Cassiopeia - Fantasy Manipulation (Andrei Oprinca) | Andrei Oprinca | Skillshare

Cassiopeia - Fantasy Manipulation (Andrei Oprinca)

Andrei Oprinca, Graphic designer

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2 Lessons (1h 18m)
    • 1. Cassiopeia Photoshop DEMO

      8:24
    • 2. Cassiopeia Full Tutorial

      69:38

About This Class

In this video I will show you how to create a beautiful fantasy manipulation in Photoshop using a few free stock images. This tutorial was made using Photoshop CC but it can be made using previous CS versions.

Key topics covered in this tutorial

Skin retouching

You will learn how to smoothen skin using tools and filters and get a beautiful soft and fantasy looking portrait.

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Hair masking

Extract hair from the background quickly and easily without losing any details and without complicated masks.

0cba5baf

Color correction

Remove color casts using selective adjustments and blend modes to recover the true colors.

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Color effects

Create beautiful final color and light effects using Camera RAW and a few adjustment layer.

1ac31927

Transcripts

1. Cassiopeia Photoshop DEMO: Hey, guys. Welcome to new for shop tutorial. This is Andre from PST box. And today I would like to show you how I made this manipulation in photo shop. Let me show you the full image. This is the full artwork. The final result. And I'd like to show you how I made this. It's, Ah, an intermediate manipulation tutorial. Not really difficult. I just used a few stock images the model and will make some basic makeup. So here on the eyes and a bit here on the lips and some skin treatment using, um, using the mixer brush still and some while just regular, um, regular manipulation techniques that I showed on previous tutorials. So I hope you will like this and let's jump right into it. First, I'd like to mention that I switched to this black version a full shop because it's less stressful for the eyes, especially at night. I also updated my full shops CC version to 2015 which changes a bit. The interface. Ah, it's a bit more flat. I think the icons changed a bit, and also they changed the location of the move to another. It's icon. If you take a look at the CS six, you can see how the move to listen in on the left side, it doesn't seem like much, but I was used to having it here on the right side and sometimes bothers me to have it there on the last time. But anyways, um, also the this new version of four shop Sisi has the oil paint filter back. A lot of users wanted that filter back, including myself, but for some reason, I can't use it. Um, it's here on the stylized is not here on the list. Like the reason for the shop. See CSX, for example. It's here inside a stylized list and you can see here oil paint. But it's great out. And that's because in the preferences on the performance I do not. I cannot enable open jail a c l Sorry, I cannot activate it for some reason. Maybe because I have to update my operating system. Um, I have version 10.95 which is a bit up outdated. Um, anyways, I use the oil paint filter here on four shops here. Six and that's it. So Well, let's let's get started with this. The first thing I want to do is start with my stock image, which is a pre made stock image from Debian Art, which is this one. It was just carpet. The only thing that I did to this is I blurred a bit. This part, this part of it let me show how I did that on this is how I blurred it. As you can see there it's really easy. What I did is I just unlocked the background. I created the litter mosque, got the, um this Grady in tool and here are just created a greedy in from where I wanted to blurred image, which is from here. And then it just dragged up like that, passing the well the boundaries of the canvas like so. And then I be activated this letter mosque by pressing shift and clicking on it and then select the layer itself and go to filter. And then I went to lens will not to blur and lens blur. And the reason why I created that layer mosque is because now I can use that later mosque as a depth map. And here we're see depth, map source change This to layer mosque and it will use that layer mask that you have well, right there. Two to blurrier image. The only problem that we have here, that it's inverted against the top. It's not blurred, and the bottom is and I wanted inverted talking. Invert and you'll see how. Now this part is in focus and this thing here starts to gradually fade while to be out of focus. So what I will do now it's probably changes to triangle. I think it will make it fast and start painting over it. Um, I want a sample more saturated tone. Yeah, like that. The next thing I want to do is drop your passage in the floor of the brushed about 50 50 and 50 and just paint over the hair like that. You can see it also effects. It also affects the Bagram. But also, you have to do your trick to keep the collar on lee over the hair and not without even using a layer mask. You'll see that in just a second. So the first thing I wanted to just make sure you have the right color, and in that it matches. Okay, I'm gonna leave it like that and I'll change the opacity. Now, let's say about 30%. And if you want to change the tone of this, you can select the letter itself. Press control, command. You open the hue saturation and use a hue slider. I'm