Lecture 4

30 minutes
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Hello everybody and welcome to the fourth episode. Remember, the code is not over, we're going to play so much in this one. And we're going to start with the main hero of this. And it's man going to drag it to Photoshop. See the picture and put it in the printer room and close it. And now we want to cut the mat to be filling the image.

Using pen tool, here, and here, shoulder and here. Don't miss an apart. All right here, here, here, the elbow and here. shirt. Go into the hands. Yeah, okay, looks good.

Here, here. Here. I'm not gonna take the proof because I'm gonna put something else and we're gonna continue trousers. Here, every detail is betters every detail matters. here and here and here and go to the shoe. All right, it's good.

It's good. And the shoe just be patient. Okay. See the sport trousers can add up every curve. display, right? Take it a fun moment.

Here Here chokers again. We're also spare. And I show again. Here, here, here. Right? shoe All right.

Good. Are there over there? Because again, okay. here all right. 10 tools good. We got to close.

We gotta close, don't get bored. All right here and we're gonna take this part and I'm gonna deal with it with a stamp tool later. Okay, that's good. Okay, don't worry. We're almost there. And we'll get back to the shirt and the elbow by the shoulders.

Okay their curves here. Get back to the face. Here. Hey, the hair. Don't take it in one curve and also don't press on every detail in it. We're gonna do some hair later.

Don't worry about it and slightly Make Selection 0.8 feather and take it. Okay, there's so many things here we need to take it out. Here with the pen tool, gam it, okay. All right, take it here here. This one and also this. Okay, here, here and here, too.

It see the scary part. Get it out. All right here, deleted. Okay, layer mask, and we're gonna make selection for the PI contract one pixels good. And we're going to take out this white edge. Now in this layer mask, we did an invert, see, took it out sick time and to make it look better, and we're gonna continue to finally at the edge and restore what we need.

Here is a brush with the layer mask to do whatever you need and whenever you want. Here we're finding the edge. Okay, that's good and we're storing. Okay, that's better. I know the brush too small But you need to do this because it's already its size. It's too small so we need to do it this way.

Okay. I want to do this one, just take out this edge cried and we hear a small ledge or also take this one and with the shirt, but they're here. Okay, that's nice. Well, it's about Tobin and we're going to create a new layer clipping mask and use the step tool. Remember the speaker tab below. there and just fix it's too easy.

Fix this. And we're gonna merge it with the same layer, call it painter. It'll gonna make the Transform. Right and gonna resize it, make it smaller and make it a percentage of the width 87%. All right, that's perfect. All right, we're gonna get it to the back a little bit.

Like this. I'm gonna nudge it to the right, the back a bit to write more. But I want to get back to the group of the labs. And I want to make a slight change of the balance between the labs and the page. This story, Yeah, perfect. Let's see, that's better.

All right. See ya. Have a problem here. When we moved this groups, the curves moved and the old mess moved so we can do it by selected by selecting these parts and fill it with black, the curves and in this flare, fill it with black this place in this place with black and we're going to use this much tool to fill this up. Alright, that's cool. As you see the side it is shared and the brown bear stopped matching the theme of the shape.

So I'm gonna put some science in this room is a huge situation. All right, I'm gonna make some sign. Yeah, that's better. See difference? gives me more noise harmony, and more nice balance. All right, so we're gonna get back to the Pater, we're gonna draw some hair for him using the first tool and pressing on the shapes and dynamics and draw a little bit the pair to make the brush softer and the brush should be size one the smallest size.

Yeah, right here. The bed just make some curves. Some curly hair. Oh, yeah, so curly, here and here. All right, just to make it real for you. Okay, that's good.

And we're gonna merge it with a painter. And we're gonna get back and I want to put a clear here. Why do I want to do this. I want to save myself some efforts you know by fighting to make this fader live in the same boat so the players can help in this one, it's gonna help the painter to be in the same mood. So I've got to put it here, it's gonna put me some nice highlights in some effects. Color is gonna make the rest and use the curves to take out this part as we did before with the flares here.

Right, everybody lose their mask and delete these parts. I don't need it. Nice brush. Here, Sophie and Sophie. Take care out, take it out and then pay it. It's lovely there.

All right, that's good. And we're going to do features for a put it on the lab with a pivot. In here we go. And we take out the parts that we don't need, using the gradient from our hair from above, here and here. Yes, the difference. tops we get into the mood better.

