Editing a Surrealistic Portrait in Affinity Photo

1. Introduction to surrelistic editing: All right, folks. Jeremy Hazel here. We're gonna go through in this scale, share class, and we're going to take everything that we know about compositing in affinity Photo, and we're gonna create this image. So this is the delivery ble. This is a surrealistic portrait. It's something that I like doing a lot of. Here's a couple of the others that I have done and it's really a mix of my big influences. I like Rene Robbins like Aaron Nance. I like Kelly Robocall and I grew up on Lewis Royo. So anybody that's a fan of fantasy art knows who Lewis Royo is. So the geometric tattoos that he uses and that sort of thing are one of the things that really heavily influences my style. I like the surrealistic look which focuses on big eyes over proportioned heads and very small arms, and I really tend to work in the cooler colors. So in this class, we're gonna walk you through everything, how to begin your image, how to manipulate it, how toe handcraft, thes textured tattoos that I'm showing and how to apply makeup to help tell the story. Once we're all said and done, I'm gonna show you how you can find textures around your home that you can use to unify your image. So we're gonna cover things like color grading, applying textures and moving it through. So this, from my perspective, is one of the most fun classes that I do here, and I'm happy to bring it to skill share. And so I hope you'll learn a little bit about compositing. I hope you'll learn a little bit about affinity photo, and I hope you create something beautiful. Now you're gonna want to go ahead and put your surrealistic image down in the assignments portion. However, if you want to follow along with my image, I've included a download that has all of the source images that we're going to use in this course. So whether you want to use mine, whether you want to use yours doesn't really matter. What I'm interested in is I want you to take what's in your head and be able to learn the skills to get it out into the digital space. All right, let's go ahead and get started. Now you know what we're doing? You know where we're going. Let's go ahead and learn Affinity Photo for surrealistic Portrait's 2. Setting up and resizing the image : All right, folks. Welcome back to Affinity Photo The Complete Guide to Editing Infinity Photo. So this is a cornerstone project of our course. This is Bar None, my favorite project in the course because this combines three passions of mine beauty retouching, artistic talent. Plus, I get to do some fantasy art, so we're gonna take three inspirations of mine. The 1st 1 is Mark Riding, and he I found through a book called Pop Surrealism. And I was so influenced by his work that I started tattooing some of his images there. I really liked the image I liked, how playful they were, how wide eyed they were. But yet it conveyed a certain sense of sadness, So his art was very inspirational. Me from a pure artistic standpoint from a digital art standpoint. I really like the artist Kelly Robot all, and she does Photoshopped primarily. So in taking some of her classes, I really learned a lot about her technique, and I was able to apply some of them to my affinity photo work. So there's my second inspiration. The third inspiration is a fantasy artist named Louis Royo, and I grew up with him and I love the way that he drew women. I loved his fantasy art, and his tattoo portfolio to me was very, very interesting how he used geometric shapes when he drew his women to augment their form but not overpower their form. So we took all three of these. And so what I've created is this image here. We're gonna be using the mark riding, sizing, word of using the Kelly robot, all methods. And then we're gonna be using the Louis Royo style augmentations to put some really cool glitter tattoos on her to put some different makeup on her. One thing we haven't covered yet in this course and to create a really good piece of fine art. So let's go ahead and get started. Let's goto file. Let's go toe open and find this image in your downloads for this lecture. Siri's now Why did I choose this image? I liked it because surrealism, in my opinion, is very frail, very kind of wispy, And so I really loved her hands. And I really loved how close the hands were to the face. And I wanted something where the nails were showing because I want to show you how to re color nails. I wanted the eyes showing because I want to redo the makeup. And I really wanted a good set of lips because we're gonna be doing a glitter texture on the lips. I also wanted a large area of her arm so that we could do some liquefy and some warping off some of the glitter tattoos that were going to do. So this image work for me. If you want to do another image, go to the stock tab. You can pull out any model photo that you want by just go and say model, and then it will give you a whole bunch. So you don't like this one? Certainly. Don't be bound by it. Get the technique down, and then do your own thing. All right, let's go and get started. I'm gonna pull out my layers panel because I like to work with layers panel out because it gets a little long. If not and the first thing I want to do is I want to come up the document and we're gonna resize the canvas. And why are we gonna resize the canvas? Because I'm going to need a little bit more workspace when I blow her head up so that we've got the space to work with. So what I'm gonna do, I'm gonna update this. I'm gonna make this about 2800 and that's going to make that about 3000 and we re size. All right, now, perfect. Let's go to the move tool. Now you see the little access. Why can't you move the excess? Well, because it's locked. Let's unlock it. And now what I'm gonna do, I'm gonna hold control. I'm gonna expand this a little, and I'm gonna drop her down to the base. And if I could do a little more, I'm gonna control. I'm gonna pull on the corner and I would move her onto the base. I think that that is probably good. And I say good, because I'm gonna take this head now and I'm gonna move it into a very unnatural size. So let's right click. Let's duplicate and let's lock this one back down so we don't mess with our base. So this is going to be are modifiable, and the first thing that we're going to do, we're gonna come over to freehand selection tool and we're going to grab around here now. She presents some special challenges. You see where the finger is there. I want to grab a little bit of the finger, and I want to grab a little bit of the finger here. I don't want to be too close to the head. All right, that looks good. Something like that doesn't have to be perfect. Now let's refine this election. Let's come down here. Let's create a new layer. You see it's under output. Sit new layer and apply. All right, so we now have a head layer. Now, here's the trick. We've got to expand this head lair because it's got to be comically larger than the body. So let's turn on the body. Let's do this body. Yep. And head layer just so we know what's going on. I can spell the day. I promise. All right, now we're gonna grab our move Tool on the head layer on the corner. Hold control and bring that bad boy up. Now, here's your markers. The reason I asked you to use her finger is so that we at least had a marker. So put her back against okay, I think that we're pretty good there. If you don't like that one, you can go a little bit further. We could go control. We could shrink it up just a little bit more. I'm probably OK there. I'm trying not to cut off the top of her head. That's probably good right about here. Okay. You ourselves some room. All right. Now, what are we going to do at this point? Right, cause this looks like hot trash. The first thing we're gonna do is we're gonna mask So we come down to the head layer and we apply a mask lair. Now, let's bring out our color palette. And I just grabbed it and undocked, and I'm gonna be working in black and white only I'm gonna grab a brush. And now which brush? So I use I grab any old soft brush Doesn't matter, but I crank the hardness on that bad boy down to zero. And remember, when it comes to masking black conceals white reveals somebody, zoom in here a little bit and my goal is to mask out some of the head until it begins to make sense. Now I'm going to switch over to my walk home. You do not need a tablet to do this. It just makes my life a little bit easier. And I'm gonna begin removing pieces here until I start seeing what I want. Okay, Now I see how I'm going over the hand a little bit. Okay? Now you see how removing around down below the chin, that actually works out pretty awesome. And now let's see, we can do with this hand here. That hand is gonna line up pretty darn well here. Now I'm gonna mask out a little more than I need. Okay? You see how I went a little far. If you go a little far, bring out your white, and this is why I use the Walkom. You can bring back whatever you want because you're working non destructively. Okay, Now, what do we do about this part of the face? Let me show you this. Zoom in a little bit. We have our white. And now with my brush selected Watch this when you use a little brush we're gonna bring back just to the side of the finger. There we can. When we dodge and burn this thing, we can bring her back and we can make it look like that finger is in front of that face. We're not too worried about that right now, so my goal is to have a complete jawline. Okay, Now, you see, we lost some of the finger there. All right, let's bring back some black. We now know our limits. I'm not too worried about being perfect right now because we can always touch all of this up as we go. That's the magic of affinity photo. Okay, now, I went a little far here a little bit more here. Here we go. Alright. How we looking over here? That looks really good. Now let's check the hair. And what we're looking for is things that will tell on us. Okay. When I say things, it'll tell on us. Come over here. Let's go ahead and bring this back ground up just a little bit. I'm gonna drop my flow a little bit. Now may be the 38%. And what I'm gonna do is I'm just gonna come over with black, Yo, Yeah, looking good. And you see how I'm just kind of hiding anything that might tell Now I'm not too worried about around the hair. We're gonna take care of that. All right, Now, here's what I do. Once I've got the head the kind of way I want it. Watch this off. On off on, uh, on. Now, if I wanted to Here's what you could Theoretically dio I could take the head. Oops. Let's not grab the mask, huh? Describe the whole head and I could shift it a little bit of the way. Now, what would this do? Well, now you see how our mask is slightly shifted. That's okay. We can bring this in. Go back to the mask. Go back to your brush. 