gonna live it roughly there minus two and see the before and after. If you think it's too strong, you can still tweet this more. If you want the next step, you have to make sure that you have everything as you like. Eso check and double check everything the skin, the layers and everything here to make sure that everything is OK and that you don't have any that I have your create a new one and I'll name it woman shadow and get the brush to use the dark one of the black color and I painted shadow shadows on all a lot of my two tours and this is how I do it, I said the opacity and flow to about 50 or 40 and 50 opacity and flow and I use the about 30 40% strength on the brush, and I used medium sized brush and just start painting like that under you can see most of the brush body to say that way. It's under while on the out on the top part of the dress, and it's just sticking out just a bit there on the edge. And I make multiple passes and against see how I start building up the shadow. This is just the first shadow that I create, too, where that dress touches the ground, it has to be a bit more intense, like so and now I'll decrease capacity to 10 and the flow to about 30 receive. Maybe that's side of it. So I'll set it to minus six just to add a bit off soft Hayes on the image and a bit more light. And I click OK, and you'll see that change before and after. You can see we start to get that bright and a bit colder tone they'll have on the original image, and that's pretty much it now. What I'm going to do is as some adjustment layers to add even more tones and even more effects to this. So for the final adjustments, alacrity group and only Mitt, final adjustments and inside of here have the adjustments that I will create. And the 1st 1 is a curves adjustment and I would just is just too great The split stone effect. I'll get this bottom points or first go to the curves onto the Blue Channel. Sorry, get the bottom left point. 2. Cassiopeia Full Tutorial: Hey, guys. Welcome to new for shop tutorial. This is Andre from PST box. And today I would like to show you how I made this manipulation in photo shop. Let me show you the full image. This is the full artwork. The final result. And I'd like to show you how I made this. It's Ah, intermediate manipulation tutorial. Not really difficult. I just used a few stock images, the model, and we'll make some basic makeup. So here on the eyes and the bit here on the lips and some skin treatment using, um, using the mixer brush still and some while just regular, um, regular manipulation techniques that I showed on previous tutorials. So I hope you will like this and let's jump right into it. First, I'd like to mention that I switched to this black version full shop because it's less stressful for the eyes, especially at night. I also updated my full shops CC version to 2015 which changes a bit. The interface. Ah, it's a bit more flat. I think the icons changed a bit and also they changed the location of the move to another. It's icon. If you take a look at the CS six. You can see how the move to listen out on the left side. It doesn't seem like much, but I was used to having it here on the right side of it sometimes bothers me to have it there on the last type of anyways. Also the this new version of four shops. Sisi has the oil paint filter back A lot of users. I wanted that filter back, including myself, but for some reason, I can't use it. Um, it's here on the stylized is not here on the list like the reason for the shop. See CSX, for example. It's here inside a stylized list and you can see here oil paint. But it's great out. And that's because in the preferences on the performance I do not. I cannot enable open jail a C L. Sorry, I cannot activate it for some reason. Maybe because I have to update my operating system. Um, I have version 10.95 which is a bit up outdated. Um, anyways, I use the oil paint fielder here on four shops here. Six and that's it. So Well, let's let's get started with this The first thing I want to do is start with my stock image , which is a pre made stock image from deviant art, which is this one. It was just carpet. The only thing that I did to this is I blurred a bit. This part, this part of it let me show how I did that on this is how I blurred it. As you can see there it's really easy. What I did is I just unlocked the background. I created the litter mosque. Got the, um this Grady in tool on Dhere just created the Grady in from where I wanted to blur the image which is from here. And then it just dragged up like that, passing the well, the boundaries of the canvas like so. And then I be activated this letter mosque by pressing shift and clicking on it and then select the layer itself and go to filter. And then I went to lens will not to blur and lens blur. And the reason why I created that layer mosque is because now I can use that later mosque as a depth map. And here we're see depth, map source change this later mosque, and it will use that layer mask that you have well right there. Two to blurrier image. The only problem that we have here, that it's inverted against the top. It's not blurred, and the bottom is and I wanted inverted talking. Invert and you'll see how. Now this part is in focus and this thing here starts to gradually fade while to be out of focus. So what I will do now it's probably changes to Triangle. I think it will make it a bit faster, the this blurring