The Art of Poser and Photoshop- P13 pdf

It will also give you a simple mask where the areas that are selected are in white and the areas that are not selected will be in black, as shown in Figure 7.36.. Simply move the Saturat

You also have an option of representing the selected areas with black, as shown in

Figure 7.34 Just as you can represent these areas with black, you can also represent

the unselected areas with white See Figure 7.35 It will also give you a simple mask

where the areas that are selected are in white and the areas that are not selected will

be in black, as shown in Figure 7.36 Refine Edge can also displayed as marching

ants, as illustrated in Figure 7.37 Work in any view that suits you best and adjust

the Radius to increase the size of the selection, or adjust the Contrast to define a

sharper edge You have options that will also adjust the smoothness of the edge to

allow you to have a greater or lesser feathered edge Use the Contract/Expand slider

for small adjustments to the size of the selection When you’re satisfied with the

outline of a selection, commit the changes by clicking OK You’ll see that the

march-ing ants have inherited the parameters that you set in the Refine Edge dialog box

4 Simply press the Delete key and the background will go away See Figure 7.38

5 Follow Steps 2 through 4 for the left profile, as shown in Figure 7.39

Figure 7.34

Refine Edge also represents the areas that are not selected with a black color

Figure 7.35

Refine Edge

also represents

the areas that

are not selected

Figure 7.37

Refine Edge can also dis- played as marching ants

Figure 7.38

Remove the background from the image

6 You are going to use the JamesG2Head.jpg file as the template for creating the newtexture that represents the face of the model on the digital images Note that the

UV map for James G2 is mostly dominated by a single, pinkish color This isbecause this image is being used as the color map The color map provides a con-sistent hue that will produce an even surface on the character That is what you’regoing to achieve by the end of this chapter For now, you will use this UV map as

a template to assist you in creating your own UV image map from photographictextures provided in the tutorials/ch7 folder With the James UV map in the back-ground, add a couple adjustment layers to alter the color to black and white Increasethe contrast so that the dark outlines on the map are more prominent Use Figure7.40 as a guide to how your layers should look

The first adjustment layer is Hue/Saturation Simply move the Saturation slider allthe way to the left to remove all color from the image, thus making it black andwhite (see Figure 7.42) In addition, use levels to create greater contrast (see Figure7.41) Change the blend mode to Darker Color so that the darker tonalities willstand out on top of the front view of the digital image that you will next placeunderneath the UV map Now you can see the contour of the UV in relation to theface on digital image You can use the original UV map for the James model as atemplate for creating the new digital portrait See Figure 7.41

Figure 7.40

Apply the Hue/Saturation adjustment layer and pull out all the saturation so that the image

is more chromatic

mono-Figure 7.41 View of the Levels adjustment layer to

increase the contrast of the black-and-white UV map

Figure 7.42 View of the Hue/Saturation adjustment

layer to make the UV map a black-and-white image

7 Make sure that your rulers are turned on in Photoshop (choose View > Rulers).Click inside the vertical ruler and drag to produce the light blue guides to dividethe face evenly in half Do the same with a horizontal guide, but this time place itright above the eyebrows of the James UV map You will place the eyebrows inexactly the same position and resize the frontal view of the digital image to the exactproportions of the UV map This way there will be no confusion as to where thingswill go when the image is mapped back onto the James G2 figure See Figure 7.43.

in the center of the bounding box This will resize your image toward the rotationalpoint, which is located in the center the forehead So, resize it so that the lips andeyes accurately line up with one another, as shown in Figure 7.44

9 Do the same exact thing, but this time resize your image vertically so that the outer

edges of the eyes and lips line up correctly Keep in mind that everybody’s facial

fea-tures are different, so some allowances have to be made Do the best you can; you’ll

make corrections later on See Figure 7.45 Figure 7.46 shows a completed view of

the resizing When you’re done, simply press Enter to commit the changes

10 Set up additional guides that will assist you in lining up the side view of the face to

complete the rest of the UV mapping, as shown in Figure 7.47 It might be a good

idea to turn off the adjustment layers and change the blend mode to Normal so that

you can better see the contour of the original James G2 UV map Keep in mind

that you are setting up these guides in relation to the James G2 map and not the

digital image so that when you’re done with this tutorial, the new UV map will map

seamlessly to the James character If you lower the transparency on the James G2

map, you can preview how well your digital image registers with the G2 template,

as shown in Figure 7.48

11 Now it’s time to place the front view of the digital image on top of the G2

tem-plates After placing it on top, make an observation as to where things are located

