Lessons

Lesson Info

Sculpting Humans

let's go into what most people think of when they're talking about manipulating an image. They're thinking about fixing the model, right, fixing the person. And so the the first area that I want to go to is this photograph. And so I'm gonna have already done a lot of retouching and work on it inside of light room. But it is a raw image, so I'm going to right click, because I want to maintain the raw nature of the image. And by the way, I'm gonna zoom in and just make sure I don't have any. I just I do not want to have any grain on there. Yeah, there's no green, so I'm going to go in and edit this image, right? Click it at it in. We're going to make it a smart object because, remember, we can liquefy while it's wrong. So if you're just going to photo shop toe liquefy something and kind of finesse it, don't make it into a Photoshopped document. Keep it as a raw, smart layer because you might want to come back to that and re tweak some things before you're finished. So it's and plus the l...

onger you can keep something raw, the last damage you're doing to it. So keep it raw as long as you can. Okay, so now I'm gonna go into the liquefy tool here. So it used to be that you had to, like, cut a slice and then going to liquefy tool because the liquefy tool is so intense that it would, like, kill your computer if it was trying to work on the full thing. But if you on a modern computer with light from CC just liquefy the whole thing because, you know, But I used up like, a little slice because I was back in light room, whatever the first time they had liquefying. Okay, so I'm gonna go in and click on liquefy, And the first thing that happens is when you get in, if you're on the facial awareness thing, it's going to see her face. And I may want to come in and work on her face just a little bit and so I can come in and work on the sliders over here. Or I could just work like we did on the eyes. And so in our case, I'm just gonna come over and work on her. Ah, her face shape just a little bit. I'm gonna take her jaw line and going to squeeze it. See that? So I'm just bringing your jawline in and just trimming it up just just slightly so that she just a little bit thinner on the job, right? And I like that Look, that looks pretty good. I'm not gonna mess with the nose or anything like that. I could play with the forehead and bring her her hair down or up a little bit, but I'm not gonna play with that because I think she's got great dimensions. But she just that jawline could just use a little squeeze, right? And so now I think she looks really great. So that's the first thing that I'm going to do with Liquefy. And then after that, I'm going to go over to kind of warp her. And I'm not really interested in working her because I think she looks great. But this was a photo shoot that we did just randomly while we were in Scotland and we just brought address with us, and it's kind of Ah, big dress. And so it doesn't really flatter her at all. Like you can see that it's just kind of like it doesn't hug her anywhere. And so it's just kind of big. And so I wanted to look a little tighter, and so I'm gonna come in and I'm gonna work on that. So I'm just gonna go in here and you can just grab. So I see this little push tool. So you're pushing things, so that's just the very top. It's called Ford Warp Tool. And it's just you're just pushing things on. And so I'm gonna grab something, and I'm just gonna see that I can just pull it in, pull it out. Whatever. Right. Okay, so let's undo that. So be soft about what you do. But watch this, though. This is really important. If I grab this and I go like that, look what happens to her. Her arm. See how the arm is elongated and it's like stretching out that seem so. One of the things that you want to pay attention to is what you're actually paying, how big your brushes and what you actually want to effect, because I don't want to affect the button line. And if I go like that. See how the button line is changing too. So we have a very special tool in here, and it's over here called Freeze Tool. So this is a freeze mask. You click on the freeze mask. I mean, just zoom in. So you see, it's that top one, and then there's an eraser for it, too. So I click on the freeze mask and what I'm gonna do is I'm gonna zoom in to her, and I'm just gonna freeze the button line. So I'm coming in here, and I'm just painting get I mean, on my track pad and see, I'm just gonna go in and I'm just gonna paint in that button line so that doesn't move like that. Once I've got the button line maintained, Then I'm just gonna kind of do this so I don't want any of this stuff to move. So now I can go back to my push tool, zoom out just a little bit, and now I can start pulling this in and see how the button line stays exactly where it is. And I could just kind of move everything else and tuck it in. So it's nice and tight and then zoom in and change the size of your brush. If you want to change like a little hiccup in the dress, a little role or something like that, just make it the size of the role. So you'll see over here, Um, I have the same. I have some issues right there. See that? So I'm gonna freeze the arm so I don't want this arm to move, so I gotta freeze it. And then once I froze in the arm, so it's not gonna move Now go back to my push tool, and I'm just gonna make these the brush. Oops. I didn't mean to go that way. See that? It's the size of the problem. So I'm just pushing it in just in little small increments. Now, I come to this one, and I'm gonna push this one out so that it's just nice and smooth. And then I'm gonna take this one, and I'm gonna push it in, and I'm gonna grab this and push it in so that it's and then I'm gonna increase the size of the brush. But this is frozen. So then I'm just gonna go like that and see how I'm getting the the bigger portions of it there. So now