200. Let's try painting and white, huh? Back the small brush, bring back the black, get a good jawline. That looks pretty good. You see how moving a little bit quicker now because you guys seen this show. All right, let's zoom in around that finger, cause that finger is gonna be a focal point for us. Get over Is white. Okay, so let's check to make sure everything else is intact. I like that, But let's check it again. You can eat away at it. All right? Let's see, we got all right. That looks pretty good. Now, let's check. 12 12 That puts the head in a good natural space overall. Very happy with that. All right, let's go ahead and pause. That here. That was a lot of work. So now the goal here is we now have a head layer that's now positioned correctly with the body. All right, let's go ahead and call it on this one. In the next one, we're gonna start making this thing look a little weird. All right? See the next one? 3. Warping the image and liquefying : All right, folks, welcome back to doing your surreal image. So in the last lesson, we made this head a separate layer. We made a comically large, and we masked it out. So now if you talk with this thing on and off, all right, you see how the fingers are kind of going to be a guide post That actually works out really nice. So I think that I'm fairly happy with that. But what I'm not happy about is I need a little bit more canvas, so let's go. Here, let's go resize canvas again and let's go. 3100 resize. All right, Now watch this. Let's go ahead and unlocked this for just a minute. Shift, shift, click. Okay, move. So now we're moving. All these is a unit. Now, watch this. I'm gonna go ahead. I'm gonna hold shift, and I'm gonna pull these so that they're moving as a unit. All right, That looks pretty good. And I left a little bit of room here because at the top, I'm gonna want to liquefy the hair a little bit. Center it up. Okay. Now bring this back. Lock it. Now, let me show you kind of how this works. We're going to grab our eraser. We're gonna go on to the head lair, and we gotta figure out which layer this is on. Right? All right, that's on the head Lair. Cool. Take the stabilizer off. I'm gonna make sure my soft brushes selected so they don't have a hard edge. And now I'm going to come down here and I'm gonna take care of all of this stuff That's just gonna make life a little bit easier. Notice. I'm not touching the hair. There's a plan. All right, so we're good. Now, let's go ahead. Hold shift. Grab the head on the body. Right Click hopes. Head and body, Right Click and group. All right, let's call this initial. Okay. Now, here's the trick. We're about to go to liquefy. You cannot liquefy a group right click, duplicate the entire group. And now, if you're happy with all of this Rast arising right click hit Rast, Arise, Boom! This is now one pixel. Okay, this is or should say, one pixel layer, not one pixel. But now this is a pixel air. So let's de select that. Let's go and lock it down. And now you can always go back, right? Because again, I don't want you to ever do anything that's destructive. And now let's show you liquefy with the pixel air selected. Let's go into the liquefy persona. All right? What liquefied does is it throws what's called a mesh liquefies used in beauty retouching, toe tuck in certain areas you don't want accentuated and to pull out of the areas you do want accentuated. So when you do this, their panels I'm going to pull out the brush panel. Now, when you do this, the opacity right now is set to 25. The speed is set to 50. The technical term you want to think about this is gonna warp your mesh. Okay, so now watch this. I'm gonna come over, and I'm gonna use the pinch tool. I'm gonna go over to the eye, and I'm gonna make my brush a little bit bigger than the eye. And now I'm just gonna go ahead and I'm gonna click and hold. And what's gonna happen that I is going to be bulged out? Same thing here, watch this and you'll see that it's moving. Okay? And you want these to be roughly the same size. So, overall, I'm happy with that. Now, if you ever do something you don't like, watch this. You see, over here, there's a mesh you can put reconstruct mesh. You can go back to 100. You go back a couple steps, and this is a good way to check to see if you're growing at the same area. So what I might do now that I looked a little bit smaller, I'm going to continue to punch it up a bit. All right, That looks good. Now, I'm gonna go to my punch tool. I'm gonna go over the nose and I'm gonna shrink it down a bit. All right? This is very similar to my cried and stuff. Okay, That looks pretty good. And now going to accentuate the lips of it. All right, That looks pretty good, cause the lips. I wanted to be kind of full. So that's how the pinch and punch now, the next step, when I want to show you, there's something called Freeze and Thaw. So if we wanted to, this is just one way to do it. There's better ways to do it. I'm gonna show you how to do it along here. You come over here and you go toe liquefy freeze. And then you paint in the areas that you do not want this distortion to touch. So I'm gonna go ahead. I'm gonna paint in everything that is my woman here, because what I'm going to do, I'm gonna show you how to pull the background. Okay? It's gonna look like chaos. But I promise you it does work and what I'm looking for in the background. I want a little bit of randomness, so I'm gonna crank this speed up a little bit animal, crank my brush size up a little bit. And now watch what happens to all the pixels that we groups control. Z watch what happens to all the pixels that we didn't choose. So liquefy I'm gonna show you how to push forward. Now look at what this does now. It's taking those areas and it's pulling them out to the side. I'm gonna show you a couple different work ways to do this. This is how I would do this part. Now you see how we started getting some hair? Zip that out because there's a different technique for the top. What I'm gonna do here, I'm just gonna pull the sides with this. I'll show you how to do a net friend technique for the top, but it really doesn't matter, because I've got a very solid background. So subtle imperfections in this background are actually just gonna add to the interest. So the more I do, the more interesting this really becomes. Alright, quote too close to the hair on that one. All right, So once you're done, you can come over here now and you can thaw And for means now, all pixels or back in play. And I really like this because when I remove the red boy now I get to see everything that's going on with it. And that background actually looks pretty super sweet. All right, so now what can we do with this thing? Right, Cause we got this thing. Now what we want to do is we want to kind of trimming her body a little bit. So now that we got this figured out here, now we're gonna go and we're gonna start pushing your body. So I'm gonna show you how to use the push forward tool. And I'm gonna use the liquefy freeze tool here to just kind of freeze a lot of this stuff around. Okay, Some Now, we come up here and let's go ahead and push this in a little bit. There we go. Yep. Okay, so we're pretty good there. And the reason that we're freezing some of these pains is because we don't want the pixels to move as an example. If I'm going to go down onto this arm, I'm gonna want to freeze this arm when I try to push forward this arm and that looks really good. Okay, Now let's thaw this arm out. Let's thaw this arm out because we're pretty good there. And now let's go ahead and freeze this area. Let's go ahead and freeze this area. And now let's go ahead and push forward this wrist a little bit. You see how high my brushes up? Okay, so that's a very subtle adjustment there on that side. So now let's go ahead and thought that out. Something that's not too crazy but yet is effective. Now let's do one more thing here. I want to take this area of her face. This area. I do not want that finger jeopardized when I do this. Okay? Now come over here. I blew my brush up a little bit. All right? What? Stall that out. Okay, One more adjustment that I see. I want to minimize this, but I do not want to touch the face or the hand or that. Okay. See, I'm getting a little bit on the finger there. Put that back. Okay. Lets thought that out and see if I didn't mess that up. No, I'm happy with that. All right, Cool. So once you're good, let's go ahead and zoom out of here. See what we think about this. I think we're quite pixie like I kind of like the look of it. And I think that we're almost done. The last thing I want to dio I want to come up here and I want to put a little volume in the hair. Let's do this. I was really good right up until I saw the forehead begin to move, and I do not want that to happen. So we're gonna go ahead and we're gonna freeze that forehead. That ought to be enough. And now let's liquefy that'll work. All right, let's thought that Okay, that looks pretty good. Now, when we're done, apply it your first liquid vacation. Done. Alright, folks. Let's go ahead and call it on this one. In the next lesson, we're gonna show you how to fix this pesky background here, and we're gonna do our first frequency separation. All right, we'll see the next one. 4. Frequency separation: All right, folks will go back to your surreal image. So in this one, we're still working on our pixel layer here and now I'm gonna show you kind of the healing brush tool. Now, we've used this before. This the nice way to just do the background There you just all to click to pick an area that you want to replicate and then boom there. It knows. So what I like to do, I'm gonna go all click, and I'm just going to start tapping around this background. Now, the thing I like about this and the reason that I like this is because in all reality, you can smudge this thing. It's in pretty cool effects. Afterward. You see how we're pretty close. We got this different texture. Watch this. Take your smudge brush. Put the strength of two. Probably the mid sixties. Let's