White Hair Portrait Effect (Adobe Photoshop) | The Dojo | Skillshare

White Hair Portrait Effect (Adobe Photoshop)

The Dojo, Photoshop Grandmaster

White Hair Portrait Effect (Adobe Photoshop)

The Dojo, Photoshop Grandmaster

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12 Lessons (2h 23m)
    • 1. Intro

      0:40
    • 2. Analysis

      2:09
    • 3. Finding Good Images

      4:40
    • 4. Composition

      7:34
    • 5. Cut out technique

      28:48
    • 6. Background

      7:51
    • 7. Clothing

      7:48
    • 8. Skin

      25:05
    • 9. Glasses

      8:41
    • 10. Hair

      32:41
    • 11. Final Details

      11:47
    • 12. Export

      5:05
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About This Class

Welcome to The Dojo, if you want to bring your Photoshop skills to the next level, this class is for you!

In this class you’ll learn:

  • How to convert your ideas into digital artworks
  • Where to find free high quality pictures
  • Advanced cut out techniques
  • How to use adjustment layers
  • Perfectly applying colours and textures
  • Add realistic details

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Our grandmasters have over 10 years of experience with the tools, you’ll learn tips and tricks they use in their masterpieces that you can incorporate into your workflow to give you more control and upgrade your skills. 

The method of The Dojo is very practical, we directly apply concepts and techniques to a project and explain while doing. It makes every lesson fun and entertaining, and allows you to create something from the very first minute.

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The Dojo

Photoshop Grandmaster

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We believe that creativity isn't just a gift reserved for a chosen few, it's a discipline that can be learnt with practice. That's why we created The Dojo Masterclass, an advanced Photoshop course designed like a martial art training, so you can become a black belt in the art of Photoshop.
(watch the RED belt, level 7, for FREE here)

You can find more artworks, process videos and mini tutorials on Instagram and YouTube so feel free to check them out!

Join our mentoring group on Facebook, to share your work with others, show your progress or ask for help, our Photoshop masters are there to help you.