thing. And I just increase the blur here to whatever amount you want. I didn't change the speculum highlights. Anything here just left it to the default. I just wanted to blur the bank around a bit and take a look at the before and after, especially the top are here. This is just to focus a bit attention here on the center. And now I can believe this layer mask and no longer needed Uh, let's close this. So while this is the image that I used for this for this tutorial, the next thing that I want to do is open my model so we'll go to my stock folder, all the images used for this tutorial in our inside the stock, full or so, if you go there, you will find the image. So this is the image that I used. What I will do is, um, let's see if it's well, it's too big for this camera. So what I will do before pasting it here and make it make it smaller. I will create the Layer Mosque right here because it's a high resolution and it's a lot better to do it that way. So what I will do is get the quick selection tool. I guess I will use and select a woman that's pretty easy to separated from the background. So go bit quick here. All I'm I'm doing just painting over this, too. Just select the dress of the woman and here with the Auld Kikkan you can see when I click it. When I pressed the Olcay story that turns into a minus inside that circle the brush and paint that I can faint out areas that I don't then I don't need to have selected Anyways. I'll refine this with the refined edge, but it's trying it. The selection as good as we can. Like so zooming of it here with the Alz when you present all key in, uh, use the mouse will, you can zoom in and out. Let's include the hair and everything here. Don't worry too much about the hair. This part here that you see, I'm I'm missing. I'm not selecting. Um we will use another technique to recover the hair that we that we lose. Okay, so this is my rough selection. Let's make it a bit better, right here and next. What I will do is quick the layer mask icon, and that gets ah, the way. Get rid of the background. And what I will do now is, um, feel create another later below the the model later. And Philly with the collar. Whatever color you want. I'm going to use a call that I will sample from here just so that I I have something similar to the original background that I will put this on. Fill this and that way I can see the edges a lot better. And what I will do now is right. Click on the layer mosque and choose refine mask if you have an older version of photo shop . Just load control Quick Little Mosque and then get any selection tool from here. And she's refined edge and that's it. It's exactly the same thing as the refined mask. And what I would do here is maybe increase the father a bit about a couple of pixels, shift the edge on the negative side, so I can also I delete part of the edge there and increase the contrast to sharpen it. And you can see how that sharpens damage. Do not over sharpen the edges That will not look realistic. Anyways, we're gonna make this image smaller. And when you make things smaller, edges become a bit sharper. Eso probably a little more about 34% and smoothness. I will not touch it. They think it will start as he here on the corners special. Right here starts add content there. That's what the smoothness does for increases a lot. We will see what happens. See that and is not what I want. Anyways, we will refine those areas. I just want the the overall Agassi of the general edges to be, uh, fairly good, like you can see here on the on the woman's back. I said the L Patou later mosque and click. OK, and now what I will do is with the move to I'll click on the layer here on their zero where my model is. Click and drag it to my other tab, which is where I have this background image and let go, and now I can make it smaller. Press control Command T. You can see it brings the layer mosque as well. That's how you can move layers between documents. So now I press control de or command T on a Mac press and hold of shifty or simply locked this here. And you can make this while the model smaller and and right click and choose flip horizontal because we wanted to face the right side of the campus and and, let's say, about 42%. I think it's OK. Let's take a look at the original and see how that looked about to about half the on the canvas size here. So it's do it again with horizontally. Lock it, Andi make her a bit smaller. Yeah, I was livid at 50% like so and like that and put her right there like so great. Now we have to deal with hair before we do anything else. So well, let's first name the layers model on this is BG for background on. We will delete the original back on later. We don't need it. And now, in order to get the hair and recover everything here, we have to create a copy of the model. There's all compress control. Command J and the model the model copy layer are rename it to hair, and I'll drag it under my model air. And this is Danny that I already explained and showing other two tours that I made. Um, now I'll deactivate the model later and the hair lier. What I will do with this is the saturated. So go to image adjustments, the saturate, and I'll change the blend mode of it to multiply. And I'll delete this layer mask that have here. I'll delete it like so, and I can see we have the hair here. In this case, the background of this image was a solid color, which helped a lot to achieve. The