try that. And now we're all on the same pixel air here. Let's go ahead and just smudge some stuff around. This actually is pretty awesome. And the direction of the smudge will directly impact how it works. So if you're looking to go from the darkest to the lightest smudge out and if you wanted to , you could increase the flow on the brush. And now here's my trick. This is something that I do all the time here. When it comes to hair and we're down into here. I like to take my smudge tool, and I like to blur out just a little bit of that hair now that went a little bit too far. So let's go ahead. And I like to take some of that wispy nous, and I like to just bake it into my texture. So that's why I didn't get too crazy about it. You've got some hair that's hanging out there. Don't be afraid to smudge that out there, too. Okay, we'll do a little bit more around the periphery there, but that's one of the things I like to do to add a little bit of interest to my portrait. One more thing here. All right, Cool. All right, we'll do a little bit more with that, but you see how that's adding a lot more interest rather than just the plain black. All right, so now we're in pretty good shape there. Let's go ahead, just in case you haven't done this file Save file. Save as I'm gonna call this, this is gonna be all three for me. And now this is gonna be key. This is going to be one of these things that you're not gonna be ableto undo. So this is going to be destructive. Click on this and put down before separation. Okay, Now, once you do this, you're gonna want to, right click duplicate. Grab this, lock it down, and then hide it. Remember, this is like your history. Now, with this lair selected, go up to filter go up to frequency separation. Now, this is one of the things affinity photo does really super Well, I like the frequency separation. There are more advanced techniques, but this is probably one of the best tools out there. Now, what is frequency separation? Frequency separation separates the textural frequency, which is gonna be a year under gray from the tonal frequency. High frequency is in gray. Low frequency is in color Now. What does that even mean? Watch what happens when we turn up the radius of the separation. You'll see how Mawr features go onto the gray and less features are present over here. So it really takes the radius and it says, How much blur do you really want? Because the more blur, the more it considers high frequency. And what you're really doing is you're separating the tones from the texture, right, So we're gonna blur the underlying tones, and then we're gonna calm the texture. This is best, in my opinion, at around 6 to 7 pixels. Any more than that, you get a lot more texture than you want any less than that. You're really lose some of the effect so you can play around with it. And if you wanted to, you could turn on feature protection, tolerance, and you'll see when I click that on what happens to the blur automatically. Affinity photo goes, we need to keep more of the fine detail in the lower frequency area. That is not what I want. In this case, I'm looking for a painterly look. So we're gonna go ahead with the radius of seven. We're gonna apply now what just happened? Affinity Photo took this layer, and it's separated it into what is called low frequency and high. Now watch this. If we turn off the high notice how everything gets blurry. But if we turn off the low, all we're left with is a series of lines. Almost so. It's a subtle balance between how much you want to pull into the texture layer and how much you want to pull into the low frequency layer. And it's really 100% trial and error. It depends on your style, and it depends on the image. So in this case, I'm pretty good. If I turn that off and we did away with all the high frequency, I'd get a very blurry image. All right, Now we've got to treat both these layers. So stay with me. We're gonna call this high frequency One texture, and we're to call the low frequency one tone. All right, so let's do texture now to do this, I'm gonna go ahead and I'm gonna use the healing brush tool a lot. Someone zoom in and I'm gonna find a piece of the face here where I have a good smooth texture like this area here. There's a lot of texture that's not good over here. I think I've got a pretty desirable one. So to use the healing brush tool, we click with all selected and it'll put a little X right here. Now watch what happens. I've got my flow up to about 100% and I'm going to begin clicking. And now you see what just happened to the forehead area here, All the texture kind of goes away. So if I have areas of extreme texture, like the porosity down here in her cheek, I can make that go away, see what happens now. I can increase the size of the brush. But when I increase the size of the brush, I might start moving this ex watch. What happens if I click and drag, eventually see how again, into the hair. And now it brings that texture over. That's hot garbage. That's why you hear me clicking in the background. I'm clicking so that I don't move away here. I'm really liking this texture. I'm really liking the smoothness, and in a way I'm not removing all the texture, but I'm certainly holding in the areas where I don't want it. A prime example of that is here in the knuckles. Watch this. I can smooth out knuckle areas on that texture, and remember, we're not messing with the tones. You see how this is pink right here. It's still pink when I have it underneath. I'm not messing with the texture or the tone underneath. I'm just messing with the textures. Now we can go ahead and bring this up a little bit in the area here on the back has a little bit too much texture for my taste. This arm area has a little bit too much. Clearly, this arm area does. We're gonna take some of that out. And the knuckle area. We are also going to take out now. Texture is not a one. And done. You may have to do texture removal a couple different times, especially as you're learning about your image. Okay? And remember if you were doing a realtor True portrait beauty retouched like this, you probably wouldn't go this extreme. But we're going for fantasy. All right? This is fantasy right here. So let's go all in, right? No pores. All right, so that's pretty good. I think that I want to do all right. I left the lips. I wanted to keep the texture on the lips for a reason. So I think I'm pretty good with the texture layer. Now let's take a look at tones. Now, if I have areas in which there's tonal issues, I can select and blur some of these areas. So the one that I'll probably do with you here that I really I'm just not a fan of is right in here in this shoulder area. The reason I want to do that is because we're going to change it up. So what I'm gonna do here, I'm going to select this area where we're gonna do the tattoo eventually. And then I'm gonna come over to filters and I'm going to go over to blur, and I'm going to go Gosh and blur. I'm gonna crank that bad boy up a little bit. You see how this changes a little? No filter some filter and then select de select groups. Hope got Apply it. Hey, there we go. Select de select. All right. So you got areas in which the tones air jacked up. You can very much and very easily just blur out those areas. I'm not gonna spend too much time on that because she's pretty evenly lit. I have no heartburn. I think that we're pretty good here. In the next lesson, I'm gonna show you how to go through and paint in some of this. This is one of these Kelly robot all type of techniques that I really like. It kicked my workflow up substantially to do this. All right, we'll see in the next step. 5. Painting in between your frequencies : All right, folks will go back to your surreal image here in affinity photo. So let's take the next step here. We've been doing a pretty good job. This now, the next step I want to show you came from Kelly Robot doll there. I took her class on surreal portrait editing, and it was really good. And one of the coolest things that I found from her was You gotta put the paint layer in between when you do a frequency separation. And so I really wanted to kind of add that in here, So let's go ahead and add a new pixel air. And so one of the things that you're gonna want to dio we're called this paint, and so this really takes a photograph in to make it really an artistic piece of art. So you're just gonna use a soft brush? Nothing crazy, folks, we're not doing anything really interesting. And now we're gonna crank the opacity down to about 10%. Okay, Gonna keep the blend mode is normal on here. And so now we're also gonna pull out our color palette because you're gonna be using the color paddle a lot. Now on this image. I'm just gonna go ahead and replace the layers because you guys don't need to see the letters part. It's if I can get it here. All right, let's put the color over here for those that are new to affinity Photo The way you use this is if you wanted to pull the picker, you come down here, you find the color that you like and you'll see that it shows up right here. Now, in order to get that into your palate, you have to click on it. And now it shows up into your palate. Now you can paint with it for those that are familiar with shortcut keys and you don't have to have the shore could keep to do this. This is a simple as hitting click Ault. So let me show you this. If I'm looking to change my color, let's change it to this brown in the hair I hold Ault and I click and notice. It changes that here and it changes it here. I want to change the red lips. Ault, click. I'm going to use this approach with all to click. You do not have to. You can certainly grab the color picker. Take your time on this and you find the color you like, But make sure that you click on it so that it becomes part of your palate. All right, so for those that are familiar with it, I'm just gonna go ahead and I'm gonna click. All right, I'm gonna zoom on in here and now the name of the game here is to create a painting in between the frequency layers. So what I'm gonna do here, I'm gonna Ault click hopes, make sure the brushes selected. How about that, huh? That would be awesome. All right, let's do that. Brush, color picker Ault, click. And now I'm gonna raise this up just slightly. And now with 10% I'm just going to start rushing across that I'm gonna all to click and what I'm doing. I'm just sampling from different areas, like her