I get. All right, So, um, when I'm not doing high when I'm not doing beauty retouching, I'll do head shots in Washington, D. C. That's kind of, you know, my other bread and butter that. And I cannot tell you how many businessmen and women come in and say, You know, I was really disappointed about picture day. You know? You know, I've gained £15 or whatever, so anything that you want to dio bringing in, you know, the double chin or whatever, please feel free. And so I get that a lot. And the other thing that I get is can you add hair back in? So those are my two real world examples that I'm gonna country ...
teach you a little bit of a little bit of a fix for, um, so we'll go ahead and just as we did before, duplicate the background layer and we'll name this liquefy and remember, especially in a corporate setting. Or any time you're dealing with a client, you want to make sure that the client is the one who is requesting these these changes, right? You're not going to go overboard. Where, When? When The client is not asking for specific changes and kind of make them look like a new person. Um, I know you guys know that. Okay, so we've got our liquefy layer here, so let's take this back into filter liquefy it registers are face. And so what I'd like to do in this situation is I'd like to just bring down the hairline just a little bit, because sometimes they'll say, you know, my hairline is receding. Is there any way to just bring it back just a little bit? Um, yes, there is. And then the other thing that I want to just to tell you, is if you, for some reason don't think that it went far enough, you can always accept these changes and then take the exact same layer back into filter and back into liquefy and do the exact same thing again, which is going to, um, which is going to make the change two times as visible. Okay, so if you guys wanted to do that, that's your work around. In case you're like, Ah, this is great. But it just didn't do enough of what I needed it to dio you can then just accept and then go back and redo exactly the same thing. All right? The other thing that I want to talk a little bit about is our face shape. So if you've ever had by a show of hands has anybody had a client that's come in and said, I need you to get some some of the you know, some, like, Let's shave off a few pounds there, right? Yeah. So you can You can taken the sides of the face if you want to do that, and then you can take in the jaw line just a bit as well, Okay? And I'll hit p for preview to show the before in the after. Okay, It looks like that hairline went a little bit higher than I wanted it to. So there we go. So there's the before in the after and again if for some reason your your overlay of your face is annoying you you can just turn it off by holding by unq licking this show face overlay button And then we've got our, um, r p for preview right before after before after. So this is where I think a lot of people would take that, um, that jaw getting rid of that double chin and just leave it there and be like I did it right. Well, I wanna teach you on additional a little trick that doesn't have to do with face aware liquefy, um that I think is really important when it comes to double chins. And this is double chins are one of the like, hardest things to retouch because they're they're just so frustrating. But so even back in the day from old photography, One of the techniques that's been tried and true for hundreds of years is if you want to make something look closer to camera, you brighten it. If you want something to look further away from camera, you darken it. So we've done the liquefy portion of morphing the pixels in. But let's do a little bit of also dodging and burning or darkening that area to visually make it look like that area of the jaw is further away. And that's what a lot of people forget when they're retouching double chins. Okay, they they just do that liquefy, and that's fine. But you still want to chisel it out and just add a little bit of shadow down there. And makeup artists do this as well. They just call it contouring. Okay, so what they do is they contour certain areas like the side of the nose and the jaw online and underneath the cheekbones, which is all creating the the image of three dimension on a two dimensional picture photograph. Two dimensional. Right. But we we get to trick your eye a little bit. So the way to do that is to come up to our adjustments. Um, box appear will choose hue saturation. We're going to decrease the saturation just slightly about half, and then we'll change the blend mode of our hue saturation from normal to multiply to darken. Then we're going to name this burn. Is that right? No. Okay, that'd be okay. I'm words or not, my strong suit. All right. Deep de saturate that a little bit more. Then we'll quick on the mask of our burn layer and hit commander control I to invert that all right will come into our under chin area here. And then we'll use our brush tool be for brush tool to paint with, let's say, a 30% opacity and 30% flow. That's too high. 20% and 25%. So what I'm doing is I'm painting this under area to create the illusion of a little bit more shadow, thus pushing it back as if it were further away from the camera right along that jawline. Okay, so we've got our before and our after, and you can see how that seems to push back that area underneath the chin. Okay, so between the liquefy. But so this is our two pronged approach for double chins, right? Between the liquefy and the burning and shadowing of that area down there, we've got this is our before and our after and it and check this out, using your peripheral vision, right? Look right here with your eyes and then just kind of watched the before and the after it works, huh? So even though this wasn't all face aware, liquefied, this is going to be a real world example. And And if I hadn't taught you the second pronged, the second attack, you know you've got your first attack, which is liquefied, but then also doing that secondary attack to really make it look realistic and nice. Yeah, so that's kind of the secondary, um, secondary approach.