fact that I want to get and what I want to do now is because I said this to multiply in order to get the background here to go away, I have to increase the brightness of it. And the hair is black, which helps If, uh, the woman had blond hair, there will be a bit more difficult. So what I'll denounce press controlled meant ELT open levels and increase while this highlight slider move. It onda me tones not too much and maybe the darks a bit, but not too much either. Especially the highlights Here. I'll leave it like this for now. I'm not worried about anything. The woman's body just the hair. This part's over here and right here, which is the difficult part. Okay, so I live it like this for now and I'll create a layer mask now another layer mosque. And what I will do is press Well, it's like the brush tool and just get rid of the edges here, make sure we paint with capacity and flew 100% and just get rid of the off the and just like that and we're not done with this yet. What I will do next is reactivate the model there, and now you can see part of the hair is visible. Now we recover that hair right there. This is from the below. You can see that we still have this dark area here because we did not, um, got rid of it completely. So we still have to use levels again. But let's select the layer mask of the model there, which is on top. And now I'll get the brush toe. I'll use a smaller brush and all of the areas that you see here that I have this blue background brush over that. Make sure you don't touch the hand while the woman's arms, if necessary, increase of it. Hardness of the brush and just brain like that over this part of the hair have to be careful here, where you where the woman's arms and and start. Because you don't wanna brush over that, you'll make it well, go away. And that's not what we want to want to keep that we just want to get rid of the Bagram here , since it's a straight line. What? I will do it quick here once press and hold the shift key and just click here, and that's it that create a straight line for my well with my brush, and that's how I got rid of that. Okay, let's do the same here. You'll see that we have a problem, but also you have to fix that, which is the collar? Um, we lose the color of the hair. Here. You can see it's black, and here is Brown. I'll show you how to fix that later on. But for now, let's get rid of the blue background here. You could use other methods. For example, if you only want to select the bag on and not do this the way I'm doing it with the brush, you can use a selective collar if you want, and just like that range of tones. But I don't think it's necessary. At least I like to do it this way. It's not really a big area, and we're not aiming for precision here. We just get rid of the of that black background. That's it. Not nothing else. Okay, so it's we live it like this year and well still have some areas around here. Great. Now you can see what we recovered. Pretty much everything here, all the hairs, and that's that's great. Now as I said that the problem that we still have is that you can take a look here. It's that dark area. So what we can do now is we can either use the levels again. So So let the hair there again and press control, comment Elle and opened the levels again and move the slider. The problem that we could have here is that if we increase, there's you can see the tips off the hair start to vanish. Uh and I don't want to lose detail there. So what I will do instead is select its layer mosque, get the brush to and said the capacity and flow in the flow right here on top to about 50 and 50 and use a big brush. Not too big, because we don't want toe brush by accident. Here this little strands of hair there, So ah, use a medium brush, Harden said zero. And I just brained with with black over this areas here to just ah blend a bit better. This area here and here as well on the this side off the on the left side of the body is not really that important, because well, It's not visible because the darker okay, you can see here. This line, this is from the, um they're below because, uh, we shifted the edges a bit, so just make sure you get rid of that as well. I think so. And everything here should go away. We just want the the bottom layer four for these. For the hair there. So did it. Every everything else. Okay, so that's how I kept the here. Now we were done. But we have ah, problem. Like I said, which is? The hair is not. While you can see the color of it is not really nice. And also here on the on this hand, you can see we have this skin tone here, but it starts to look like bluish and this part of the dress as well. So the nice thing that we're going to do is fix this color problems. So let's start working on the dress. First, I'll create a hue saturation adjustment layer above the model later, and I'll clip. I'll clip this to the model, thereby right click and choose create clipping mask, or it's a lot faster if you just press and hold the bulky and put the mass between the two layers and click and you will create the clipping mask. Or if you click this button here, you will also create and release the clipping mask. That way we only affect the model there. And now what I want to do is I want to have this dress to be white. I'm not sure if I think while the color I think the true color of it is white, as I see right here. So what I will do is I could select the color here