cheek here. I was gonna bring a little bit of that up into here. Bring a little bit of this down into here. And so what I'm really doing here? Let's zoom out and you can see what I'm doing with this. Watch that If I toggle this on and off. See, I have taken some of those highlights there, and I've actually just reduced him down a little bit. There's no perfect approach to this. I've been playing with this now for a couple months. Um, it definitely is an interesting technique, and I really enjoy it. It really does give me a certain amount of joy to do this. So it's one of those things I will probably keep doing. But it's also one of those things that you got to get a little bit better at as you do it more and more. My first couple were ridiculous, and if you wanted to, you could change the flow up a little bit. I tend to keep mine low, but if you wanted to, you could come into here all to click, and you could flow it out quite a bit quicker. See how much quicker that starts populating. So find your magical space, find the one that works for you. Oops. Find the method that works for you, and what you really trying to do is your trying to get to a point in which your painting now I tend to stay away from the shadows a little bit. You see what just happened there in the mouth, turning them kind of more of a monkey mouth. I don't want any of that. So I tend to stay away from the shadows. That's something we're interview during Dodge Burn. If we want to, we can come in here and we can toggle it on. Toggle it off overall. Relatively happy with that. The only thing that I would probably see that I want to change. And sometimes you have to go kind of in and out with this thing, right? I find there's no perfect. You just kind of want to go until you get a good, smooth type of painterly Look to it. All right, Cool. Let's see, we got here and out. No. Okay, that actually looks pretty cool. All right, so now, once you're happy with that, the trick at this point now is to take all three of these layers. So I'm gonna take the texture layer you to take your paint layer, take your tone there. Gonna right click. You're gonna group him and you're gonna call this after separation. All right? Perfect. Now what do you think we're gonna do with this. I just ask you to group on. What have I asked you? Do you, after every other time, duplicate the group right click. And now we're gonna come in and we're going to Rast. Arise, Boehm. 6. Adding the flower and makeup to the image : All right, folks. Book back to our surreal portrait self. After this last time we did a frequency separation, we did a little bit of painting. And then we created this pixel air called after separation. So you'll see that it each of these areas, we do a pixel air than we group. Um, then we do a flattening, and so you could always go back to say, this is where I left off after I did my separation. So the next step here is now we want to add some embellishments, so I'm gonna show you to embellishments that we're gonna make. First, we're gonna put a flower in her hair. And then secondly, we're gonna put a tattoo on her, and we're gonna put in some lipstick, and we're gonna put in some eye shadow. So this thing, this is gonna be a two part less than this one's gonna take a minute. All right, so let's go ahead and start with the easy thing. Let's go and start with a flower in your downloads for this lesson. You'll have this dead flower here. All right, let's go ahead and bring that up. Now let's bring it to the top. All right. Now, you guys are pros at this, so this should be pretty simple. Go to your selection brush, make sure snapped the edges is on and just select this particular flower. Now, the reason I selected this flower out of all the stock images that I looked at one I liked the idea that it was kind of dead, so kind of matched the theme. Secondly, it had a nice black background, so we didn't have to really do a lot of work on this. All right, let's go ahead and hit. Refine, And we're going to output this as a new layer. All right, Perfect. Now notice how I match the perspective. I'm gonna hold shift, and I'm going to shrink this. Sorry, control. All right, now, notice how I matched the perspective. This side of her head is largely open, so the flower will fit nicely. Now you can make it is big or a small as you want. I'm personally going to go ahead and make this into something probably a little bigger than it needs to be. All right, So now this is close enough, But we can do better. So what I'm gonna do here is going to come down to an adjustment layer. I'm to use NHS l adjustment, and I'm gonna reduce the saturation. Now, make sure your each of cell adjustment is on Lee on the flower. You want to look fairly naturally? No, we don't have any shadows yet, so it can't be more saturated than the rest of the image. And then you're gonna want to kind of match the lightness, so I think that that is pretty darn good. Now I'm gonna move it just a little bit more. I don't want to interfere with their I. And now, just to make sure we're good, I'm gonna coming to liquefy. I hope we gotta go through. We got create a pixel air. Okay, Right click. And now what we're gonna do here, we're going to go ahead and we're going to merge this as a group, and then we're gonna rest arise. Oh, all right. Now we can go to liquefy. All right, So what I want to do here, I'm just gonna push this a little bit, push it inwardly a little bit match kind of make kind of match. The rest of the head a little, And now I'm gonna go ahead and I'm gonna pinch this thing out just lightly there. All right? And then let's push it a little further here from the side. All right? That actually looks pretty awesome. Let's go ahead and apply that now. Just kind of finish this thing up. Let's go ahead and add in NHS l adjustment. Come over here and let's go ahead and just kind of mess with some colors here. I'm not sure what the color profile is I want for yet, but I know that I probably wanted a little more de saturated than that. And that looks pretty good for right now. All right, so that is our beginning. Embellishment. Now, we've still got to do the shadows and everything. I understand that. That should probably cast a shadow here. There. That's fine. All right, now let's take the next step. Now, what we're going to do is going to create a new pixel air. Now, where did it go? Could put it inside the flower. We don't need that. All right, now, this pixel there, I'm gonna call makeup. All right? So step one, make up time now I'm gonna use her makeup as a guide. So I'm gonna come down to my brush. I'm not going to use any really special brush. I'm just gonna use a common soft brush, and I'm gonna crank the opacity down pretty low. Let's actually do the flow. And there is a difference between flow capacity. We did cover that earlier, and now I want to make sure that our makeup kind of sort of matches the flower. Some of the color pick. Let's pick something in a purple. All right? That looks pretty good. And now I'm gonna use my walk home for this. You could certainly use amounts. I'm just using a walk home for a little bit better control. And now what we're going to dio is we're going to print over top of her eyes. We're going to come down here hand. We're gonna just kind of do this. You see how I'm kind of using her existing line to tell me where this probably needs to be Now, if I missed this up, which I probably will no worries because it's totally non destructive. Now, when my wife saw this, she's like, you know, obviously you know makeup doesn't go above the brow line, so we want to make sure that we don't run this into her eyebrows. So that was a mistake I did in my first little one. All right, now that looks like hot trash. So let's go ahead now and find the right. Look for it. Let's go ahead and do kind of a soft light. I like that. Now, if the soft light plays a role in making this thing look weird, we can always come in. We can come over here and we can change the hue, saturation and lightness by adding an HS at level to my makeup level. So you're always going to have a certain amount of flexibility in order to change the makeup toe what you want. All right, that looks pretty darn good. Now, let's go ahead and clean this up. Okay? So we're gonna come in. Let's go over here and let's mask it now. Boom. And now, if Black conceals, we're gonna want to go black, and I'm gonna turn my flow down Super low, maybe 10%. Okay. All right. So let's zoom in a little bit here, and I think we did a pretty good job. Let's go ahead and I'm gonna paint this in just a little bit. Mawr Actually, I think I could probably get away with a little bit more coming again to my super soft brush. But this time I'm gonna crank my flow down really low, maybe 15%. So now I want to add a little bit more, actually. So I'm gonna come back down, I'm gonna choose my brush I'm gonna choose my purple I'm gonna now outrank my flow down a little bit less. I'm gonna go to about 15% 16%. And now I want to just get in here and really detail this thing out. Yeah, we can get in a little bit tighter and noticed down How low? I've got my flow. Now I'm gonna feather this out just a little. I see a feather in it and I'm just going to about 15%. All right, that looks pretty good. Now, let's say that you totally botch this right and go the wrong direction. Or just totally just we Here's what we're going to do, right? One. You could do two things. You can obviously race it or we can add a mask. That is the more professional way to do it. Right. So if black reveals and white conceals, I'm gonna turn my flow up to probably around 50%. And now you can always then erase out the areas in which you went a little bit far. So what I'm gonna do now is I'm going to crank my brush down substantially. And I'm going to crank my flow all the way up. And the first thing that I'm going to do here, you see where we kind of have some of this right there. Come down there. I'm gonna make sure that I don't have any of that purple in that area. All right, let's see how that looks. That looks pretty darn good. Now, if you wanted to, you go a little step further and we could subtly erase. I'm gonna show you out of suddenly. Erase. Now you come down here and white reveals black conceals when a drop our flow down a little bit, maybe to 30%. Now, watch this. Want to race out some of the areas in the mask layer? Okay. All right. That looks pretty good. So in this