#creativityisadiscipline

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Transcripts

1. Intro: Hello everyone and welcome to the dog show. In this class, I'm going to show you how to recreate this white hair parliament effect using Adobe Photoshop. You'll see every single step of the creative process, from finding high-quality resources to exporting the final image. And we're going to explore a lot of Photoshop techniques like using Smart Objects, Pen tool. I just meant layers, gradients, mosque, and much more. By the end of the class, you'll be able to create this beautiful artwork and apply the same techniques to your own personal projects. So what are we waiting for that role now on skill shares. 2. Analysis: Hello Irwin. Let's jump right into the tutorial. So the first thing we need to do every time we're starting something new is to analyze and planning where we're trying to do. So in this case, we know the type of result that we want to achieve. Where you have here a couple of examples and we can start to define what makes these images the way they are. What are the little things that characterize the specific style of poster? First of all, we've got a core Fulbright background with, with a resource gradient, the type of clothing that our character needs to have are pretty simple. And in this case, as you can see, they are also monochromatic, so they're just one color. And the scholar always reflect the tint of the color in the background. So it's on the exact same color, buddy, it's in the same tone. Then there is the skin is really clear and smooth. The eyes are a little bit lighter than a regular picture. And the final thing, of course, they're not only when to give this white hair effect, but also the shape of the hair and needs to be quite clean and nice work quite nice for, for our result. So it's important for us to find the right picture to start. So either you take your own photo or you grow a picture online. Let's keep in mind that we need to find a person, guy or girl that is looking at the camera. It's more or less until the chest went to see until the chest. And the hair needs to be beautiful. And also keep in mind that we're going to need to cut out the person. So as you can see, wait to separate it from its original background to apply our colourful gradient. And to do that also, just, just keep in the back of your mind that the type of image we choose needs to be somehow possible to get out from the background. 3. Finding Good Images: All right, so we can start finding the picture. So as I said before, you could either take your own photo. Right now you don't even need to have a proper camera. Even a photo taken with with a phone call were pretty well. But in case you don't have a subject to shoot or you just want to practice with the front and the front upper picture that you might find from the Internet. There are a few good places where you can find high-quality pictures that are free to use and you can take and use for whatever project you, you want. And I'll show you today a couple of websites that are actually my February. Are there the website where I take more or less all the the picture I use? Just because as I said, they are really high-quality. There are good photos and they are free. So the first website is called Splash. That's on Splash.com. And the website is pretty easy to navigate and you can just search for every type of picture you want. And at the same time, there are a couple of filters over here where you can pick from. And for example, we can click on people. And if, if the selection is not, is not tight enough, we can just go. And for example, in our case, we can search for portrait. You can see we've got a lot of examples here. So feel free to pick any one of those features. And I just want to show you a second website that he is as good as this one. It's called pixels.com. And it's basically same deal as on Splash. It's again, another website that has high quality pictures. And we can do the same things. We don't have the filters here, but we can just type portrait. And we're gonna even go more precise. You know, we've got some extra features in here. For example, maybe we want a woman and we got other fields. There's so we could either scroll down here. This is a good one, is a good one too. So you can pick the pictures that you prefer. In this case, I've already selected picture from from pixel. You can find the link of the picture in the resources area of skill share. So go down there and a little bit picture if you want to follow along. So we can start from this picture right here. Let's bring it inside of Photoshop. And the reason why I chose this picture is for what we said before. The pose really works. We see this person until right off to the chest. So it's, it's perfect for our composition. I liked that her head is tilted, so she's not facing the camera. But at the same time her eyes are looking at the camera. And that's something really important if we want to achieve that same look as the other, the other example I've shown. And the most important thing is the hair. So I like the way the hair are fully and the shape they're taking. It's going to be really, really interesting to start from this type of shape and give it a little bit more character and is going to be a little bit easier to get out and turn white. And then another element that I like about this picture is that the clothes that she's wearing, this shirt in this case is a pretty simple look. So it's just a regular shirt. There is falling nicely over her shoulder. But at the same time, there is one little thing that is not ideal and that's the fact that the shirt has a lot of lines. We'll all different colors. And it's going to be is not ideal, as I said, because we need to make sure that the closing she's wearing are not too distracting. But we'll I'll show you exactly how we can either get rid of this lines or recast them in a way that I could not going to be too bad and they're going to work perfectly for our poster. And one other thing that these exemple, that this picture has that within your having the previous pulsars are the glosses. So this is going to be a little bit more challenging because we have an extra element that we need to consider, take care of, and probably cut out and change color. But it's definitely possible. We probably need to get rid of the other reflection on the glasses as well. But we're going to go into that in a second. 4. Composition: So let's start by creating our actual document. So let's go to File. New. And type of size that I really like to use is 2 thousand by 2500. The ratio of the size of poster is four by five, that it's perfect for what you need on your phone or it's perfect for any type of social media. I keep the resolution to 72. Again, this is just because I plan to make my posture just to be shared online so I don't need any higher resolution. Let's keep the core mod two, RGB and the Chrome Custom, that's fine. And another important thing is that the color profile here is set to as RGB. And again, this is just because we're, we're preparing something that is going to be consumed online. And we can go on and type a title. So let's call it y pulsar and click Create. Okay, we gotta work posture here. And before we jump into actually working on the girl and start doing things, we need to plan. Again, as we said before, we we already checked would the other posture look like, but we need now to rebuild the same type of look and feel in this new one. So I'll just create a new layer and I'll show you what I mean when I say plane. So first of all, I want to make sure that that my subject stays in the middle. So when I, when I planned the actual positions and proportions, I wanted to make sure that everything is set. It's, it's pretty centered. So it's going to do even more nice. So I'm gonna have my my girl probably with the head then around here. So it is in the middle. It's a little bit higher than the center. So her highs are going to be around this point. And we're going to have the neck and the boy, the room down here. So maybe this is going to be a bit too small. Again, the space is really important. Now. It seems like we're just doodling around and not really doing much, but it's really crucial because if we define right now exactly what we need to do is going to be much easier later. And yeah, so we need to allow for enough space for the hare. Yeah. And I think this looks pretty cool. The level of the ice looks good. And it's all centered and it feels like a nice composition. Now we can go on and over a one hour image. So we had an ear. It was already opened the file and now we will move it into our, our actual calm. And we do that by selecting the whole picture and clicking common C to copy. Go to our, to our file and common vehicle control V to paste. And now the first thing that we need to do to make sure that we're scale this image without compromising the quality, is to turn these layer into a Smart Object. So we right-click on it and we click Convert to Smart Object. And now that it's converted, we can easily transform it and scale it down so it fits our completion. So we lowered the film a little bit so we can see what's going on underneath. And if we click Command or Control T, we bring the transformation options and we can scale it down and place it more or less where we think it will work. Again, let's try to keep these background sketch that we did just as a reference, more or less two, to where we want to place our subjects. So here looks good. And we slightly to the left. So she is, she is centered. Even though I had these a little bit off center. But that's alright. Maybe another thing we can do is to rotate her a little bit because I notice that her eyes are not really aligned so we can just rotate, there'll be it. And so we were basically are, are manipulating the image. So we have our head sitting a bit more in the middle and her body staying a little bit more to the left. It works a little bit easier and a little bit better for us. Now, in this case, I've drawn these guys over here to set the center of the file. That was pretty arbitrary and through them really quickly, there is an easier way to actually set the guides in the middle of, in the middle of your composition. And I'll show you how I do it. So let's just reactivate this layer. And to do that, what I do is I create a selection that coerce the entire, the entire file. So to do that, you click Command or Control a. So it creates selection. And now if we right-click and we go to transform selection, what we get is just again, another transformation box, but in this case we don't want to transform the selection. What we are using this, this option two is to actually set our guides in the middle of the composition. So now with the transform selection active, we can bring our guides from the side. You will see that when we got closer to the middle, it will snap in position. So we know exactly in this case that were placed guide exactly in the middle of our document. And we can do the exact same thing from top. And again, it will stop in the middle. And that was it. It was really quickly, really quick and easy. And now another very important thing. After you've said the guide, you need to click OK right here. This is basically to get rid of the transform selection, but also keep the guides. Another was set the guides we can simply deselect with common one dip or Control D. And now we have some precise guides in the middle, but see how close was I was actually pretty calls. Yeah, and now we can use these guides to actually move around our image a little bit. But it wonder, Hi, there I to be really exactly align in the middle. It's got to be a nice little touch. Maybe can rotate her a little bit more so that her shoulder equals more to the left. And I'll let this composition, I think it looks good. It looks balanced. Yeah, so from now we can move on and keep working on the subject. 