from the master, choose science, for example. But I think it will be more accurate if you just use this hand. I can sample the color that you want to change in this case, is the science right here against? He automatically chooses the color range for us. We can modify this and make it. Why their order? Narrower if you want. But I live it like that, and the only thing that I will do now is just dropped capacity and that's it. You can see it's not affecting the it's not affecting the skin tones. It does affect a bit. You can see right here and also part of the color casts right here on the on a woman's hand , which is nice. So I live it like that and just, let's say, minus 50 or something like that Look nice. I don't make it too great like that. I just I still want to keep some of that caste and probably increase a bit. The lightness of it like that. I will make it look a bit more more uniform in terms, off color. The next thing that I want to do is deal with the hair colored. I'll christen you later and what I will do. Just sample a call from the hair itself like that, using the panto All click and I'll change the banner of this letter to call her and start painting over it. Um, I want to sample a more saturated tone. Yeah, like that. The next thing I want to do is drop their passage in the flow of the brushed about 50 50 and 50 and just paint over the hair like that. You can see it also effects. It also affects the Bagram, but also you have to do your trick to keep the collar on Lee over the hair and not without even using a layer mask. You'll see that in just a second. So the first thing one of theirs just make sure you have the right color and that it matches if it doesn't match exactly what it can express controlled mint, you to open the hue saturation and maybe saturated the Whitmore or make it a bit darker. Let's leave it like idiots right there. And I'm not gonna touch the huge and I'll click. OK, now, um, I would do the same thing right here, so paint over this part as well. And this is how this is what I did to, um, to keep the the car over the hair alone. If I deactivate the square where I painted, you can see that the hair is dark so I could use the properties of the layer to Theo to do that. The first thing. One of those rename this to hair color and I'll DoubleClick delivered to open the later styles panel. And here on the blending options here on the bottom, you can see we have blend if and we have this drop down this which allows us to choose, Um, the Jews channels. We live this to gray and remember that now the the background off the off the hair is white . That's why it is not visible here, so we can use that now. We can say if the underlying layer is white, do not blend this color. And if in fact, if I move this slider to the right to the left sorry, you will see how the color would start to disappear here on the Bagram. I won't only be visible here on the hair. Take a look. See that and for fine adjustments. If you present, hold the bulky and quick on this, you can see can split it and you can move it further to the left. And this may be a big back to the to the right, and that's it. That's how I kept the color on Lee over the hair right there. It's pretty accurate. You can see that the background is not. Maybe it's affected just a little bit on. This is nondestructive. You can you can come back to this whenever you want, and you can tweak it again. Cities new I can appear see on the right side of the of the leader here. So that's how I corrected the color off the hair. Now for the hand right here. I did the same thing. I could be the new layer, which all name hand caller fix, and I'll change the blend mode of it to collar. We probably will try some other agency if they were, but color works nice, and what I will do is just assemble a color from her arm right there and paint over her hand over there. While here we can be a bit more precise because here we cannot use the same trick that we used before. So that's so that's on. Do and think a bit more carefully because it's easier here like that on just oops. I just pain with smaller brush right there and obviously this calories of it too strong. So we'll have to drop the opacity off the layer. But, uh, okay, I don't even like that, and I'll drop the capacity of this layer. Let's say 50% see the before and after, especially right here, and that's it. You can do the same here if you want. Just paint with this brush and then with the razor. Just make sure you just make sure you don't paint over the background. And that's how I made this color corrections. Now, the next thing that we're gonna do is some skin treatment. So we're gonna retouch a bit the skin and then make some basic adjustments, using curves to fix a bit the tones. But, um, while there are two ways you can do this, you can make the skin softer first and then use the adjustments or use the adjustments and then makes the skin softer. What I will do is make the adjustments first. But what I want to do before I do that is group all these layers of the woman Ah, on a new layer. So, uh, create the group. So I'm gonna select everything Press control, command G to group that, and I'll name this woman if you're using for shops Yes, three or CS four. I think you cannot add adjustment layers to groups, so what you could do is select all the layers and well, except maybe the hair, and convert that into a smart object and then do it