lesson. We added the flour in, and we added a little bit of makeup in the next lesson we're gonna add in a tattoo and we're gonna add in the lips both of the same texture. All right, we'll see the next one. 7. Adding a tattoo to an image : Alright, folks, let's go ahead and create a textured tattoo for this woman. All right, so this is gonna be a new thing. We're gonna file new, and we're gonna make a 1200 pixel like 1200 pixel image. It's completely fine. It doesn't have to be that size, but you want it pretty close to what you're working with. All right? Now, we've been talking a lot about vector or raster based tools. We covered the raster a lot, but we haven't done a lot with vector masks. So here noticed there's a shapes tool down here. I'm gonna show you how toe work very simply with vector shapes. And if you're not into vector shapes, don't worry. You don't have to be an expert. Let's start with the Ellipse and let's go ahead and pull out a circle. Now I held shift to make it a perfect circle. And let's go ahead and make it black just like that. Now, let's go ahead. We're gonna come up to the layer we're going to right click we're gonna duplicated and let's make this one white. Okay. White on top of black. See how that works. Now we're gonna grab the corner. We're to hold shift so that we go through and we center it groups. It's not create another one. And then let's go ahead and move it out until one kind of creates the other. This is how we're gonna create a really cool type of a lips crescent here. All right, that's pretty cool. All right, now I really like that. You see, we got two circles. Now there's a hidden thing. That affinity photo really doesn't push a lot in view. And when you customize the toolbar, you'll see that if you scroll down using this wheel, there's some operations. There's divide, subtract, intersect and add. Now these come primarily from affinity designer we're gonna do, add and subtract. So all you got to do to drag him up is click here and you can drag them up anywhere you want. You see, I've already got one, but that's how you put him on to your toolbar. So once you have them up here, the way this works, put the white water on top of the black one, select them both and hit. Subtract and you'll see what just happened. It now created a curve it subtracted the top one from the bottom one. Now we're gonna duplicate. Now we're going to go through a hold shift, and that will allow me to move this thing down. Adam in a position where I want. Cool. Now let's put in. Maybe on Arrow. All right, let's go ahead and put in the early and arrows are cool. So let's take one of the ends off. Let's go ahead and shrink this bad boy down. Let's go ahead and shrink this guy down. Let's go ahead and shrink this guy down, All right? Looks pretty good. Let's make that a little thicker that Why am I doing it this way? I want to have enough that glitter showing. So I need to have some sort of with on this thing. All right, let's go ahead and position this right about here and let's go ahead and move that wherever that went into here, that looks pretty cool. All right. Now, if he ever lost the little orange handles, just click on the shape tool again and they will come back up. You now see how that's why Let's make that black. The black part is very, very important. Okay, Now let's create a couple rectangles. One bring that down and copy and paste to Awesome. All right, cool. I think that's pretty awesome. Now let's do this. You see how we've got these all now? Right here with all of them selected. Click on add. Now it's made one shape out of everything. All right, that's step one to create this vector shape that we're gonna use as a mask for the tattoo. Now, the second trick here, let's go back to our original girl image there. All right? And now I'm gonna put in some layers. Let's delete that pixel air. We put one too many in. Let's go ahead and create a black and white image so it doesn't matter what it is. Let's go ahead and add in a levels adjustment. And what we're creating is what is called the displacement map. So we're upping the contrast and you see how it's bringing out this type of look. Okay, close that. And now this is the secret sauce layer, filter, layer, blur. Kocian blur. Now, why am I adding this? I'm about to use the displacement map or a displacement effect for some reason. a subtle amount of blur increases the effectiveness off the displacement map. Now, what is the right level? I've done some tests I'd found. It's about 7 to 8 and what it's trying to do, it'll use areas of black and gray to morph the image. So we're good here. Now watch this file export J peg and export it anywhere you want. Yep. All right. Cool. The displacement map is done. Now, we can delete all of these layers because we don't want All right, so Step one, we made the vector shape. Step two, we created the displacement map. Now, step three, we're gonna have to create the texture. So Goto file place and in the downloads for this lesson is this glitter sample. Okay, this is gonna be texture 101 In order to isolate the texture, you must do a frequency separation. And where is before? We wanted very little texture. Oh, now we want to blow this thing out. We're going all the way to Wonderland. I'm sitting about 23 pixels and then I hit. Apply now. Notice it. Just separated in the high and low frequency. We don't need the low frequency deleted. You'll see what's left. Okay, This is a really cool texture that will add some glitter. Now, I'm gonna go ahead. I'm gonna duplicate this. I recall this lipstick that's gonna be one. And then this is going to be tattoo because I'm gonna use the same texture on both so that I get a really good continuity. All right, so now here's the trick. Notice. This is a linear light. Let's bring in the tattoo. So I'm gonna come over here and this is my image, right? A copy. And then we will end it paste. There's my image. Hold shift to bring this out. OK, Looks like that. Now, remember, black conceals white reveals, so we want to use This is a mask. So Well, we're gonna dio we're gonna come down a word. They invert it to make it white, and then you're going to attach it to the curve. Will call this tattoo mask. Now I remember why we did that. This was a vector shape. We had to make it white because what we're eventually going to do is bring this texture into this mask. So now the tattoo pixel air, right? This looks not really sexy whatsoever. Let's hide the other one. And now we're gonna come down here. We're gonna add an adjustment layer. We're gonna add a re color adjustment. But on Lee to the pixel air. Now, you see, that doesn't look really good, right? We have to change the blend mode. Let's find the right magic blend mode, right? I like the soft light. Look, you don't have to. You can change it up around. I like the soft light, so I like to use that. Now, here's the other trick. Full transparency, right? We're gonna add in each sl adjustment, and we're also gonna bring that in Now we can shift around this color anyway we want. So we colorize the layer and we put NHS l adjustment on it. This thing is gonna be super modifiable. All right, Now watch this. The tattoo mask. We're right. Click on the mask we're gonna mask to below. Boom. You see, it used that tattoo mask to create the mask within the tattoo lair. That's how the magic happens Now there's one more piece of magic here, folks. Okay, come down here. I'm gonna place it kind of where I want it. All right. On a position it out, make it look pretty interesting here and now the final piece here that we're gonna do to position this thing, we're going to come down. Let's go ahead and zoom in. And the first thing we're gonna dio other than make sure I've tilted it right so that it looks good. We're going to now with the tattoo selected were to come into the lair. And what we're going to do now is we're going to add in a layer, distort this place. Okay? Now, what are we doing here? All displacement works on a map, so you can either load from the layer beneath. But you see, the layer beneath really isn't her. We like to load from a displacement file. So I'm gonna click here, and I'm gonna hit open. And now I'm gonna crank this up quite a bit. Now you see that nothing might be happening. Watch this. The reason we do this is because now look, as you apply this over top of arms, it shifts a little bit. So it's a subtle shift. It's something I like to do. It doesn't always work out like this one. There may not be enough, But you see, if we start shifting it like this, that thing begins to shift a little bit here. So we're actually working it so that now it follows the arm. So there is a subtle shift, and now we come over here and we shifted out. Cool. Now let's go ahead and the entire thing. Let's go ahead and mask this out. Let me use a hard brush this time. Color. All right. I seem to have lost my color panel. Super black. Okay, that looks pretty good. Now, what we're gonna do, because we want to shift this over a little bit. Let's try using HS l adjustment to shift the saturation air we go. That's what's up. Like it. Love it. OK, now, let's try switching from linear light. See, we can get a different look. Linear light might be the right answer. Kind of like the reflect. Actually, Now we've got to change up the color, though. Yeah, All right. One more little thing, folks. Stay with me. I know this one's running long. Blur it put a little bit ago Shin Blur on it, okay? And that thing is still fully modifiable. If I wanted to decreased luminosity on it, I could. If I wanted to increase that, I could. That is a really cool effect. There we go. All right, so we've got that down. Let's go ahead and call this one on the tattoo. I'll do the lipstick and the fingernails in the next one. All right, We'll see the next one. 8. Adding finger nail and lipstick make-up : All right, So now we're gonna go in. We're going to our last little bit of makeup, so we're gonna show you how to do lipstick. So we've done the eye makeup, right? I'm talking that here and there. We've just finished the tattoo, so we're pretty good there. And now we're gonna bring on the lipstick. Now, we're gonna bring back the same glitter texture that we created when we did our frequency separation, and we're going to apply the same sort of thing here. Now, we're gonna go into this layer, and we're gonna apply a re color layer, and they're going to drag it inside the