5. Cut out technique: Now we can start properly cutting out our subject from the background. So let's go ahead and do that. So it's from this doodle we did. And Kristina, let's rename this layer. Let's call it curve. And in this case, we can actually remove the Smart Object option because we already scaled on the image so we don't need to actually resize it again. So we can we're sir, ice layer. It's going to be a little bit easier to work when it now we can, we can easily cut out stuff. So let's give it as an irregular layer. Let's zoom in. And first thing we want to do is to actually remove the background. So to do that, in this case, we're going to use a couple of different options. That's because there are several portions of this image that require a specific type of selection. So for example, if we want to cut out her, her body and her shirt, a really, really sharp selection is going to be pretty good. But if we want to then cut out her hair because of all the little strings. So we need to use a different type of selection for that. So I would suggest to isolate different portions of the, of the, of the image individually and then bring them altogether. So let's see how I would do that. So first of all, it's cut out her body. And to do that, I will use my pen tool. Now, the Pen tool isn't really the easiest tool to use, especially when it comes to selection. But there are a few things that can actually help you to do to work a little bit faster with it. So the first thing, it's an option that I always have activated but isn't a default option. And it's right here under this gear icon, you have these rubber band. A rubber band does. Basically when we're drawing with the pen tool. Before we click the next point, we already see. We already see what the line it's going to be. So what our path is going to look like. There was going to help you a lot while we're trying to, to, to draw a really precise Piff. So just go around here and don't worry about all this hair there are covering the shirt. Something we're gonna, we're gonna fix later on. And yeah, this mic, a selection just around here. This is all stuff we're going to select anyway. So we might rather Already hearts selection over there. And then we finish these other side OR body. Then we go back here, we close the selection. And now a little trick. You can either go and click mixed selection after clicking the right-click. Or you can simply common return or control return to immediately create a selection. What this does is creating a selection out of the path will draw with a pencil. But this election is super sharp. So actually it's not working in every case. For example, it's just go back one step. In this case, I prefer to select mixed selection. And that is because it gives me the option to feather their radius of my selection. And even something like and 0.2 is enough to not have a selection that it's super sharp. But at the same time, having a precise enough, it will just feel a little bit more naturally cut out. So let's click okay. And we can create a mask. So with our girl layer selected, we click on this button down here that is creating a layer mask. So we click and we get this crazy cut out. But don't worry about the head to what we're looking at right now is simply the body and, you know, just this portion, our her shoulders and the shirt. Now, let's try to optimize a little bit the selection. And because again, we did something that is really sharp, there are some points that it got a little bit a little bit dirty over here. And if it's too sharp again, it's not going to look really, really nice Indian. So to refine selection, the best tool, in my opinion is the smudge tool. That's much stool there is this tool down here allows us to just use a lost to actually smudge paint. Lucky for you was if there was a finger going over some wet paint and we're not gonna use it that way. In this case, we're just gonna use it inside a mask to move around the mosque and stop them a little bit the edges. So selecting this much tool, we want a strength of 80%. And we also want a brush. Dewey's pretty soft soils get the hardness 2.0. percent. And now with the mask layer selected, we simply go over and click and over a little bit the mosque. And this doesn't only MOOC the mask, but also blurs it a little bit. And in this case just works for us because we don't want or we don't really need a selection that is too precise. The more precise the selection, the more fake aware our posture or our image is going to look in the end. And especially show you especially the side of the shoulder. There was a little bit out of focus. We actually want this area to be a little bit more blurred than, than the other one. And we can simply do this by clicking and more than this much stool. So as you can see in a couple of clicks, and without. Doing anything there is really stressful for your machine where we're simply cleaning up the edges. And yeah, we may get a pretty cool selection, will just refine what we had in a couple of clicks. So they do, it's already perfect. I think that the, that all this bottom part is, is looking good, is looking nice. But now we're missing all the parts of the head. So what do we do? First of all, we duplicate this layer. We common j or control j. And the left side, the bottom. And let's remove this mask, Delete Layer Mask. And now we just focus on the hair. So I will try couple things here. So the first one, it's going to be quick Selection Tool. So with the Quick Selection active, we can go on and wrestle, select her, add. It doesn't matter if we select more of the body. We had that already, so that's, that's all good. And once we get more or less a selection that we like, we can go on to select a mosque. And we can refine the selection using the Refine Edge brush. And we simply go over decides and, and really see what this split backgrounds. So we'll just go into view and select all white. Loosing a little bit more clearly what we're doing. And it will keep going around. And, and see we're refining more and more the selection and we're making it more close to the original error. But I'm already seeing that the selection isn't really working too well for me cause it has a lot of dirty dirty areas. It's not really easy to get out. And that is basically because the the background I'm going to show you now, the background, it's a little bit complex. And for example, this side of the background, it's darker than the hair. Well, this side here it's brighter than the hair. And all these differences in, in luminosity and contrast. Gonna make it really hard for the, for Photoshop to recognize what is the edge of the hair. So this technique doesn't really work, so we'll just console. And what we're gonna do now is probably use again our, our pen tool. You may be rethinking how well, if we use the pen tool to isolate the body corner, we just use one single stroke to, to draw the whole character. Yeah, we could have done that, but at the same time, I think that working on different elements individually is going to make for a better selection at the end. So because we couldn't just focus on a specific error and then we can refine the mask as we need. So let's do that. Let's use the pen tool and told the hair. And another reason we're doing this is because we don't really need a super precise and clear selection, all this exact hair. And that is because we're going to be later on in this, in the process, we're going up, redraw some strings or bear, and we're going to change the shape a little bit to make it a little bit more dynamic. So we need a generic overall shape of their hair. But we're not going to me just sold into that and use that for everything. We're going to adopt it, any change it as we go. So let's zoom in and let's select the hair. So here we need to also take a little bit of creative license and simplify a little bit the shape. So even though there is these being fin or here with all these strings of air where you're gonna just simplify and go with 11 cleaner curve and same thing over here. And even though all those little strings are really beautiful, Don't worry if we're not selecting them, we're just going to recreate them later on. Oh, that's just stay focused on what we need to do. And here as well. Let's get something really clean. This go like this. Too much. Let's go like this and say that's good. And we go over here and do the same thing. Just make sure that we draw the hair using a nice-looking shape. And once we close the, the path, we can actually move individual points if, whenever. And now again, right-click makes selection 0.250 radius, that's so good. And there would tweet a mask. Now agree that this mosque of the hair. And if we then reactivate the bottom layer that had the body, we can see that we have a Moscow off of the Holger. Now we're missing one really crucial elements. And that is the, the losses over here where missing a little piece of there. So let's duplicate the hat again. Hiv2 layers underneath and delete the mosque. And now again, we can do a mosque that only covers the, the glosses. So step whore pen tool. And we drew till here it is good to remember that we already have a selection of the hair. So when we need to select them till here, more or less. And then we'll close the selection here. And this little piece. And we right-click makes selection, okay, and make a mask. And now probably I want to remove also these, these holes inside the glosses. So let's go on and do that. Let us create selection with the pen tool. And again, we just want to make the selection until we're fully into her section. And yes. And now, oops. Now we have this bar over here. Again. We make selection. Okay? And in this case we're still working on the same and the same mask. So all we need to do to hide their dispersion is to fill the mosque with black. But let's keep black as the foreground color and click option delete or, or Alt Delete, deselect. And all we reactivate all the layers we had. And as you can see, we have a pretty clean select Shawn, even with the hole inside that glosses over here. And yeah. And it looks pretty good to me. So we can actually select all these layers and Merton together. So click common or control. And we have one single layer. We our, our subject cut-off. Now we have our basic cut out. We need to organize our file in a way that it is really easy to use and just help us in the whole process. So as we say, we have a few LMS that needs to stay on separate and on separate layers. The first one is the background. And what he already took care of data because we had the background as as a separate layer. We can actually go on and create one solid color just to have it there. The soil quality is the best choice for me for a background because it's really easy to change the color of it, will just simply double-click on the little tongue and we'll change the color, like blue for now. So we'll just set a color. We can also remove this layer mask and we can get rid of the old background. And we can call this BG for background. So first element is the background. It's, it's so good. And now we want our workloads to be isolated. So let's do that. Let's go over our girl. And actually the best way here is to create an individual layer for every, every element. So in this case we want a layer for the shirt, a layer for her skin. And the layer for the hair and maybe even layer for the gases, but that's something we can do afterwards. So let's stick to three for now. And let's just create the three layers, duplicate with common j. And let's call them. So the spot-on one could be the skin, I guess. One of the Middle East, the shirt and the one on top is the Hare. Actually. What do we do that, sorry, we listed two of them. And turn one of these into a smart object. And this is crucial because if we want to change something in, in the overall look of these or character, we could do that inside a Smart Object and immediately have it updated on all the other, on all the other elements that we already probably cut out or, or updated. So and now that we have it as a, as