Yeah, we delete some parts. Don't hesitate. You don't want something to be there. Just deleting get it out of there. All right. Use the brush to delete stuff and restore others.

Your store these circles of the flare right here. See, okay. And we're going to go and get some brace here. We're gonna put some brace on it. So we gotta get the ray file up and Photoshop. Okay, we're gonna features form and make it smaller.

And we'll get started to screen. put it beside the player. Yeah rasterize it and see transform again, get pivot here and just faded right there. All right, good. Bad. Here, up, down just switch.

Yeah, okay, okay, okay, we're gonna close. All right, that's it. We're gonna use the hue situation and get it colorized add more science to it to fit it, the more That's perfect. Layer Mask and we're gonna delete these harsh layers. Here, radiant takes out. All right, good.

Before and after. Okay, that's good. See before and after, for after. Yeah, it's a nice touch. Okay, we're going to group them and we'll call them players. That's good Pater.

We're going to touch a bird hip. And this is the nice part. So we're gonna create a new layer 50% gray, and make an overlay. gotta break the bird. And we're gonna start birding this guy. A little bit, the shadows.

You start your bird to increase the lights and increase the shadows and shadows here. Hear or shadows, more lights to increase the volume here some light. Here some shadows sunlight would do it how the light the shadows of the background, the whole more take this would take beta to it and a test like this here and here some light here at the wrinkles. gets more 3d more realistic. Love this. Right?

More More burn or burn don't burn too much. I see the sweat color. Don't worry about it. I know doesn't look that good, but we'll deal with it later. Don't worry, and some wrinkles. Just played good with wrinkles.

Don't wash it. Here in here. wrinkles. wanted to hear and hear. Here. Okay.

Right here, all the trousers. That here a little bit here. All right, that's good. Some shadows some shadows, more shadows or shadows on the wrinkles, more lights on wrinkles. Okay, play with it. Lovely.

Right and more the shoe more lights of the shoe. k c four and after. I'm not gonna tell you it was so flat but I think it was really flat. So when we put such a bird makes it more realistic. Good to hear it here. It's great seat for That's nice.

Write more and more and more. Here on the face. Yeah. Okay, we're getting close. Here. Okay, nice.

And we're gonna call it D, NB as number. Then we'll go to get the curves. And we're going to make it a little bit down. A bit shadowy. A little bit, a little bit. All right, layer mask inverted, and we're going to put some shadows in the shadow parts to make it more shadow here On the face to know the shirt.

Oh, the rate codes. This these are the parts that way from the light that takes more shadow. Don't hesitate to isn't it? The worry or shadow or shadow or shadow trousers. These are the ports away from the light. It's more shallow.

All right, it's good. Don't worry, everything is under control. Anything you do wrong, you can just control that and get it back. Here and here. Here. All right, are the Schuler pinup lights there.

Take it out. Okay. Some wrinkles just focus on the wrinkles. The lights get into the wrinkles. Different All right. Well, the face lit bit At the edge, okay.

See difference. That's beautiful. And also wrinkles at the edge. It's a little slight touch. See, see what I'm doing here. wrinkles needs some more lights to get into it to get more 3d more and more realistic.

All right, that's good. Here the edge again, and of the wrinkles. Yeah, that's lovely. I love okay. And now I'm gonna get the hue saturation. And I'm just gonna reduce the spread, take eyedropper, take half tones, plus eyedropper take all direct towards in his face, and in this head and just give it a little yellow.

A little bit. Yellow and the saturated a little bit. So this one is better. Okay, that's cool. And I'll get the curves. And I'm gonna make the red light.

Three light leads the most lighter parts ever like this. See? It's, it's gonna burn from the lights. But don't worry about it. We're going to show you how we deal with this. First you do this and you get the blending options and take it out from the blacks to keep only the highlights.

Yeah. See? All right, we got to make clear mask and the painter, get modify, contract and 1% our rim light and inverse it. See he gave me The outline or the painter, as a white, not not so white, but this lighted part of the painter. And I'm gonna play with it a little bit using the brush. I want this slide to get in side painted a bit and to reduce the slides a little bit.

How we do it, we just look at the lamps to see how the lights gonna be and just fiddle with it. See the sprinkles the light, we'll get into it a little bit. Here. still gonna be just an outline. There, okay, yeah, we're gonna use the pro blur tool to just softer this parts not to be so pixels. Okay, and we're gonna get back to the brush.