that way, or simply add the adjustments to the clips to the model air. But maybe that way you will not affect this here. Color fig, we'll the hand color, face and hair color. So I will add a curves adjustment. Now you can use levels as well if you want, but all your scares and I went into each of this channels here and for the blue. I have two points here. I'll give you the inputs and the outputs. Just so you have the exact values if you want. So this is on input off 18 18 and output 110. So I added a bit of yellow on the midterms on and for the top point here on the top, right, we have to 55 2 48 So I just made a bit yellow. Er, well, I just added some yellow on the highlight and then on the greens. I have just one point here in the middle on and, um, the input is 68 and the output 76. So I added a bit more green on the darker meat tones. By the way, I have to clip this to the group because I only want to affect the woman on on the Red Channel have again two points here. The 1st 1 we haven't input input off 1 62 and output 1 64 and on the top. Right, The top, most for the highlights. Haven't output off 250 the input to 2 55 So this is adjustments that I made. Well, this is the adjustment I made to the woman later. I can see right here have a masking problem, and you could see that line right here. And that's most likely from yeah, from this multiply, bland mode. Well, from this, um, hair later. So I'll use this layer mosque to make sure I I deleted. I'm gonna mask this whole thing against. You can see we have the problem now caused by this. Ah, this curves adjustment. So what I will do is I'll get the hair color. I'll put it right here under between the model and hair layer. Because remember, the hair color only effects the this hair call earlier. So I'm gonna sleep that well, I'm not gonna keep it. I'm gonna leave it like that and I'm gonna keep the hand color fix to the model above the hue saturation. And I'm going to drag the disc herbs that I just created right there. And you can see how this halos that were created here, that me show that just too corrupt to take a look here. How that disappears. Okay, I'm gonna clip this to the to the march to the model. So we have the hair, the hair color fix, which is this brown color. Then we have the model, and we have this hue saturation which is clipped to this layer. And it's because I wanted to get rid of that science cast that will have the hand color fix , which is for the spot right here also clipped to the model air. And they don't have this curve adjustment, which is for ah color toning sedan all clipped to the model later. So it's not necessary to create this group and clip this curves to the group. So But I will still keep this group because it's nice to have it. They're organized. Okay, let's move on. And now make that color will make. Now we'll move on or create a new layer and I'll name this skin. Ah, soft skin. And in this layer I will have the skin soft, the softer skin. What I will do is get the mixer brush tool, and this is that I needed. I used in many of my tutorials. And make sure you have this option checked one that says sample only, or so activate that and also activate this option here, which is to clean the brush after each stroke. And I'll try using the settings here. These are the settings that I have from the last time I used this to, and I'll see, take a look at how it looks. Yeah, looks nice. It's not too hard. And it is not too, um is not too aggressive to say that way. So what you do here actually gonna clip this to the model there as well that way. And make sure I'm not painting over the background. And what we do here is with this tool with this ah, mixer brush to we start making passes like that. But you have to make sure you follow the shape of the body and the shape of the shadows, for example. You see, we have the strong shadow over here we can soft in it, but you have to make sure you paint on the same direction. If you do something like this, you can see you start to smarted salt slightly. And if you keep doing that, you're smudging that and you're mixing the tones and is not looking nice. So make sure you go on the same direction. Uses a big soft brush if you needed, and just do it like that and just make passes generally. If there's a shadow like this you don't want to do, start leaking here engine and then dragged because you you're smart. You're gonna smart it, so just paint on that area and try not to mix. The edge is too much and you'll see the result in a second. Looks like nothing is happening. Groups. I just, ah, overdid the brushing. Their This is just a soft in the tones a bit if you want to soft and, for example, this shadow. Over here, you can click here where it's a brighter tone and just drag over it and then smarted like that. But it I said, Don't overdo it because you're gonna lose the the shapes of the body and it's gonna look fake. If the settings are too strong, just decreased. For example, the mix. This will affect the mix between the tones or the flow that's living too. 13 for example, And just keep doing here. You're gonna hear a lot of clicks because I'm using the mouse. You can see you can do it with the mouse is well you only that a graphics tablet, you have to pay special attention on the face because this is very sensitive. Um, you can really make the face look really unnatural if you don't pay attention. Kind of soft in the shadows over