an individual, smart objects we can duplicate a couple of times. So where the skin, then we have the shirt and there we have the hair. Okay, so now we can go on and create mosques for each one of these elements. Will start with the shirt, cause it's the easiest one. So let's go on and make selection. So we remove this portion here and list selection. Let's try to be as precise as we can. Because this is, we will then determine the shape of the of the shirt. So take your time to to throw the puff with a pencil. And again, don't worry about the hair because you're going to be on top, which is gonna make sure we don't cover the skin. This looks pretty good to me. And and again, thanks. Selection. Okay. And we make a mask over the shirt so it looks like nothing happened, but really, we hide the other layers is what we've done. We've isolated the shirt. So and this is the shirt. Let's hide it, and let's now select only the skin. And for the skin, we mostly want to phase out. Yet let's face the face isolated from here. So we go on. Again a strove to be precise. We can always adjust, put. Whether to have a clean start. A nice curve over here. And now don't worry too much about the shirt and just cut out big portion over here. And this because our skin is going to be underneath the shirts so there's not gonna be really visible. And then again, the hare I want to be but for the thing that is most on top. So we can also have a little bit more room over here. Okay, we create the selection and the mosque. So it's pretty good. There are a couple of dirty spots that we can fix the same way as before. Select the mosque and use the smudge tool and bring this portion a little bit in. Just a touch. It also gets blurred slightly, so it makes it a bit more realistic and clean overall. And green here. And it looks quite good. And now, and now we can just have the hair. And the hair. We already have the external selection where we need to have is the one that goes inside, that covers the shirt and the scheme. So go on. And again, we need a little bit of creative license over here. Let's draw it that way in a way that looks nice for now. And then we can adjust it later. But let's say we go here and then we going down here. Then we should actually should actually go here, but then have it behind the face. So my suggestion here is because we already added the selection of the face and just keep it white. And then we use a selection with the previously to actually refine this selection, I will show you in a minute. So let's close this puff. Makes selection. We let the Layer Mask. And now we can simply use the master will use on the skin. So we click or Control click over the layer mask will basically create a selection of these Layer Mask. And now we'd lower layer mask. We can simply take a brush and paint. All this portion. So we literally are cutting it out pretty easily. So we have our hair, we have our shirts, and we have our skin. So, oh, it looks really good. C there is one actually 1 over here that is not really good. And to fix that, we need to add a little bit more hair. So we'll select the mosque and we use a brush with thick of white. And I remember, I remember a few pained, widened said the mosque, you are going to show the content of the layer. While if you've painted with black, you're going to hide the content layer. And we just simply paint on and we fix the issue was actually pretty easy to do. So what we basically looks like when you have nothing so far. But actually it is the really, really fundamental to make sure that these, that these, that this file is going to be easy to manage and to work on. Because now we have all the different elements on individual layers and we can actually work on, on the skin or on the air in a pretty easy way. And again, as I said before, the probably the glasses need to be escalated to and yeah, I think we really need to do it here. So I would say let's create a new layer and isolate the glasses as well. So we can then give them another color or change the brightness or whatever we want to do. So let's duplicate. Duplicate the hair, doesn't matter, they're all the same. Let's remove the Layer Mask and let us go and make a selection of the glasses. Now this is going to be a little bit tricky because really where, when we have a little, a little portion that willing to select. But again, you just need to to take a little bit of time and use the pen tool and draw every little line. So we already have this cutoff here, so we can start from right here. Unfortunately, there is no shorter for this, so we just need to spend a little bit of time intro every line high supposed to be. Again, a creative license over here for the shape. So we're mislead drawing all the outline, but the external shape of the glasses. Stay here. Go back and fix it. And yes. Okay, the outside is done so we can make selection. And later Musk. This is looking pretty good. Now what we need to do is to actually remove the portions that are not going to meet feasible. So Mysql, we make a hole in the glossary. So let's do that. Let's give this little, little finger over here. And let's cut the hole. We'll make a selection and we fill it with black, beautiful sand p over here. And we make sure that we have this thing and fill it with black. Okay, so our glasses are isolated and just call this plus this. And we actually can remove them from the hare. So we had them inside the hair here, but we can just take a brush and nice. So the hair just by themselves and the classes are on top. And then we have the shirts and we have this in. And now there are few points like here that it's a little bit odd, but don't worry, we're going to fix it later once we were properly on on each individual piece. 6. Background: Okay, and now we can finally work on each individual element. First one is going to be the background. That's going to determine the overall color or of our poster. And it's gonna, just gonna guide us because we can actually see how, how are a subject that's going to look like with a specific color as a background. So that's important. That as the first thing. So let's first choose a color before putting in gradients. So let's double-click on the, on the thumbnail or the background solid. We can just go on here and try to pick a color that works for us. I feel maybe some kind of purple or bluish all through and see what inspires us. Maybe some kind of light blue. Actually lighthouse contrasts with the red of her lips and the color of our skin that we are going to enhance a little bit. Let us start with some blue. Maybe nobody's blue-green. You'll look at teal and of color. And okay, lets say we like the stint more or less. Just click OK. Now there is a little trick that I want to show you for picking colors in general and especially background colors. And that has to do with where we're going to post our, our, our image. Since what I do usually is post images on the internet. And I guess that's what you want to do as well. The fish you need to consider is that the user interface of any online platform has mainly flat, really bright color, that's either white or a very light grey. And that is important because depending on what is the background, where will you actually put your, your image is going to determine how the color aren't gonna be perceived by the bye, bye everyone else. For example, if these, if you have to consider these in a museum, if you're painting is hanging over a white wall or over a blue wall, is going to have a completely different, you're going to have a completely different perception of the color in the painting. So keep in mind where you're gonna, we're gonna put your, your image so to make sure that the colors actually work for wherever you need to pause your image. There is a little trick. So if we click outside of our, of our canvas, so on this gray area, we can actually change the color. All of this background. So for example, it could be black so we can see how he looks over black background. And everything will look a little bit brighter or maybe medium grey, that it's a good middle point or live grade as well. Or you can even share, change custom color so you can select a custom color. In this case, I always pick the white because it's, it's the color. And as I said, most interfaces have right now. So when you then select your custom color, you're going to have the white background of your canvas. And you can already see that the colors like overall looks a little bit more muddy than for example, having given black. And nothing really changed in the picture is just the context of where you're looking at it. So this way we can actually determine E If I were background color is too bright or it's too dark, or it feels a little bit too dark. So now that we have that in mind, you can actually go and select the color that works a little bit better. Considering the, considering where it's going to be positive. We are going to be something like this. And now that we have is color or reset that I want on and in the color picker and select the color. And now what we really want to use for the background is a gradient. So as we said, we had a little gradient in our reference phosphorus. So we want to recreate the same type of look. So we go on here and we create a gradient, that adjustment layer. So it's gradient. Now nothing happens because we basically are applying the same color to look at teal, alright, till. But what the gradient does, it actually helps us to create a gradient in a way that is easy to customize and to adjust. Well, let's open this gradient. Look on it. We can basically select every color that goes here. So the top two icons over here determine the capacity. So in this case the opacity and decide is a 100% oil on this side, it's 0%. What we want is something that he is a 100% or positive overall. And now we get to the bottom. We can, we can actually determine the color. There are going to be where there's gonna be a gradient. So we might go from our teal too. Open the core selector and we changed the color. Maybe it's darker one or maybe it is a lighter one. In this case, I want the lighter color to be at the bottom. So we'll just go and console. And the chain is one that left the color at the bottom. And we make it a little bit brighter and returns to you a little bit. And then I will also want to change the color on top a little bit darker, so we have a more clear gradient and make it a little bit more blue. But it looks good. In more saturation. Which reaches other one. Maybe it's a little too greenish. And with a little bit brighter. And okay, we can remove this mask. And here was pretty easy. We just created a nice gradient. And the good thing about using this technique is that if we don't like a color l want to change or we want to change the point where the gradient starts and ends. We can simply double-click here and we can go back into the color isn't changed them. We can also change the angle of the gradient and the direction. We can train you from linear to a radial gradient. For example. In this case, we just want to give you an error. And I may want to change a little bit more. Is callers will go again and a little bit more blue. That's a little bit more saturated. And that looks good. We'll click OK. And Gridium was actually pretty, pretty easy to manage. 