Hear hear some light we'll get into his shirt. See the wrinkles gets more 3d by the light. Okay, that's good. Give it its time Don't rush it at all. I think Don't rush at all because really don't rush it at all if you just want to do something so fast, don't do from the beginning I guess. So delete some parts that the lights are gonna be in it your coupler tool for this part goes the texture of this shirt or whatever it's called.

It's not going to be this harsh like the the other shirt. It's gotta be more smooth, more blurred. Okay, that we're gonna reduce some of the shadows. Just delete the spark or the shadow of the head. Right That's good. Out has more volume in realistic.

Nice shot here, delete from this part this part can have a light some of the trousers just reduces here a little bit okay and reduced on the shoe because it's far away from the light so it can have this this harsh red light. Take it out from here, and from there of course, no lights can be here. From the trousers because of the shadow of the shirt. Is the blurred tool for this one goes it will have some light but of course not that harsh light. Like the rest of the cloth. All right, that was the brush a little bit.

Okay, see how we do it easily, easily there. Just delete some of it and put also some of it to go dice with gray coals. Okay, that's good. Over there under a cold sunlight they're in here. Okay. 20% opacity will be really helpful.

Okay 4% now I love small details. I'm sorry I love this. So get a juice here and here are the trousers. And also here of course, can be shadow here. dododo no lights here. Reduce it here also, all the speed decreased.

Okay, here is all right brush a little bit the wrinkles we're gonna get some lights in it yeah the brush too small but least to be that size okay so there other Aiko bed just need to be blended better. Okay, it's getting better and better. And now delete this part its way from the light and also this part just reduced the Agilent bed here Okay, here All right, we're getting close. Don't worry about it. We're almost there. All right, see difference.

See this red light? Yeah, love this. All right. Then we're gonna create a new layer to test the light that the areas didn't catch it before. And it was too dark, like the hair here. So we're gonna put some lights and make sure it's normal.

This time, not so polite or overly, it's normal. And we're gonna use the brush with a white color. 50% of pasty now 40 Okay, and can I reduce from the rim light layer a little bit from the hair and put some touches here. Okay. took a good look. And now we're gonna put some color balance, cute shadows, and we're gonna increase a little bit of blue and style to get it more and more and more of the palette highlights some science and difference.

It's too slight, but it's better, it's better if new sub curves to darken a little bit like this, why we did this why we did curves in the new layer, because if we did it in the same curves layer we did before it's gonna be so shadows gonna be burned of the shadow so we can choose the way we need to use it on another layer. And we're going to use layer mask using the brush to put in the shadow parts, so Have it Don't worry about this reddish color. We're gonna deal with it as the day before. And here the hands bit on the cloth. Don't worry about any harsh Everything is under control. Okay, and here on the closed again.

All right on the trousers on the shoe, okay, we're getting close in here with the wrinkles. Be careful with the wrinkles, some shadows and some highlights at the edges. Here here, okay. Some details over there. Okay, and at the edge again. Let's go well right see after and before.

That's good. All right, that's good. And we're gonna make Hue Saturation to reduce the color of the red. This for half tones and the plus for all the Reds in the heads in the face, every red in the painter and some yellow and the saturated. Lord this time I negative 23 make it reduced to light a little bit. Okay, see that's better.

It's really better. Okay. Get the curves and reduce the highlights a little bit. Yeah, like this and the shadows also a little bit to reduce the contrast. And this way is better and more professional than the brightness and contrast. It's the watch, so I'm gonna make 50% That's good.

Okay, it's poor. And after that I'm gonna again, select a color and bring the blacks in negative three for the yellow to make it more blue. Yeah, that's good. So, I think I'm going to create a new layer, a new layer. There's a wrinkle on the clothes, I wanna presses the lights in it make soft light and go to the sprinkles. See, this one's got the brushed to be soaked enough to suppresses the lights here, here and here.

As I said, the small details matters. It's too important here and here. And this will catch light so I can't miss it. right here and right here. Okay. That's good for me.

I sleep for before and after. Yeah, that's good touch. That's amazing. Okay, and I'm gonna get back to lunch and burn. Got the contrast took some blacks. So I'm gonna get it back some shadows.

Here on the clothes. Here are the wrinkles. Right? That's good. shirt. Okay, I'm gonna get the curves again.

And I'm gonna make it more darken a little bit. For the hands, cause became a little bit flat. So I'm gonna make it more real. A little bit darker. Okay, and this before and after, I'm gonna call it Okay, that's better. That's better.

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