lipstick and much like we did before. We have to adjust the blend mode. So do something. Maybe with a soft light. All right, Now I want to go through, and I want to apply this to the lip area. So what I'm gonna do here now I'm gonna mask this entire thing. So I come over here with a mask. Lair. Click on it and you see the mask. Now let's flood fill it. Come over to the flood. Fill, tool. Make sure when it comes to color, let's find my color and again it disappeared. Studio color and let's make sure black is selected and then hide it all. All right, now we're gonna zoom in a little bit for this year, right? And now with black conceals, what is white going to do? It's going to reveal somebody. Use a soft brush, So let's find a brush paddling here. Let's grab the soft brush. And now we've got to flow down to 25%. I'm gonna use my walk home again. You don't need to. You can certainly use a mouse. It will work just fine. And now I'm going to go a little bit crazy here. Put out a little more than I probably need to hear and minimizes that we go. All right. Now let's see how that looks. Okay, so it's a little bit heavy. Let's go ahead and move the color back over here for now. Let's move it out here for just a minute. Groups. Sorry about that, folks. All right now, let's go ahead and drop this down a little bit here. Okay, now let's play with some other light. It's trying a couple different blend modes. Let's try a soft light. Kind of like that. And with the blend modes, it's really just trial and error in a lot of ways. Kind of like glow. Let's go ahead and drop that down a little ways. Okay, that actually looks pretty darn good. Now, let's make it something that we can adjust. Now, how do we do that? We go in with this adjustment layer, we go hs l. And now we can adjust the hue of the lipstick. Now, why is that not working? Got to bring it inside. Hair we go. Problem solved. Problems staying solved. All right, let's drop the saturation down just slightly And let's shift luminosity a little bit. That looks actually pretty good. Let's de saturated just a little bit more. Okay, Now, here's the trick. Over on the inside of the lips, you don't put lipstick all the way to the inside of lip, right? So what, I'm gonna dio I'm gonna change back to black notice. I just change my color back. I'm gonna crank up the size of my brush, and I'm gonna drop my flow down to probably around 10%. And now I'm just going to give it just a little bit of room there to breathe. All right, now, that looks pretty good. Let's go ahead and take this lipstick down now. A little bit. We wanted to We could adjust it out even a little bit more. I actually really like that. All right, now. So we got lipstick done. We got the tattoo done. We got the makeup done. Let's go ahead and add in something for the nails. All right? Now the nails are going to be pretty darn simple. Would come down here, were to change the blend mode over to say soft light, and we're going to try to match the purple. All right, now, notice the flow is down quite a bit. We want to crank that up a little. Okay? Now, if you can't get it the way that you wanted there with a soft light don't be afraid at that point, then to change the blend mode, kind of like you. Now we want to go ahead, and we want to erase some of that. Bring it back. This is a simple is just painting on. Folks don't want to ruin that lovely French manicure we got going on there. A Lotus that the highlights and all of that still maintained. Okay. And if you ever go a little bit far, you could've masked this out. I, on the other hand, I'm just going to erase it out. All right, so if you go a little bit too far, don't worry about it. You can always erase it out. And now let's call this fingernail. And now let's go ahead and add the same age SL adjustment. Now, why isn't that necessarily changing? Well, it has to do with the blend modes. Notice. Soon as we switch it off from Hugh got a very different approach. I think I might go with a soft light, moving back to soft light and try that again. All right, let's go ahead and go on back there. Don't continue painting. Make sure you're on the right layer battling Taub's and then don't be afraid to erase if you go over all right. So let's see how that worked out. That worked out pretty nice. Let's go ahead and drop that a little bit there. I think that we're pretty good there. All right now, the last thing that I want to do here before I wrap up this lesson? Let's go ahead and add in just a little bit of reflected light. So I'm gonna go ahead and choose again a soft light as my blend mode Come down here. I'm gonna make sure that I got my same. And now I'm gonna crank Theo opacity down in the flow way, way low. I want to be, like, 10%. Okay, now, I got a feeling that I'm gonna come in and make this little it purple. That's obviously what I'm working for. So what I'm going to do now, I'm going to come into here. Hey, now I'm gonna mask this out. But first, I'm gonna come down here and using the same brush. I want to add in a little bit of purple light here around that shoulder. There we go. That's looking really good. All right, let's go ahead and mask. Black conceals white reveals. Okay, let's make sure we're good there. Yep, That looks pretty good. And we're just gonna tone that makeup down just a little bit. All right? That looks pretty good. Let's go ahead and call it on this one. And then in the next one, we're gonna show you how to do a nondestructive dodge and burn. All right, we'll see in the next one 9. Dodge and Burn : All right, folks, welcome back to your surrealistic portrait. So in the last lesson, we did all of these different makeup effects. Now, what we're gonna do is we're gonna hold shift, and we're gonna grab them all. So start with the tattoo, then click lipstick than the pixel air than this, then this. Then this, then this. And we're going to group them all right now, much like we did before. Let's go ahead and call this before Dodge and burn, because that's gonna be our next step, and then we're going to duplicate it. Now close out that close out this. Lock it, lock it. That way, we make sure we're not messing with any of our history. And now with this one that you duplicated, right click Rast, arise. All right, take that one down and harassed or ization. We are good. So this becomes our new flat image. All right, folks. So now we're gonna get into Dodge and burn. So we got all that group down and we got this pixel here is we're gonna do I'm gonna create to adjustment layers. We're gonna go to curves and first curve I'm going to do I'm going to drop this thing down quite a ways, and then I'm gonna drop the blacks down, and then I'm going to drop the whites down. Okay? So we're just gonna delete that, and we're gonna crank down the blacks a little bit. Cool. All right, Now I'm gonna put place that into my pixel air and even rename it. I'm gonna call that burn. That's the darker layer. Now, I don't want that to be shown, so I'm gonna go to my paint bucket. I'm gonna fill it with black, and I'm gonna touch it. And you see, now we've got a mask on this adjustment layer. Let's add another one. Let's add a curves adjustment. Gonna come down here and we're going to now could increase this up. Lights are gonna be lighter. Darks are also gonna be lighter. Whoa, What just happened there? What's not at a point go crazy, huh? All right, so we're pretty good there. Now, let's go ahead and use our paint bucket tool again and making sure the black is selected tap there. All right, So, really, what we have Nothing changes, right? If we turn both these off, but now watch this. If black conceals and white reveals, let's go ahead, make her color white. Let's go ahead and grab a brush, and I'm gonna change my flow down to probably around 20%. I want this probably pretty super light. And now what I want to do. I just want a kind of darken the areas that I want to call attention to and because my flow is so light, I'm not doing anything that's terribly destructive. But and if I ever go too far, I can always just paint over it and white and we're in pretty darn good shape there, okay, over by where the flower is. I'm a crank up my hardness almost to be about 50. And I want to really touch these crevices a little bit far there. All right, let's see how he made out there on off, on off overall. Very happy with that. Now let's move into the curves. Adjustment for the light. All right again, Black conceals, White reveals. So now let's go ahead and grab our brush. Let's go ahead and take this down quite a ways. Okay, lets see how we made out. Ah, a little bit more right about. All right, that work. So there is our after dodge and burn layer. Now, once we're good with that, let's go ahead and Rast arise. Actually, let's go ahead and duplicate it closing out. And then we come over here to this one, and we Rast arises. All right? We call this after Dodge and burn. Okay? Now, we locked that down. Good to go. That's what we're currently at. All right, let's go and take the next step. We're getting close here. In the next lesson, we're gonna go ahead and we're going to work on adding a little bit of atmosphere to it before we get into the final color grade. All right, we'll see the next one. 10. Adding Atmosphere : are, folks. Welcome back to our surreal portrait. So we are rounding home. I want to add in a little bit of atmosphere in here. Now, we're gonna use some of the techniques that we've used before here, and we're going to create a little bit of a liquid. Maybe put a couple tears in her, maybe make it looks like the flowers melting. I think that that would be kind of cool. So let's go ahead and make do kind of a melted effect. So to do this, I'm gonna go ahead and I'm gonna come down to my history. And this is important. This is why we kept all of our history. They're elements like this flower that we now want to duplicate and bring up. Okay, Now, why did we do that? Now that this pixel heiress here right, we turn it off, turn it back on, right? You come in now and we can come in and we can liquefy. So we're gonna come back to our liquefy option, and now we're gonna zoom in a little bit, and I kind of want to make this flower look like it's melting. Now to do that, we can do a couple different things. Let's go ahead and just push it forward. I'm gonna go ahead. I'm gonna turn my speed up. I'm also gonna turn my opacity up, and that should allow me to do a little bit