here, over the eyes like that. And he on the forehead So you can see I'm just making, for example, start clicking here. I make a pass like that and when I get here, I let go and then come back. I'm not holding the mouth and do things like that is not going to look nice. You want you still want to keep some of the texture. Also keep in mind that you you're gonna lose the skin, the skin pores and stuff like that. So if you I don't like this kind of editing. Do not use this technique. Maybe use the use the frequency separation, which allows you to smooth the skin but still keep the texture for this particular ah, manipulation. I'm not interested in keeping the texture and having that high end retouch effect. But I keep all the pores on the skin but removed the blemishes. I'm not interested in Dad. This is more like a on artistic retouch if you want it. If you wanna think of it that way. Just saw often in the shadows and highlights and make things look a bit smoother. Special. This shadow triangle here is a bit tricky to get it right. Okay, Um I think we're done. I'm not going to spend more time here. I'm gonna live it like that and I'm gonna show the before and after just a couple off passes here and there I will show the before and after circuits. He looked like it. I didn't do much, but wait until I deactivate. Say that before and after and take a look at the skin here in the face. It looks a lot softer. Looks like the woman. It was a bit younger on it looks nice before and after. It's smoother and it looks better, I think. Well, at least it looked more a bit more fantasy Looking Okay, lets, um, let's move on. And the next thing that I want to do is change the color of the water. So minimize this group for now. And critic Mueller and unlimited watercolor. The reason why I want to change it. This because it's a bit too green. So I'll get the regular brush. I'll get a the tone like this would, ah, capacity of flow of 100%. I'll change the blend mode of the later to caller, and I'm gonna paint over it like that. I'm not gonna worry too much about the edges. I just wanna do something like this and now create the leader mosque. And I'm gonna fix this edge here by pressing and holding the shift, yell pain with black and get rid of that like this, and then roughly paint out this. This edges of a hero. We're gonna drop the opacity a lot, So don't try to be very, very precise, because it's not going to be that visible once we're done. Just the major leaves here and try to not painted over them too much. Okay, I'm gonna leave it like that and I'll change the opacity. Now, let's say about 30%. And if you want to change the tone of this, you can select the leader itself. Press control, command. You open the hue saturation and use a hue slider. I'm gonna live it roughly there, minus two, and see the before and after. If you think it's too strong, you can still tweak this more. If you want the next step, you have to make sure that you have everything as you like. Eso check and double check everything The skin, the layers and everything here to make sure that everything is OK and that you don't have any Ah, badly masked edges or stuff like that on do. The next thing I want to do is, um, used the oil pain filter. But before I do that, I see I forgot to create the shadow. So let's do that. Opened the woman group and under all the layers that I have your create a new one and I'll name made woman shadow and get the brush to use the dark one. The black color and I painted shadow shadows on all a lot of my tutorials and this is how I do it. I said the opacity and flow to about 50 or 40 and 50 Opacity and flow, and I use the about 30 40% strength on the brush and, ah, use medium sized brush and just start painting like that under. You can see most of the brush body to say that way. It's under while on the out on the top part of the dress, and it's just sticking out just a bit there on the edge, and I make multiple passes and against to see how I start building up the shadow. This is just the first shadow that I create, too, where that dress touches the ground, it has to be a bit more intense, like so and now I'll decrease capacity to 10 and the flow to about 30 receive. Maybe that's too little, but we'll see and hardness to 0%. I'll just use this soft brush to make some softer, really soft shatters on. You accentuate the shadow where the dress touches the ground and that's it. This is how it looks before and after it's a bit too strong. Let's decreased capacity to about 80%. Yeah, it looks a bit better. Okay, we're now ready to create that while to use the oil paint filter that I thought I was talking about. So what I do is create a stamp off everything here. So basically, I'm taking a snapshot. I'm pasted right over everything here. So I do that with the keyboard shortcuts that press shift, all command and e, or shift all control E on a PC. And what that does is it selects everything and creates a copy of all the layers and merges them into a new layer. You can also do this with the manuals. If you go to add it to select all, then add it, copy merged and add it based, and that you get the same result that with a keyboard shortcut, it's a lot faster. And I'll name this to oil because this is the later that will contain my oil. They ain't effect. And now I would go to filter and in photo shop CC, the 2015 light, while the latest the latest of this abbey that I have I