I could probably increased the size of the brush and really bring in the waistline just a little bit. So now show you the difference. See that? So look on the left. Where they're her waistline is much smoother and nicer than that rough waistline we had before, right? And then if I turn off these so we'll just erase out this Now you'll be able to see, see what we've done there. We just made that dress a little tighter, so that's how I'd work. Now, there's another thing that you can do with pushing stuff around that I don't think a lot of people do. A lot of people going like trim hair. You know, they go in and, like, try and use the stamp tool to get rid of fly away hairs. But how many times in your life have you seen someone that has hair so amazing that it just goes like that? I'm the only person in your life that, you know, that has perfectly no fly away hairs any time, all right? And you just you and May and maybe you all right, So we're the only perfect headed people. Everybody else has fly away hairs and so it doesn't look right toe have no fly away hairs. It just doesn't. It's not natural, especially when you have kind of a messy do like that. But we don't want it to be too too frizzy, and so I can come in with the push tool and just zoom into her hair. I do this quite a bit and I'll just go into her hair and I'll push the hair down. Ah oh, sorry I was in the race tool there, and I'll just push the hair down. See that? So just increase the size of it and push the hair into the head a little bit. And if you've got a particularly bad fly away, you can just kind of do it a couple times. And now that fly away hair looks like it's going backward, right? And because when you change the size of something, what do you do? It goes this way. So as you change the size of something, it falls into the background. And so if you just take their hair and just kind of do this, it's still fly away hair, but it's more manageable. And it's where you want it to be, as opposed to going like this. All right, sometimes you get rid of Ah, really unruly one. But most of the time, when I'm working with fly away hairs, I want the flyaways to be around the head a little bit because it kind of gives it a natural look. But I don't want him to go crazy. And so that I can just use this to do that. Yeah. When you began, he began by working on the face. I wasn't sure whether light room was set up for facial recognition. So why did it go directly to the face? Or did you? Because the last time I was in in liquefy, I was on the face tool. So you don't need any particular setting to know. It'll just if you're If you're whatever you're on last, it will return to that. Okay, So remember when we did the I, we were on facial wear. And then as soon as we came back, put us back there. Next time I return, I'll be on the push tool instead. Okay, So now I'm gonna hit, okay, And we have now successfully worked on our model, and this is I'll show you the difference here. So this is before or after and before, after and before. See, our hair goes in and her her waistline comes in. The dress itself gets a little bit better. And there's some other things that I would work on to if we wanted to spend more time on it. But like things like See that little hiccup in the dress right here? I would push that in because it kind of pops out like that. I would also kind of thin out this part of her arm so that it's not quite as thick address there so that it's a little dainty, your arm line on that dress. So just things like that. But you can go in and to your heart's content, mess with it and get it perfect. Okay, all right. So let's close that, um, and let's go now, Teoh. And by the way, if you were working on an image inside of light room and you think that you need to go to photo shop just to do like some blemish removals and things like that you don't necessarily always have to be in photo shop to do a blemish removal or even skin softening that could be done perfectly adequately here in the brush area and in that brush area, you simply go in and choose, um, to, uh, basically, I'll give you the key to a softness of skin, and that is negative clarity and a little bit of a negative contrast. And then you want to take your sharpness down a little bit. So sharpness down, clarity down, contrast down, and then you're going to add noise reduction up just a little bit, and that's a really nice softness filter. So then when I go in and just start painting, it's gonna soften up her skin. I'm just painting painting. I'm gonna turn on the mask overlay so you can see where I'm painting. So I'm just painting on her skin like so. And then once I've got her skin all painted in, I'll go back to the actual tool, and I can erase Here is well, and I'm just gonna So the erase tool is just at the very bottom of the brush. There is an A A B or in a race brush. So we're just erasing and I'm just erasing off the eyes and off of her eyebrows and off for teeth. Okay, so now, once I've got my mask, now I can go in. And if I just click on hold down that option key and I get that reverse arrow click on it. And then as I drag up, the effect gets more intense. And as I dragged down, the effect gets less intense, and it's actually changing the So if you look at all of those sliders that I was sliding if you look at him as I go down there all moving equal in percentage to where they were relative and then am increasing and I'm so I can see smoother or rougher skins. So I'm just gonna kind of smooth it out. And so now she has smooth skin, and so I don't need to go toe Photoshopped to do that kind of stuff. So, um, a lot of the stuff that you are doing in photo shop, you don't necessarily need to. But the things that you do need to do are these things like working on, you know, address and pulling it in or working on someone's eye or a jawline or something like that. Those are places that you really need photo shop.