more with this. So now I'm gonna go ahead and drop my brush size down a little bit. And now we're gonna go ahead and make this thing kind of melt a little bit. Now you can break it down. You can have the ends melt down here. Pull it. This is super cool, by the way. Yeah, All right. I really like that. All right. And again, if you ever mess it up, you can always just redo the mash. That's pretty freaking cool. All right, now we're gonna go in. We're going to apply that. Yeah. All right. Now that's looking good. So I'm actually quite happy with that. Now what we're gonna do, we're gonna add just a little bit of adjustment to it. I'm gonna come down here, and I'm going to kind of add in a vibrant adjustment inside the flower, only he saturated just a little bit more. And then what? I might do here in one last shot here. Let's see whether or not we could make this happen. Let's go ahead and push a curves adjustment. Okay? Collectively, that on this flower, Here we go. Now, I think that that's gonna be probably pretty good. Now I'm gonna add in a little bit of a mask. Here. Let's go to here. Bring it to black. Bring up my raila RL paintbrush. Open it up a little. And the reason I'm doing this is because it's lighter on this side of her head that it is on this side of her head, right? And because we mast it, we can always come out and make it even darker, So that actually looks a lot better. Okay, now we're gonna add in a little bit something, something here. So I'm gonna leave. That isn't adjustable air for right now. And now we're gonna add in some liquid now to do that were to come down. You should have a round light brush in your brushes. Tab now, mine. I have modified. So find a size of light round brush. I have the 32 picks of one double click. I'm gonna show you how this works. Bring your hardness to right. Around 30% change the dynamics of the size. Jitter is up to 100. And this is the brush we're going to use to create all of our liquid. So we're now going to come in to our layer We're gonna add in a pixel air. Now, where did that ad that added in Over here. So now we're going to do We're gonna change this over to multiply. Not that. Now we're gonna leave that the way it is there to change its new, pixelated multiply air, we dio and we're going to color pick some of the darkest skin color that we have here, which is probably over by the nose. So there's my darkest skin color. All right, now from here, what I want to do, I'm gonna put in the shadows. So I'm gonna grab my modified round brush again. Nothing special. I'm going to crank up the size a little bit to around 60 pixels. And now why didn't that work flow opacity? All right, we want to crank down the opacity on the layer just a little bit. All right? No controls ed up a little bit higher, and I'm gonna bring this layer down below. Right now. Yep, down below the flower. Because I want this shadow to come around behind their we dio okay, now following the curvature of the face, remember, when things flow, the face is going to move things down around this area here, and it's going to flow in a certain predictable path. That'll work. All right, now, let's add a little bit ago, Shin Blur to this. That'll work. And now let's add one more pixel air right above it. And now let's find a deep color of purple. I think that color borderlines on purple without going to black. Okay, now that pixel there, we're gonna leave normal. And now we're going to come in off this flower now. All right? I don't like that line. Let's try it again. I want to go a little bit bigger. Maybe 50 pixels. Okay, Now, let's bring this guy down just like that. And there was some areas here. I'm going right up to it. Some areas I'm leaving myself a certain amount of space between that and the shadow. That's by design. Stay with me here. You'll figure out. Why here in a minute. No. Let's kill that. All right, That looks pretty good. Now, let's go ahead and throw in some white. We're on the same pixel air, using the same brush and anywhere there's kind of a discrepancy. We're just gonna add in a little bit of white there. Okay, so now that we've got this done, let's go ahead and add a little bit of Go Schindler to this as well. Okay. And then let's go ahead with this layer here and now, with this layer created and this layer created years we're gonna do Stay with me now grab all of the different layers. The Lupin and now Rast. Arise them all right. Now, notice how we got everything on this layer. Watch this. Now, this is kind of where this works. Go to the smudge tool. Zip on in here and now with smudge. Set the strength of to about 50%. Minimize your brush and now take the one layer in to the other layer. Yeah, look at that. Look at that and bring the bottom layer into the top and bring that top layer into the bottom. And because this is all on its own layer. We are not influencing the layer below it at all. So this is actually going to give us a really cool type of effect where you've got a little bit too much white. Go ahead and just put a little bit more purple into it. We need a little bit more shadow. Bring the shadow over, see what I'm doing with the shadow there. I know you're saying, what was he going to do with it once? It kind of got to the point where there was just a lot of whites and purples. And this sort of shading creates a very believable, very painterly style of effect that I just happen to really like. All right, so I'm actually quite happy about it. I think they were pretty good here. I think we're done to an atmosphere. Let's go ahead and call it on this one. And then in the next one, what we're gonna do is we're gonna show you how to color grade this thing. All right, We'll see the next one 11. Recoloring : All right, folks, welcome back to your surreal portrait. So we're at that time where we should probably now grab our after dodge and burn, plus our picks a layer. And you've seen the show before? Group him up and then call it after atmosphere And again everything can be manipulated, right? And a duplicate. And close that and lock it. And now we're there And now we rast arise You've seen this show are up So now the next thing we're gonna do now I'm gonna go ahead and I'm going to apply some selective style sharpening to it just to kind of do one last pass Now we're gonna you layer, we're gonna go to filter gonna go sharpen and I'm gonna add in a clarity filter. All right? Now, more clarity means more problems, right? So we're in pretty good shape there. I can't really see we're doing with that. So we're gonna zoom in just a little bit more and what we're gonna do now we're gonna come in a layer. We're gonna go life filter later were to sharpen. We're gonna use our clarity filter, and we'll just put it up above and we'll crank that. And you see, that looks like hot trash. But that's okay. Watch this. Let's go ahead and apply it. Let's try messing with a blend mode on it and see what yet And not a lot of change. I was just go with normal. All right, so we'll apply it. But now watch this. Trying to come over here with our fill tool, All right. To go to wear black, and we're gonna take it off. And now with my brush selectively is a very small brush. 100% flow. Let's say let's go ahead and bring it up here to be about 30 pixels. Let's go ahead and bring this back just on this stuff here. So we're gonna grab the white, gonna raise it up a little bit, and we're gonna bring it up. That will make this a little bit sharper without making it overpower. Okay. All right. So I think that we're pretty good there. It's going. Turn it off. Turn it on. Turn it off. Turn it on. It's there. It's subtle, but it works, All right, So let's go ahead now and move that down into that pixel air. So that is true. Now, let's go ahead and color grade this thing. So when we come out, let's go ahead and zoom out. Now I'm interested in throwing in. First of all, one of the things that picked up for Robot doll was the use of selective color. I have used it in the past to make different masks. I had not thought about it in this way. So the first thing now in my workflow is selective color. So I come over here and I add in a selective color adjustment. And now the way that you do Selective color, I'm now gonna bring that on top. You see, you've got your different colors. Blacks, neutrals, whites. Magenta is blue scions, greens, yellows and reds so you can adjust the colors that make up other colors right off the bat. So I really like that, Matt, look, that she does. So to do that, you want to come in here and you want to wash out the blacks a little bit, so make the blacks a little less black, then in the blacks, I'm going to go in. I'm gonna try to break down some of this year. All right? I'm gonna go ahead, and that's a little too much green. Kind of like that. Let's try that. Let's go ahead. And skin tone is made up of a lot of reds. So let's see what happens when we start dropping Reds. Kind of like dropping out the yellows. Lose a little bit too much by dropping out the blacks. All right, let's go ahead and drop some of the blues out of here and see what happens. There's not a lot of blues in here, so I don't think we're gonna see too much of an effect. No. So the blacks were a big deal. Let's go ahead and take a look at the White Show quick before we leave. Good. So I think that I'm relatively happy with that. I like that. Now Let's go ahead and add in a lens filter. I really like lens filters. I think they're a ton of fun, and a lens filter is a filter that looks like it was shot with another color filter. So I've got a lot of purples in here, so I think that maybe a purple green combination greenish blue, maybe something in a knock well would be kind of cool. Then you can increase the optical density of that filter down to an area where you like it . Kind of like that a lot. I think that's pretty cool. So now we're gonna add in a curbs and curve. Alright, so I've got some darks. I'm going to keep my darts. I'm gonna go ahead and kind of crush my darks a little bit, so I'm gonna make him a little bit lighter, bring my lights. Gonna leave those alone. Now for my mid tones I think I'm gonna make those a little bit darker or a little bit lighter. Let's go ahead and bring the mid tones a little bit. Let's try a little bit of contrast, all right? As this is a partial homage to ah Lewis Royo, I'm going to keep this level of contrast now. Some of you may not like it. I really do. I think that