would go to stylized and choose oil pain. But as I said, it's great out because I cannot activate the open cl here in the preferences on performance advanced settings. I cannot activate this option. I have to investigate. Why? Um maybe it's because of my operating system version. It's outdated, so I will have to update that. But for some reason, I'm gonna do it. So what I will do instead is cut this layer and go to full shops Here. Six, create a new document with the same size and pasted here and go to have it in Spanish. But anyways, here to go to filter and choose oil paint. Onda Uh, what I would do here is decreased a shine to zero. I don't want that on the saddens here have to play with the settings of the stylization and clean, clean Leanness Mainly you don't want to touch the other. The other settings that not going affect too much our image. So I would use the stylization about 2.18 because going too far, it's gonna start too smart to hear too much. And I don't want that I don't like it and let's see what we do with the cleanliness I see here, the highlights start to disappear and the hair details start, you start to lose. That lets sicko here the ground. This looks I don't wanna make it too unrealistic. Anyways, we're gonna drop the opacity of this after we pasted on our canvas there. I'm gonna leave it like this to 53 2 45 and click OK, And again, I'm gonna select everything Cut and go back to photo shop CC and based at right on top of my image. And I'm done. The only thing that you have to do now is recover, but the highlights because when you apply the filter, you lose the highest. Well, the brightest highlights. Who? Breast control Man out. Open the levels. You will see a small gap here. See this have to recover that and bring that back right there and click. Ok, so now we're done. Have few pixel problems here because of the of the filter. I'm going to use the makes a brush tool to fix that with a small brush. Just a few passes. I'm gonna increase the flow of it just to make sure I fix that on. That's okay. Now I'll create a layer mask for this layer, and that's because I wanna completely remove the effect using the brush tool capacity and flow 100% on the brush settings. Painting with black. I want to remove this effect over the eyes entirely, and maybe over these eyebrows as well here on the lips as well, Because I want to have all the detail here on the lips, the nose and D eyes. OK, that will make it look a lot more realistic because it's too smart even using those settings. And now I'll drop capacity to, let's say, about 75 or between 15 50 70% because it's to the effect is too strong. Se 65 percent. Okay, so now have a smoother, um, artwork here on the The next thing we want to do is some dodging m burning. So let's do that Next for the dodging and burning, we're going to create a new layer so press and hold the bulky and think the new layer icon . This brings this new layer. Manu and I named this Dodge Burn, and I'll change the bland motew overly and I'll check this box to fill with overly neutral color. 50% gray. I'll click OK and looked like nothing happens, but have here just layer, which you change that Brando to normal. You'll see the neutral gray can also create a new layer and then go to feel sorry to add it to fill and choose 50% gray from here, and that's it. But that way it's a lot faster. So what we do here? Just get the Dodge tool and start dodging highlights. I haven't exposure off 20 year, which is still strong. Also, make sure the hardness is set to zero on your brush. Let's say just 10 and make the brush just a bit bigger and start brushing here over the hair to make this highlights stand out a little more discreet. That bit more shine on the hair and makes it look a bit more. I'll stand out a little more and make it look cooler here. Maybe on her arm. Well, that's two for skin. 10% is to Marshall said 05 So 5% And just make some area stand up a little more. We have highlights right here as well the way I'm zooming in and out is just by holding the bulky and with the mouse will. And wherever you put your mouths, it will zoom in. For example, here on the I, you can see consuming their or whatever wherever you want. It's really it's really quick and very nice, too. Be able to zoom in that way on, and I have to use a bigger brush for this area. Um, highlights over there. I didn't do a smudge dodging and burning on this her body, as I would usually do. I. I liked how the lighting was already, so I didn't I didn't want to go to march with the dodging. Very so this is the dodging and let's switch to the burn tool. And again, here's a soft brush in the big a big soft brush. For this, you make the reeds stand up just bit more, not too much, and we'll look like she's like, too skinny. And that's not the case. And tonight, let's dark in a bit thes parts of the I here. I want to make this. I don't know if you can say this little bit of white from the I I want to make it stand out a little more, so I'll dodge it right now. Have the born the parental selected, but you can switch to to the Dodge Tool temporarily if you press and hold the bulky and I want to just dodge this part here and maybe a bit this part right here and burn this one. That's too much. Let's not touched by too much. But I wanna burn the spark year to make this eyebrow stand up a little more. Actually. Looks like it's thinner here so you could use the bruh well,