See Figure 7.49

Figure 7.44

Resize your image to line

up with the lips and eyes

Figure 7.45 Vertically resize your image to

Figure 7.48

Lower the G2 template’s opacity to com- pare the resiz- ing results

Figure 7.49

Create tional guides to assist with fur- ther mapping

addi-Integrating the Side View Into the UV Map

This is where all the fun begins You’ll take the side figure and use retouching techniquesthat are common to the digital-restoration industry to integrate the two digital imagesthat will represent the UV map placed back onto the model You’ll use a few techniquesfor this, including the use of layer masks, the Clone Stamp tool, and the Patch tool.Let’s begin

1 Turn off the front view of the digital image so that you’ll be able to view the nal G2 UV map, as shown in Figure 7.50

to assist you in resizing the side view

3 Begin resizing your image in the same manner that you did for the front view UseFigures 7.52 through 7.54 as guides

4 To create the right side of the profile, simply duplicate the left profile layer and flip

it horizontally (choose Edit > Transform > Flip Horizontally) Line this copy upwith the other side of the face to get something like Figure 7.55

Figure 7.51

Change the template’s blend mode to Screen and lower its Opacity setting

Figure 7.52

Resize your image horizontally

5 You’re going to use layer masking as well as the Clone Stamp tool to integrate all of

these images into one complete image map As you’re creating, the goal is to make

sure that all edges take on the look and feel of skin You’re going to create a model

that is bald You will not use any hair, so an additional photograph of the model’s

skin is necessary Go to the tutorials/ch7 folder and select portrait skin.tif Place

this file beneath your three portraits This image was captured by photographing

the larger area of the model’s back The surface area had enough information that

was similar to the detail on the face It is ideal to use for this tutorial The size of

the skin image is half the size of the width of the file, so place it in one half of the

file, duplicate it, and flip it horizontally so that you get a fairly symmetrical

com-position Make sure that the files overlap so that when you apply the next step they

will blend seamlessly See Figure 7.56

6 Use a layer mask on the top layer to hide the scene in the center of the

composi-tion Use Figure 7.57 as an example

7 Note that the tonality is not even in the texture Some areas are light and some areas

are dark, so this is a good opportunity to use the Patch tool Merge the two layers

together Select the Patch tool and simply draw a selection around the area that is

dark Click and drag over an area that is even See Figure 7.58 You will

automati-cally see a preview within the area that you have selected Once you have chosen

the texture that you want to use as a replacement, simply release your mouse and

let Photoshop do the rest Use your Patch tool (see Figure 7.59) to clean up the

other areas of the image so that the final result is a much more even texture

Figure 7.55

Create the right side of the face

Take out the

seam with the

use of a layer

mask

Figure 7.58

Use the Patch tool to smooth out the tonality

Figure 7.59

View of the Patch tool

8 It is always helpful to make sure your models with Caucasian ancestry have a slight

pinkish color To assist with this, just duplicate the skin layer and change its blend

mode to Screen There is already some pink in the file, so the Screen blend mode

will not only assist in brightening up the image but also will allow some of the

pink-ish color to stand out See Figure 7.60

9 Once again, merge these layers so that you can work on a single bright, pinkish skin

layer Now, you can use the Clone Stamp tool to clean up any imperfections on the

new layer When you have completed this task, make sure that the skin layer is

placed beneath the three portraits See Figures 7.61 and 7.62

10 Turn off all of the UV maps so that only the digital images can be viewed, as shown

in Figure 7.63 Make sure that the front profile is sitting on top of the side views

Associate a mask with the forward view

Figure 7.63

Display the digital images only

11 Edit your layer mask so that the visual aspects of the front view appear to morph

with the two side profiles Make sure that you’re using a soft-edge brush and being

gentle when applying pressure with your Wacom pen See Figure 7.64

12 Continue to edit the mask and use Figures 7.65 through 7.67 to assist you in the

process Take your time and don’t rush this part of the tutorial It is important that

you apply subtle changes so that you can see the possibilities more effectively Make

sure that you apply masks to both the side views and take out the visual elements

so that the ears and front features appear to blend with the skin underneath them