that's kind of cool. And I'm so impressed with it there. I'm going to go ahead and I'm gonna change up the greens a little bit too. Yeah, I think that that is absolutely phenomenal. All right, now you can multiply these things out, right? You go curves on kers who take a look at curves on curves. So now that I got that down, I can bring this in just a little bit there. Change that out. Let's go ahead and take a look at some of the Reds. What can I do with the Reds? Drop the Reds just a little bit. That's actually super cool. Very, very happy with that. I love the crispiness of it. I love the way that it looks. That thing is turning out to be super sexy. Now let's see what else we could get away with because we could get away with a lot of stuff. One of the things I like to try I like to try the color balance. So we got a lot of blues in here. Can we get away with a little bit of the Reds? Can we just tweak that out just a little bit more? I think we probably can that really like this green? I think the green is what I'm going for this time. Yeah. Oh, man, I am in love with this thing here. All right? That's really, really good. Now you can keep going and going right. You can use a whole lot of different adjustments. I'm gonna go ahead. I really like what I'm doing here with this. I think that I'm in a really good spot for the type of image that I was looking to make. So the very next thing I'm going to do here, I always tend to do a layer with a life filter layer. And it's going to be a vignette. So notice they put the vignette in the totally wrong spot. Bring it to the top of the stack. Why isn't that moving there? Here we go. All right, Drop the exposure down. Drop the hardness down, increase the scale and then change the size. Look at the amount of depth that that gives. That is really, really good. Now, one of the tricks I also use here is you can change the positioning of the vignette. You see how where I put it? I want to make sure that I've got kind of the right color. I think that I'm in pretty good shape there. And now what I want to do, I want to paint a little bit on the background. So I'm gonna add a pixel air. I'm gonna drop down. And now I'm only getting these brushes that you guys have comes with texture brushes, right? Affinity. Photo does. So I'm gonna grab a texture brush. We're gonna try a couple, and I'm gonna come in here. I'm gonna keep my flow pretty low, and I'm gonna pick out a rough color. All right? No, I do not like that. One said, Sam, I am. Have you go over top of her? Don't worry. We just grab the mask. We grab a brush, we grab a basic brush. Go ahead and describe one with a soft edge. Make sure your flow now is up 100%. Right. And you see our just kind of erasing offer. Face offered years offer hair, and if you ever erase some that you shouldn't can always come back and fix it. All right, So I think the for basic color grade, I'm actually quite happy with that. Let's go ahead and pause this one here and in the next one to show you how to add texture. How to kind of finish this thing up, and we're actually gonna add in some lighting to this one. All right, we'll see in the next one 12. Adding textures and lightning : Alright, folks. And welcome back to your surreal portrait. Now we are approaching home on this thing. This is gonna be a lecture where we show you how to make a quick texture. So in your downloads for this lesson, I've included five different metallic textures. Now, these have been shot from around the house. We're gonna go ahead and we're gonna open up. Affinity. Designer of a file new and you want to make your textures relatively square. I'm gonna go 2000 by 2000. Hit. Okay, now, we don't need brushes for this. This is pretty simple. Goto file place. Figure out wherever it is you went through and you created these textures or where you saved them too. And pick one that she kind of like, I like this metal one. So I'm gonna go ahead and I'm gonna use the metal one. Now. Stretch it until you kind of get what you like. I think that that looks pretty darn good. Okay, now you can stretch these things out. It really doesn't matter. It's not gonna hurt him too much. I like to see where I've got good, consistent light. You see how there was a bunch of light on this side. I'm gonna go ahead and I'm gonna stretch until I get this amount of light. And now what I'm gonna do, I'm gonna come over and I'm going to change it to a black and white layer. Now, I know that there's a lot of yellows in it, so I'm gonna go ahead and dark and my yellows up a little bit. I know there's some reds in it. I think that I'm pretty good here. And now, if you wanted to make it more extreme, come down and at all levels adjustment. Crank the blacks of a little bit from crank the whites up a little bit and once you're happy with it, select them all. Grouped them. And now go ahead and copy them at it. Copy. Bring it into wherever you put your new working file. Goto file. Let's go to edit Paste. And now, when you bring this up notice here, we can change this type of approach here. Let's go ahead and screen it color dodging. Go ahead and overlay it. Who I like soft light. All right. And then let's go ahead and crank this it down a little bit. That's actually pretty awesome. I like the look of it. I like the scratching its of it. That thing looks pretty awesome. Okay, good deal. Now, one thing we could do here. Just so you know, call this texture one. And I like doing my textures this way, because now they're fully adjustable. And if you wanted to take all of the layers that you did in the last one and you wanted to group thumb, we can then duplicate the group just like we did before. We call it color Adjustment. And now, if you wanted Teoh, you could Rast arise this new group? I don't feel I want to because I want to be able to add to it. Now, let's create another texture. Let's do texture on texture, right, Because you combine these things. Let's go over here. Now we're gonna come back to our texture file. Let's go ahead and delete that. Let's go file place. Let's find another one. I'm gonna grab this metallic texture right here. I think that that's kind of cool. That's gonna lead to a really cool texture. It's got a little bit of a patina there. That's gonna be awesome. Guess what This was This, ladies and gentlemen, was a cookie sheet. That's right. A retired cookie sheet that had no longer use had no longer had use. And so you can get textures from anywhere. There was some really good spots in here. All right, now let's go to edit. Actually, let's join these up Group and then let's go. To edit copy, bring it back into our work and file. Go edit paste. Perfect. Stretch it out. So it covers. That's gonna be pretty awesome. I literally like that little corner there and let's go ahead and see what we get on this one. All right, let's go ahead and crank this bad boy down a little bit. That's really cool. I like that a lot. So let's go ahead and shrink that guy down just a little. You know what's kind of cool? You see how there is more light on that side of the texture? I'm gonna flip that over a little bit. That way it matches the natural light that's going on with her. That's a great addition that Okay, that was That was pretty awesome. Good deal on that one. That's gonna really help with our lighting. All right, that is pretty awesome. Now, the last thing that I want to dio I really like toe work in light. So what I like to do once I'm all said and done is I now want to play with light a little bit, and I want to see what I can get away with for lack of a better word. So let's go here, Teoh Live filter, layer. Let's try lighting. And a lot of times I do not have a plan going into this. So a lot of times this is just playing for me, and usually I'll play with different types of lights. The type is down here going to appoint light new we can do, ah, directional light. And then if we really wanted to, I kind of like the directional light. Let's see what we can do with the color of light. I'll tell you what I am unwilling to do, which is jeopardized my green hue here so I might be stuck with this. I think this directional light may be the right answer for me. I might try to get away with a little bit of an ambient light. It's a big, yellowish, still bit crazy. Let's try an ambient colored yellow light. Okay, I can't like that. Actually, I'm gonna sit with that for a minute, drop down the opacity a little bit on it and just kind of sit with it and see what I get. Let's try a couple different blend modes. Kind of like that lighter color there. I kind of like that lighter color. Because where to go? You see how it's really hugging that yellow area. I think that that's a pretty cool effect. If I crank this up just a little bit more, that's kind of cool. That's actually really cool. All right. I dare say that. I do believe we are done. So this has been a journey. This is 11 lessons about 10 to 12 minutes apiece. You guys killed it, and you used every single trick in the book. I'm so proud of you guys for going to the end. I can hardly stand it, So I'd love to see what you made. I love to see it. If you went out book and I hope you learned a little bit about how to take three artists, interpretations, three artists techniques and how you went through. And you did this. So the last thing we're gonna dio a file export. This is what we came for. Folks exported out. I want to call it finished image. All right, this is it. So I don't know yet because I haven't finished recording the entire course, but I do believe this is gonna be my culminating lesson. So thank you so much for taking the journey with me. Even if we've got more to come after this. This by far is my favorite part of affinity photo. All right, Have a good one. We'll see in the next one. 13. Outro for Skillshare: All right. Well, that was a good couple hours there. I hope you learned a little something about how to edit Portrait's in affinity phono. And I'm really interested to see what you paid. So go ahead. Don't forget to post those in the assignments folder down below to make sure that we meet the criteria for what this class is supposed to be And make sure that you're actually applying the techniques that I'm trying to communicate. All right, So if you like this one you want take more for me. Don't forget to look me up on scale share here. I have a lot of premium classes that you can take, and I look forward to seeing you in the next one.