7. Clothing: Now let's move on to the clotting. So let's go over her shirt. And as we said before, we want to simplify a little bit the look of this tissue of the shirt. So first of all, we want to color that is similar to the background and we already have it, kind of, it's, it's also blue shirt. Maybe we can get rid of the red stripes. And what I would do is also make it a little bit darker. So he does a little bit more contrast. So let's do that. Let's select our shirt. And what I want to do first of all, is to create a new Black and White Adjustment layer. We want to link it to the layer underneath so we can click this clipping mask button down here. So we are already applying it to the shirt. And now we can play with this file is in a way that we actually changed the luminosity of every individual Colbert. And what we want and what we're trying to achieve is, and we're mislead trying to reduce the difference in brightness in between all the different colors. But for example, the red and the blue have two different brightness. But if we try to match the brightness to be either or we can come up, make it, make the red disappear. And so that's why we're trying to achieve now, it startled me the law and the reds and the cyan colors to match a little bit more. So open the black and white again. We can play a little bit with these cursors and try to make something that looks, it looks at right? Everyone to be darker. And let's say this is a right. Now, I want to also soft and all those black and white lines. So another easy way to do that, I will create a new layer, clipping it to the ones and their needs. So we keep the option key and look in the middle of layers. And what we can do if we Grob soft brush, we can pick the grey that we have here on the side and come to cover those lines over here. We're going to repeat the same thing, tried to little bit grace from other areas of the image. Subtract or make it just trying to remote them, but not really. This is just the Stapel is gonna look a bit better in a minute. Let's try to clean up those lines using the grey that we have on the site. You don't need to Me too precise, but it's tried to cover each sport and keeping a really soft edge while we do that. So it's not too obvious. The change that we're making, the strength to do it for. Each one of these lines. Don't worry if it looks too strange and know what's going on, but just follow me and then I'll show you how we're going to fix everything here, that here as well. Okay. Okay. We did it. And now they're were created ds. We can simply lower deposits of this layer. This a little bit, we can, you know, we're still going to be able to see all those lines. But what we basically achieved is a softer version of this lines, so they're a little bit less disrupting. So we're still maintaining the same texture and the same, same VLOOKUP a shirt. We're just adopting it so it will feel a little bit more clean. And we can then give more emphasis to the most important part of the image that is the hair. So now that we've done that, we can pick a color. So we create a new solid color adjustment layer. We clip it to the same shirt layer and would be, let's pick a color from the background, a blue ball. Let's make it a little bit darker. Nutrient the you little bit. Now we can set these coal or layer two blending wall. So let's try soft light. It's gently adding the color. And then we can enter the setting of the layer and there's the color and make it a way that they actually look nice. It looks pretty good to me and maybe could be darker. I think if you want a loop darker week, either creating new curve adjustment layer that sits underneath the color. And we can lower the middle point. And instead of having a darker, or we have just a darker, darker value for the shirt. Okay, it looks really good. And I think it's, it's working pretty well. And then we can also decide that maybe we want the buy less of the slides or maybe one more of this lines. Using this technique, it's pretty easy to actually go back and change things. Even after we applied, callers are applied and if singlets, and maybe it's also a little bit too dark. Running this up a bit. And lower desu 70% maybe. Looks good. Looks good. Yeah, what else are? The shirt looks pretty good. Maybe it's missing a little bit of contrast. We might add another curve adjustment layer. And this, this time on top of the color. And we can create a gentle as curve will bring a little bit more contrast to it. Yeah, it looks pretty good to me. 8. Skin: Okay, let's move on to the skin. First of all, all these layers are a bit messy so we can select all of them and group them together and can create a group down here. And we just called the shirt. And we'll have it nice and clean. And outside everything else. Let's work on the skin. So there are a few things we need to do on the skin. The first one is to adjust the colors a little bit. It feels a little bit to grayish. And that is because of the, of the original picture. The original picture had those greyish taunts. The overall luminosity was pre the preload. So it's a little bit of boast, a little bit of color. So the first way to do that is our bigger color balance. So great. The color balance layer. We link it underneath. And as usual, we bring a little bit of yellow and a little bit of red, bringing a little bit more life until the skin tone. That looks pretty good. And it looks a little bit too dark. So let's create that curve adjustment layer. Again. We clip it underneath, make it brighter, and a little dark point there. And it looks pretty good already. A couple of clicks, we already make it a little bit. Maybe I'll try to make it a little bit more yellow. So it has a bit more contrast with the blue. On the right. At the same time, we want something that really matches their worst. Well would the tough backgrounds we have course, you can see here, this section over here really bothers me because there's two callers at more or less the same luminosity. So they're actually fighting each other for, is going to be really hard to, to see. This line over here shows you what I mean. If that portion of the skin was a little bit darker or a little bit lighter, you'd be much easier too, to see that the border of the face and overall it would result in a, in a, in a better looking image. Now, that is not always what we need to do, especially in this case, for example, we need to keep in mind that behind the face there is going to be hair and the hair gonna be white. And I'll just quickly tell you what I mean. This is the core that we are going to have. I'll tell her face. And from doing the simple thing, I'm actually seeing that. That their hair skin tone still feels a little bit too green, little bit to not powerful enough. So maybe we can adjust the color balance again and at the even more colorant to it. A little bit more red or yellow. Yes, this looks a bit better. See, it was a little hard to understand without the context of what's going to be behind the skin. So always keep in mind. We're going to be the colors that sit next to the color you're working on. So this looks pretty good. Let's try now to emphasize a little bit. Fisher hover or their skin and hover face. We do that. We create a new layer. We clip it underneath. As usual. We set this layer to soft light. And now we basically take a brush, soft brush. I start painting either black or white to add some shadows of some lights. For example, let's take a black color and start painting slowly underneath her neck to emphasize this little this little shadow along here. And if you, if you went too far, you can always use an eraser. And, and see before and after how we'd just give a little bit more dimension tool to her chin and her face. And again, this is so strong. We go back we in an eraser and we've pulled it back a little bit. And we can add a little bit of shadows here on her cheek. And we can do the same thing. Try to define a bit more than nose down here, for example. And this upper lip. And we can also leave a bit more dementia. Dial up the nose. And we can also do the same thing with the opposite color with white to add a little bit more more brightness to some specific areas. Well, this side or will touch overdiagnosis and maybe over her lips. And we are over here. And try your hand on her forehead. And it looks nice. It seemed for an after our weights shaping a little bit the phase, we're kind of adding extra lights. Now, these, even though we went really slowly, already, feels pretty heavy. So instead of using the Razer have now another, we draw all the, all the different sections. We can simply reuse the feel and you go to 50%. Yeah, and that looks good enough to me. I'm still not too happy with decoders and for the color say not does something. Well, there are some areas like on top here or over here. Where are here as well, where the caller's feels really distorted. But there's some green and some purple. And I guess that's because of the, of the original image. There was probably an effect that it was working in the style of the picture, but doesn't really work for us. So because we need to have something that is a very clean, we need to find a way to adjust it. So I will do right now is to use an empty layer, the Lincoln on top as usual. And we set this to color. And now with the, with a soft brush, we pick the color that more or less defines our skin. Let's say maybe it's the scholar over here. And now working on that layer, we can gently over the skin to kind of set an overall color. Will do you have in those places where where the course are a bit distorted? And let's try not to go overboard with these, cuz it's easy to give the same color overall for the whole scheme, but that doesn't really work well because you must Keen has different TA1 and any friend colors depending on the, on the section on depending on the blog. And the vanes are underneath. So usually the skin never has one single color. There is constant overall. You can already see that we clean up a little bit and maybe we can then reuse your fast deep 50%. So we still kind of made a little bit more uniform skin color. But also we, we didn't, we didn't go too far and destroyed the whole image. Now another thing that I want to focus is all these areas over here, closer the hair, they're pretty dark. And that is basically because her hair are originally dark. So it doesn't really look strange. We'd heard natural color. But once we started play white, it's a little odd that these areas are so dark. So we need to find a way to bring back doors, doors, informations, and light up a little bit this this area this area than was previously core by the hair. But to do that, my my option is to duplicate the skin layer. So we option and move it and just have it call benthic. We can actually rasterize it and even remove these, this layer mask. We don't need it. Now on this layer or this layer selected that we've got to EMH adjustment shall and highlights. And we'll shut and highlights does is helps to bring back details that were lost. What we can do that by lifting the shadows and I'm bringing back the highlights a little bit just because maybe it could use that side as well. So we'll click OK. And now we won't put glide this being only on these areas, so we create a mask, but want to have a reverse mosque. So Philip must icon. We'd Option or Alt selected. You get black mosque and anchor sort of bending with white to reveal only the portion that you want. And now we can bring down the positive until the racial level that is acceptable. Say 70, looks good. And maybe another female we can do there is to go back to our color layer and we rank a little bit of natural color over there. Well, it feels a little bit less. 13. Okay, that looks good. It's still a little bit odd. Vd, I think there is not much more than we can do to fix the skin. But then we can fix it there a little bit more, maybe covering it with a little bit of hair and removing distractions. Maybe another thing I would do is add another layer and just would with a brush. And to remove that gray color that is nearby. Here, we're simply gonna kinda removing the dirtiness of it. Look, we're more than black spots. And even though we've lost a little bit of details, that doesn't really matter too much. I actually prefer to have an image that, that field's clean rather than having so many details have Dan, don't really help you with legibility and you'll get a lot of other problems there. So that looks a bit better already. What else? The skin looks nice but maybe is still a little bit dark, can be a little bit more punchy. Other, another group Adjustment Layer. And bring up a little bit. Terms and add a little bit of contrasts. And