13 You need to flatten out the detail a little; you will do this by continuing to edit the

mask so that the skin underneath blends into the details from the layers above

Figures 7.68 through 7.70 show an example of how the details underneath the eyes

and above the eyebrows are blended with the skin texture beneath

14 Now you need to give some attention to the ears Zoom in on the right ear, as shown

in Figure 7.71

Figure 7.66

Apply a mask

to the front view to blend the skin

Figure 7.67

A close-up view

of the image

Figure 7.70

Final view of the face blended with the skin

Figure 7.71

Close-up view

of the right ear

15 Temporarily turn on the UV map template and draw an outline around the eardetail on a new layer See Figure 7.72.

16 Use the Lasso tool to outline the right ear Copy the contents of the visual layersonto the Clipboard (Ctrl+Shift+C/Command+Shift+C) and paste them into a newlayer (Ctrl+V/Command+V) Next, resize the layer to fit within the outline thatyou drew See Figure 7.73

17 Just as you did for the face, get the ear layer mask and edit it so that it looks thing like Figure 7.74

some-18 Using the same technique, take out the detail in the areas near the eyelashes andallow the skin underneath the layers to wash away the darker detail that is repre-sented by the shadows and the eyelashes See Figure 7.75

Figure 7.72

Draw in an

outline over the

right ear

Figure 7.73

Copy and paste the right ear and resize it to match the out- line

Figure 7.74

Blend the ear with the skin using the layer mask

Create the

out-line around the

lips of the

orig-inal UV map

19 Follow Steps 15 through 18 to integrate the lip detail into the map Figures 7.76through 7.79 show a visual example of the process Copy and paste the lips fromthe front view image onto a new layer Use the Warp tool (choose Edit > Transform

> Warp) to shape the lips to match the outline that represents the original shape ofthe UV map

Figure 7.77

Use the Warp tool to shape the lips to the original UV template

Figure 7.78

Apply a mask

to blend the lips into the rest of the imagery

Add a red hue

back into the

lip detail

20 Finally, create a new layer and change its blend mode to Color Use the Eyedropper

to sample a shade of red from the lips of the original photograph Paint onto thislayer on top of the lips to accentuate the reddish tint that was lost in the distortion

of the lip detail See Figure 7.80

Adding Detail Back Into the Image

The new UV map is almost complete; however, there are still a few more details that

need to be added You took away some the initial details to have more flexibility when

texturing the model You don’t want unintended detail to be showing up on the model

from within the color map So, in the process of achieving this, you lost some elements

that could assist you in developing a stronger character In this section, you’re going to

add back in the eyebrows, hair stubble, and subtle color to the cheeks

1 Let’s start with creating the eyebrows Create a neutral brown color for the

fore-ground color and a dark brown color for the backfore-ground color See Figure 7.81

Figure 7.81

Create your foreground and background colors

2 Create a new layer on top of your photographic images and use your Wacom pen

to create a gradient of those tones This gradient will be positioned above the

eye-brow, as shown in Figure 7.82 Use a very small brush to create single strokes that

will bring back the eyebrows Sample each color to load into your brush by

hold-ing down the Alt/Option key to access the Eyedropper tool Go back and forth

between each color to get a series of brown, white, and black strokes that will

resem-ble individual strands of hair Use the black strokes to emphasize the bushier areas

of the eyebrows Figures 7.83 and 7.84 show the settings for the brush created for

this tutorial Figure 7.85 shows a close-up view of one of the eyebrows

3 Now let’s create the stubble for the model’s face Create a new file with the

dimen-sions of 2×2 inches and a resolution of 150 pixels per inch Use the brush that you

created in Figures 7.84 and 7.85 and create small black dots throughout the

sur-face of the layer Because Photoshop uses black and white information to create

brushes, you will use black dots to lay down a series throughout the layer Use your

Rectangular Marquee tool to select the entire series of dots and then go to the Edit

menu to define a new brush (choose Edit > Define Brush) Give it a name and

com-mit the changes Go to your Brushes submenu The newly created brush will be the

very last one in the menu Select it and let’s move on See Figure 7.86

Figure 7.84

View of the brush settings for Other Dynamics

Figure 7.85

Close-up of an eyebrow

4 Create a new layer and change its blend mode to Multiply Make sure your ground color is black Using the pressure sensitivity of your Wacom pen, add a series

fore-of small dots underneath and around the nose area and the chin See Figure 7.87