yeah, that looks, that looks pretty good. So the skin looks nice. Now what I would do is probably tried to remove a bit of those reflections. There are on the glasses. And these are just going to be in the skin section because for the gloss sis we isolated the frame. So we're not going to have, we're not going to have those reflections in there. So we can go on and clean up these reflections so we create a new layer, Lincoln again. And then we pick our Healing Brush Tool, not despotic and brush, but the Healing Brush Tool gives us a little bit more flexibility and control as well. So we want to make sure that the sample is set to current and below. And then we'll zoom a little bit. We ought and click the area that we want to copy. For example, we click here and then we paint over the reflection that we want to raise in doing that here, over here as well. And this final part of the eye, that was actually easier than expected. Okay, so we got rid of that reflection and now we can work on the ice. As we said, the eyes need to be a little bit brighter and give a little bit of life to the whole character. So to do that, just to mean create a new layer, link it again. And we want to append with a soft white brush. Let's split in the middle of the, I would hear endlessly here as well. It doesn't matter if you go over the frame of the glosses because we're going to have them on a separate layer, so there's got to be fixed it afterward. So what did this white thing and now we can set this to soft light. And you can see how we gave a little bit, little bit ripeness dead at the same time, Mexico really fake. So even though we did that, we need to bring it back a lot so we turn down the capacity or to feel, he will maybe 20% feels good. But we also want to make the ice a little bit more. And to do that, we need a little bit more contrast. So create a new layer. We set it to soft light and we start painting with a black brush. And we just want to define the borders of the ice a little bit. And it looks nice this side also little bit. And if you went too far, we can stick their Acer and Remove parts. What you can see, how weird slowly defining the lookup the eye. It's just wrong as we get to 50%. Looks nice. High walls like this. And now it's like this. Star, just as a little, a little touch of something. And now what we can do is also a little little eye reflection. In all this beautiful reflections that common usually from a soft light or a flashlight. We can come to fake that. So let's see the regional picture I was. So there are normally many reflections in it. So it kind of really copy from there. So let's try to improvise, See what happens. New Layer. And the strip bank with a white, white brush I want to make first. So let's do something that looks like this merrier. Now maybe as a little extra thing here. And now that we've done that and we can scale it down, place it over, see how that looks. Doesn't look too bad, and probably it's too, too blurred a little bit. So we can use a smudge tool and the fluorine it a tiny bit. And then we can set these layer to maybe write Linear Dodge and bring back feel really gets to a point that, that looks nice. So this feels right to me. We've added a little bit of reflection. It's a fake one, but if we, if we hadn't really tiny, doesn't, it wouldn't really bother too much. And then maybe we can change the color of the eye. So again, new layer. We'd take a brush. We'll pick a color. Maybe I would try singular as a background and see how it looks. But it's soft. And we're corner over here. And set this to strict color. Color is way too much, but bring it down maybe even to 30%. Getting a bit better. If the where we'd actually feels a bit grey, Maybe we should embrace her brown color. Yes, I think so. So let's remove this and let's do it again. This time we take an orange and we basically embrace her natural high color to make it feel way more, way more natural, applied to pretty much sound. It looks nice, looks nice. It's, it's subtle, but it's there. Like overall, it's, it's going to look better once we finish this. Okay, so we've done all of this. I think we can add some some extra lighting. We can define a little bit more to shape their face so we can try another Eastern's of that soft lead layer. And try painting with white and black. And let's go really strong this time. We don't care too much within 20 town. I wanna put a little bit dark spot here, darker spot here, and increase the darkness on their neck. And under the nulls ellipse. And we take white nose. And here on the present the trick. And this, the ellipse as well. And the ID on the forehead. And maybe a tiny bit over her neck as well. And of course, it's a way to strong strike 30, 30% percent looks nice. And yeah, we'll give it a little bit more dimension. And so let's see how it was before actually, because we tend to forget where we started from and how much. And I'm not sure how much we improved it because it usually usually there are those really tiny improvements over time. There are really hard to to see. Like we try to go overboard and make it a bit more strong, more consciously, but we will lose sight of how, how much we're improving it array. Now one last thing that bothers me is this dark area over here would simply fix it by creating a new layer and take a brush. We pick a corridor is nearby the area that is a little bit further. And we endorse it. What's happening? Yet? We just paint over it. And if we need to get a positive bit, but I actually like it probably this. We can use simulator to fix some other areas like here. Here. Ok, it looks pretty good. Actually. I want to try one last thing. I want to try to add a backlight. So let's see how it looks for the new layer. We use white and brush. What sharp, hard brush. And the strength is odd. These, this wide over here. The WHO turned on race really experimenting and see that could be a finger or not. If we reduce the positive IIP actually actually looks nice until the ice. So maybe you just take an eraser and we won't be here on top. Actually like a little extra detail. There are some big 13 because I know I still want to be the end of the face. It's way too much. Ok. It looks good. Looks good. I like the color of tulips. Overall. Quite happy with this skin color. 9. Glasses: Alright, let's work on the glasses right now. So let's put everything inside a folder or the skin. Or the skin. So say clean and organized. And let's work on the glasses there so we get rid of down. We will fix them and we can move on to the fun part of the hair. So 40 glosses. You see in the original image there look kind of greyish white because of the, or the overall tone of the image. Having them isolated like the SPI are just blew. I'm sure, I'm not too sure about this blue. So maybe we can change the color. So let's try going like a white first. So black and white on the image and play with the scholars and actually really want it to be quite visible. So maybe something like this, like really dark might be a good option. Actually, yeah, it looks good. And yeah. Yeah. Like how much we see them now, if just by simply having a frame that is pretty dark, maybe we can, even if this other curve adjustment layer link it down and see if we make them darker or brighter. What happens? Just to have a look at what if they are white? Notify. Alright, let's keep them dark and make them a little bit more darker as well. And, and I want to add a little bit of touch-up proof. So we do it with a color balance down and at some ion and some blue is, it's really hard to, to see what we're doing, but yeah, we're just adding a little bit of color over there. So the clusters actually look pretty good. What I think we're missing from the glosses is the reflection. So there is already a legal bill of reflection over here that was the original image. And maybe we can increase that a little bit or let's see, let's see what we can do. So what I would do is to create a new layer. This time we don't want it to link with the glosses. And that just because otherwise it will only be visible over the frame of the glasses. So let's try to draw a second, draw an actual lens. So an easier way, we could actually use this selection of the glasses. So to protect its selection, we, we can click on the overall layer and then we can command option ship, click. To basically intersect the two selections and we get the final, the final selection on the glasses. Will want to do from here is actually invert the selection. Though we click common shift pipe. But now we're basically selecting everything except the frame. What I want to do is I want a yes everything except the frame but only inside the lens. So now that we have the selection, then, what I want to do is use my Lazo two polygon allows a tool and intersect the selection. So we could either do that, clicking over here. Well, let's actually do that. So let me its option Various intersect and it's gonna go all around this. And if a clause or as you can see, it will not, none of it simply, it's simply selection of inside the lens. So if actually fill this with white, see what we've done. But of course, we also add that portion missing so we can just feel that being width, brush until it white. And now we can replace it with, sorry, repeat the same process for the other lens. So quick. Intersect, Invert Mask and use the lasso tool to intersect this selection. And we are the also this little portion here there is missing. And it was actually pretty quick. So we have this lenses here. But what do we do? So we can try a couple of things. We could either turn them into sunglasses because it'll be interesting. We could give it a color or we can just leave them as they wear and have a little bit of AES. I mean, this probably the best option that we can just give them white cube into 25%. And that actually it looks pretty, pretty good already. If we want really to extract touch, maybe could be a little gradient. So to do that I would add an extra layer. Click with option, sorry with common would control over the thumbnail. So I have this selection active again. And now we're faced with a really soft white brush up elect this. And then we deposited down really tiny, maybe 25 again. Looks quite good. And we can actually reduce the 108 to ten. Yeah. Yeah, it looks good. Looks good. I like it. So we can keep them all organized and say inside a group glasses. And maybe we can try another extra thing. Seo looks. So the original image had a little white light. You could actually see a reflection on dispersion. Illustrator recreate that. We'll click on the underneath Layer. We load the selection. We can just paint with white. Okay, like this. And maybe here as well. Maybe if we reduce your positive, we can get something interesting. Are not big fans. Maybe we can actually use this tool and layer out portion of the bottom. So we only have it well, we really have is this. We have a really clean reflection over derrida then cause and result. Yeah, that's not bad. Maybe I'll keep that, say 15%. So it's pretty low. Yeah, it looks nice, looks nice. 10. Hair: Now the hair are really the fun part. So, so far we will only use them just as a, as a clean white block just to see actually higher will look the, the rest of the older rest of the elements hold. They would look with the white. But now we want to give them a little bit more, a little bit more details, a little bit more texture. So that's removed the 0s. What layer? And because you see we got all this beautiful Leaders of the hair that would, might as well just use if we can. So and my way of doing that is to duplicate this layer. And we use the same technique we used before on the skin. So resurrects the layer, removed the mask and apply adjustment. Charlene highlights. And we can bring up the shadows and bring down the highlights a little bit. Though we're basically yeah, evening a little bit. The luminosity of the layer would look okay. And now that we've done this, we can add Gradient Map. But what, what gradient maps, the US gridded map basically applies a gradient over an image. But the way that gradient is applied is basically using luminosity values of the image. So for example, the left point represents the black point, the right point represents the white point. And all the coal, all the oldest steps in between are all the different levels of, of brightness. So we can basically set, for example, that our black point is dark blue. And our bright point, he's a bright yellow. And this is a type of result you would get. Now we are going to use it a little bit differently. And so we're going to actually use it to make something black and white. So that's something for the simple. But instead of limiting it to this, we want to bring these black point a little bit higher. And we can actually have it really white. But still maintaining a little bit, a tiny bit of the cells out of texture. Now we don't need to stay on the grey necesarily, we can add a little bit of blue so we can come up, give the same tom That we have on the background. Let us helps it to make it more, to make it integrate a little bit more easily because you feel slight. All the elements are part of the same of the same environment. But let's go on and peak currently works for us. Let's say that this is good. Look, okay? And now I don't want these effect to be on all the hair. And that's just because I like how we can see a little bit of texture on top, but at the bottom and on the side, and this side over here. I really don't like the fact that we have this gray spots. So to fix that and actually have white hair at list at the bottom. What I will do is to create a new layer inbetween and basically just fill it with white. So we'll use a soft brush and decide where the white is and what this does. It basically forces the the color of the hair to be your white. Even though we had that, that gradient map that actually was using information's coming from the original image. So let's do this. And yeah, I like how we got a little bit of detail stare and we lost them down there. That's perfect. Can actually just erase it a little bit more here. If we want to bring back more details, but actually tend to remove them. Now we can actually use this setup. We integrate them up to, to add some extra dark areas. Let me show you what I mean. If we use the same technique we use right now to add white, but we use it too. Black. Well, we get isn't black, buddy, it's the darkest point we have set in our gradient muck. Now, keeping this in mind, we can basically draw some extra shadows on air. So for example, here the hair would be like this and it would just be a little bit more soft wood. Buddhist push much brush. Not a big fan. Let me scale was originally. So originally there is this curve over here. Read to recreate that. Military is. There is a curve here and another one here. But let's just keep referencing the original image cause that's the one that looks more realistic because it is the study of the original image influence the way you, the way you would touch it and all the little changes you make. What else was there. But there is this dark area here. And try to add. And we use this tool to stuff around less, less clean. It looks nice. All right, so there is this other thing that really spoke to me, this little NGO here. So we just go over our original mosque, oops, over our original hair mosque, and we paint with white. So we add more, more hair over here and make sure you select the mask. And that looks good. We can also change the shape or here maybe went a little bit more, little bit more hair. You see how easy is becoming to change, change shape, to change everything about whether it will have done so far. We could actually just miller this, this edge a little bit so we can actually look more like it's actually touching to to the head. It actually looks nice. Let's see, probably needed here as well. Or let's just learn a little bit more clear. They were connecting, more blurred. So we're just helping with the We'd have transition from hair to the skin. It looks good. And C from the original game. Maybe I like to see here little movement happening, though we can go back on the black. Was something like this. I guess there is no real to make this look nice. It's just a little bit these instinct and feeling and had bit of experience. So what might work? What might not work. But for the most part, it's it's experienced, tried out. I could see if it works. If it doesn't work on a problem, maybe we can fix it. Maybe we just remove it completely. Like here. I'm not too happy with this. And make it a little limited just to LEO touch. Just remove it and we'll fix this area in another way. So I like how the texture is looking here. Looks quite good. And another thing we can do, ease out some more white points and create a new layer. And we can paint with white. So it can basically reverse what we were doing before with the black and had a little bit more, more, more reflections. But we could also just have a smaller brush and yeah, and find some more Mark texturing here. We're here, for example. It looks a little more lines and maybe we smudge it as well. It looks a little bit less force. And you see the mix of painting over our light and in the original texture of the hair. It's what it's really selling. The effect. And if it's too strong, like I flip feeling there is very strong. We can just up white and just reduce the overall texture we're seeing. Because after all, we are trying to get white hair result. So it's more important for me that are there. The white, rather than having enough texture on it. Looks quite good. And now that the overall texture and share be Stan, it comes the fun part. Because now we can do something else. We can add more hair strings and we can actually kind of define a little bit better the, the look or the overall piece. Just by adding some screens to drain a little more. Hardcore little occur. More dynamic is smart. It just make it look a little bit more RT. So how do we do it? We simply create a new layer that goes, let's put it underneath our hair. And we took a brush. We take a really, really small brush, depending on the size of the strings that you want to do. I would try something like maybe six weeks. So what we need to do is really just drill strings. So this looks like a nice size. We can also vary a little bit depending on the portions. So we can not. Strings are a little smaller like even honored to pixels. And just draw this little flying baby here that look, look quite good. Actually. Actually I want to be I want this to be on top of the glasses, so doesn't really work if the underneath. So let's just put this on top. All right, it's been more organized. Let's collect the hairs. And we create this layered that is. It's strings. And yet we can basically just start, take a brush and draw. And here again, there is no rule. We need to make sure that we make it how we want it. So here we can actually fix little things like this little portion of the, of the glasses that was not Lear, where it was ending. The Indus cover it with some hair. Or the section over here maybe could have a curve. So we're actually changing a little bit the original shape of the hair. But that's all right. Like that's our It's a creative decision that we're taking. And that's what we're doing to achieve the exactly look that we want. So I've gotta let this section, maybe these white areas a little bit too small. So can I get a little bit stronger or add some extra thickness? Tried to not go to, not to use it lower or plastic. Ford for disabled Luca will retry to keep a very sharp edge for each string of hair. So I like how it looks here. Maybe I wanted to go a little bit wider over here, maybe. Something like this. It's pretty hard even though I'm using a tablet. It could be quite hard to achieve. Except curve and you want to like, go back here. Yes, I really want to do this. This really feels more like a painting them. Well retouching. But that's okay. That's part of the fun. So just play around with the brush and and the eraser to keep exactly the shape that you want. To just look at your at your work from the distance to see if actually we are working on or what you're trying to do. And you're not focusing to small details. Second one, string here. I still don't like this one. Too bad. But I like this one, this new one, this portion. And maybe we can add another one as well and the smaller one. And here's a bit to field, so a little trick to make it a little bit thicker. We can highlight the selection. Again. On top. We're kind of thickening the same line we have already and keep doing it. And now let's try these portion on top as well. Let's go on this side. Z line. But one single line. Let's stay with me. Like I promise it's worth. Because once you get perfect line that you want, it just feels so good. So maybe this one. Maybe, yes. Okay, let's find this edge. And maybe I'll just add a couple more inside. Him. Just couldn't justify this awkward curve. Yes. And I want to hear a little too far, but we're gonna get there. Okay. Looks good. Straight to the store to look what I've done here. Alright, okay, things happen. So my bad I erased stuff on here, but that's not a big issue, can just redraw the game. My big problem was fixed. Here. We go. Here. And when you wrap around her face, right. A couple more times. Okay, maybe, maybe, maybe we also make its curve. Let's try some portions. Maybe we can grow these ending here for just a bit more. Okay, I think we need a little different plan for Decide cause. It's not really looking like I was hoping. So let's refocus and hear how does should be. So maybe we just make it like a little we just make it like different shape. Maybe we don't have an NAN here, maybe it's soul kirby. Maybe it looks more like a, you know, one of those. One of those. The snail. Carter. Looks alright. Looks alright. Maybe we just need a touch-up detail. Like something like this. I guess what I'm trying to tell you here is that there is really no right or wrong way and there is not one single puff that you can follow to get exactly the result that you want. So a lot of trial and error hand. Yeah, like literally how apps are, come up with this look. And the way I've come up with the specific style. Just retesting a little different color, different looks, a little different techniques. Yeah. It was actually a way longer than this late. You're only seeing a little of issues they were having on a on a very small part. Just stop just refining the hair like this is actually the fun part or you can, we can explore and up little details. It was way longer to arrive fill here. So we had also another little thing here on top. You remember where the little spring there was making it really natural? Maybe we just recreate that. Just go with white. Yeah, that makes it much, much more nice looking. See, I guess there those little details that really make it, make it grow from average to really good. Because it really gives you the impression that it's an actual piece of art, not just or just a filter like this little, little moment of release men. Yeah. But char, try always to find those little details that can bring your phrase to average two really good, really. Sometimes it's just adding some tiny string of air on top or finding a specific color. Yeah, just, just freely, really tiny thing. The maker make huge differences in the way if this was a messy, messy hair, maybe there will be even more. How's it look? Yeah, yeah, it looks nice. And maybe we can add the same thing on the other side. Yeah, it looks good. And we could actually something on this side rule like actually like right here because it's, it's clean and it's not really it doesn't need to be disrupting this area just to, to, to leap room to actually read the frame of the glasses and maybe want to emphasize this curve. To do that, we won't use this new layer, but we would go back on our apps on our original mask. And we could remove with the black brush. Brush, we can remove areas and actually make it a little bit more curvy and gives a little bit more waves. Yeah, it looks nice. When else? Yeah, I think, I think the strings look pretty good. Just keep in mind, it's a mix of having some small and big strings. So the big because they give you the, give you an idea of what the shape is going to look like and they are actually more visible. And it's actually the way that they're real hair behave. Well, the string error, really thin strings of air just gives you more of the really stick. Look. But be careful because they might not even be visible at, for example, this one on top itself, it's really tiny electron. It might be even human, so tiny, invisible that it wouldn't be worth it to have it still there. So maybe I'll just make it a little bit stronger and where we've been before. Yeah. So elicits a bit more visible and it gives a bit of a stronger look to, to the overall piece. 11. Final Details: And then for the final details, what I really want to do is to relook at everything we've done so far and see what we can bring a little bit of improvements. Because right now, so far we worked on each individual piece and we couldn't really determine the way things were working together. So for example, we decided a color for the shirt before we had a color for her skin, and before we also had the white of the hair. Now we can go back to each one of these elements and tried to bring a little bit of improvement where possible. For example, I really like the color that shirt gut. It's a really deep blue. It's really strong and intense. Maybe it would suit a little bit better. Slightly different background. So dawn break anything, it will just duplicate my background gradient. And let's try a couple of different colors. Maybe I would go for a lighter. The lighter color at the bottom. So it actually gives better visibility on the darker shirt. So that works. And maybe we can increase the saturation on top and make it a little bit stronger and cool. So that was a really tiny touch. But look at the difference. Just, I just make the whole piece pull a little bit more. Then lets go over her old one. Let's go over her skin. And the skill was good. Maybe I would argue another color balance, Adjustment Layer and see if maybe if we go more towards the yellow or more towards the Red Sea were actually looks better, actually like the red look. Because in a way it makes the makes the whole skin the coarser color to her lipstick. And also gives a very strong contrast with width background. So I like this red here, like it may be, it's silly to strong maybe can with a black brush from orbit, from certain areas so it's not ever fix. So go read. That looks good. And maybe we can level layer of curves and me. And we have everything a little bit darker. Touch because we still want to to have the hair as the main element. So if we make the skin darker, their hair will be perceived as a brighter color. It looks good. Maybe I will just remove that touch from the forehead. That is the point where the hair and skin melt. That looks fine. And maybe the eyes are neither a little bit of an extra touch. So the eyes are still part of the skin. But I do One thing. I'll bring a new layer of curves and just focus on the, on the, on the ice that's not, not get disrupted by the rest. So illustrate to increase contrast. And even if it looks too much overall, we're just focused on the icy actually maybe it's not too bad. So we can reverse this mosque with common. I am fine with white brush only over the ice. And we can include the eyelashes. Make it a little bit more reasonable. What we did, it would get a little touch of contrast and yeah, and the eyes get a little bit more importance right now. That looks good. Looks good. So yet this was improvement on the skin. Overall is up much, but it's those little subtle little elements that, that makes the thing that's a little bit nicer. Then what do we have? We have the glasses. And the glasses. What I want to do is I want to clean up certain areas. So let's hide the lenses for now and create layer on top of the glasses. And I would just want to paint with some of the cores are already here just to make it all a little bit cleaner. Well, we don't really have messy, messy stuff and I'm not coloring with a 100% positive. Just going and lighter because I don't want to lose the much of the texture, but just enough to make it a little bit cleaner. And then we bring that where our lenses and maybe all the lenses I want allele, little color shift. So we create a selection with lenses and not a black and white, but a color balance. Maybe we cannot assign a triple helix. It look look slightly more realistic. I think. Chris, usually lenses ever touched off of color distortion. So yeah, that looks nice to me. And for the hair, this is the last theme would dance saw, I think, are pretty good already. When last thing we can do is create a new layer on top that has basically every other layer underneath linked together. So to do that we click common halt, sorry, common option shift E. Or for a Windows user 0s Control Alt Shift. And what that does is creates a new layer on top that as all the visible layer mesh together. Now on this layer, we will add a couple of things. One thing is sharpness. So we go to Filter, sharpen our Sharp musk and wanted to be a little careful here. So I suggest you have an amount of a 100 and a radius of two pixels. Was that gives the most harm. Versatile type of look. You can click OK. And then we can mask out this layer. So we'll create a new mask by clicking the Option or Alt key. So it gets reversed. And they'll want to apply the sharpen mask only in specific areas. And you see that gets a nice sharp look that I quite like on the strings. And they're on the edges of the of the glasses. And avoiding to put it over the skin. Just because the skin is a lot of grain and sharpen, their short mass would actually increase the visible grains or straight to taking it where from there when possible. So we have Moreover opened clean look overall and we can apply it over over her dress as well. And the difference is tiny, but it's definitely there. And you're gonna see you're just went now, when you look at the finished product, you just make it look a little bit more. Make it pops a little bit more. And Wallace fin, this is optional but usually helps to finalize any, any piece you're actually, you're doing really is to are their final curves. Adjustment layer on top and other Slowly gentle S curve. That brings it a little bit more contrast to the overall piece. It's just, just a tiny touch. But again, it's just a couple of little details that make the final product look a bit more nice. Though then we can group those final layers and I just call it the final details. And another option would be to add some grain. That's something that I yy sometimes do. Not always. It's a, it's really a preference. But I'll show you how to do it. So I create a new layer, select 50% gray. And the way to do that, these selecting 808080 as a hex color. Feel, this layer with the gray filter noise up nice. And we can leave it to maybe four or maybe six. Looks good. And then we'll click OK. And then we can set this layer to soft light. And we're basically is doing, is applying a little layer of noise on the whole, the whole image. And this is perfect celebrating just using just that Noyce filter because we can simply erasing with a minute, we will cover using density federal kinda how does to 50%. And we're not destroying Well, we had underneath, so everything we had before was still intact and still updateable, unmanageable. So now maybe it would remove a little bit of this unsharp mask rom these classes just because it was creating a strange l. We can also reduce the sharp must to 50%. This. And look a couple of little details, but they're all, they're all little set make the difference on the, when you see your your final piece on line. 12. Export: Now the very, very final step of the whole process is the export. So this is very confusing. Sometimes like a lot of times people ask me, what is the best way to export an image, is that JPL? Is that a PNG? Are you saving or you export in what is the actual step that you're, that you're taking? Well, I'll show you right now what is my preference and, and also considering the type of product that we are doing is a product for the web. So yes, it's a poster, but it's a poster that I'm personally creating two posts on social media. So I want to optimize it for that specific output. So that is something that we started doing at the very beginning when we set the size of the document to a specific size and where we said the the color mode and the color balance of the document. So now to export this document properly, well, we want to do is go to File Export and what I use is safe for web. So this is an older way of exporting, but for me still the one that gives me a lot of flexibility and really easy to, to manage. So he's gonna click say for weather. And now we want to check a couple of things. So first of all, you can select here the type of extension or you want to give to your file. Png 24 is the highest quality. But personally, I think that we don't need to have a PNG, especially if we don't have, we don't need to have any transparency in our image. So I'm quite good. We jump back. We want to keep the quality to 80. There is not much sense to have it to a 100 because it is not really keeping that much more information. So Eddie's Perfect. It will save you a little bit of file size and BI, and at the same time we'll keep it at a really high, high poverty. And then we can leave all the other setting as they are. We can explore forward is OK, same size. We had our document that is 2 thousand by 2500. And we simply go and save our file. Say with our desktop we get the nematode want call it what her posture. And that's it. There was my best settings for exporting for web. And this way, you will make sure that the color of your file are exactly the same as the color you're working on when you have the following Photoshop. And because a lot of fun, a lot of times I see people that were file in a specific way, then exporting and then the blue are not so blue or the red are little desaturated. And yeah, let's just because they didn't follow that, didn't build the file the correct way at the start. And once they've already done a lot of work, it's really tough to go back and need to adjust things. So if you followed everything clearly since the beginning, so setting up the file the right way. And then if you use this exact setting for the experts, you shouldn't have no problem at all with your file. So you should be all would go. And yeah, so this is our final image. Hope you enjoyed this tutorial, I hope you find it useful. And yeah, I'm really curious to see what type of results you get. You could either work on the same image and worked on, you will find the link in the resources down there. And yeah, I'm really curious to see what you can do with the same image, but also want to see what you can do with your personal image. So either eats different picture they you want to take from, again, Tech cells or I'm splash, or even take your own photo like I wanted to see. Your own follows like take your own, take a selfie or take a photo of you, or let a friend take a picture of you, or take a photo of your girlfriend, your boyfriend, or your, your brother and sister, and give it a go. Try it, try with different hairstyles. Sometimes it could be easier, ie there are longer so you don't need to fix the end. With the guy. Maybe could be a little bit different. The hair really short or curly hair. We're still going to use the same type of, you, still going to use the same type of tools, the links you would have seen in this course. But yeah, I'm really, really curious to see what else, what other results you are you're gonna get. And please feel free to talk to me or to posted here on the skill share. And yeah, so I'll see you on next loss.