Photoshop Mama's Digital Makeup Example 2 - Part 8

Okay, now, we have to—in order to create the mask, we have to toggle back into standard edit mode which is just a quick click on the letter Q again, and see how it just makes those selections for us. And, those are feathered selections because we were using a soft edge brush just for your information. So, I am going to come down here again and I am going to choose levels and I am going to ask myself a question, what is it that I want to do with this eye whites here? Well, I want to brighten them up. So, we will just—in the composite channel here, number one, just move this over a little bit. And, what else do I want to do? I want to cancel some of that red out, do I? All right, so I go in to the red channel and we know that if I click this midpoint slider here and go to the left, it will make things redder. But if I click it and go to the right, it will add a bit of its complementary color which is Cheyenne. And, by adding just a right amount of a complementary, it kind of cancels out the cast of the primary color, so I am just adding a little bit of Cheyenne to this particular adjustment layer. And, just do it by eye, I got .82 in here for the input level and I am might back off on it just a little bit of .85. Click OK and then I am going to come in here and with my black, there is a little bit of over spray over in to the iris so I am cleaning that up by hiding it, concealing it. Remember black conceals, white reveals and I am going to name this “eye whites”, and then I am going to add just a tiny bit again of the Gaussian blur. It just tends to—and zoom out here, it just tends to make the selections just kind of blend a little bit better. I got about 3.7 on that Gaussian blur for this instance. And then, I am just going to back off on the opacity a little bit. You do not want it to start too white, and I am going to click on the visibility on and off. And, say, for example, like this eye is in the shadows right here. And so, the whites of this eye probably should not be quite as vivid as they are over here. Well, here is an instance where I will deviate from this 100% opacity control for the brush up here. And, will come down to say 50 or 40, between 40 and 50, somewhere around there. And, I want to conceal a little bit of that white, but I do not want to conceal all of it, so I will just make my brush a little bit bigger here. And, when I tap once on it, what it is going to do is just put 50% of that black. So, it is just going to kind of hide it. So, I am just going to click like this maybe one more time like this. And, if we go in and look at the mask, you can see what that has done. It is made that particular area gray, which represents partial revealing or partial concealing. So, gray is not going to reveal quite as much of the flavor as a pure white does. Okay, optional, click on this again to get it back and let us move on to creating some blush. All right, so, what we can do is go back to our initial way that I showed you how to do this, and I will come down here, and I will create another levels adjustments layer. Ask yourself a cup of that question, what color is blush? What do I need to go get? Well, we will go in to red, we know there is a little bit a red in blush, and we will take this gamma slider and we will move it up here, and we might even want to dye it a little bit of the out of the output level to make it a little redder too. And so, that would be moving to the right on the output, left on the gamma on the input. And, a little bit of magenta, so this is we go in to the green channel. Magenta is a compliment so we move to the right to get that magenta in here and, if we want to add it view of the output levels, we take the white output level slider and move it to the left. And, see that is an overall magenta type cast. And again, this is a beautiful thing—these adjustment layers. We can mix the color after we create the blush too. So, I am going to invert this mask, let us name it blush first, and press Ctrl+I on a PC, Command I on a mackintosh. So now, that flavor is concealed. And get a big fluffy air brush soft round like in the apple of the cheeks here. And, switch your foreground to white, be sure to come back up to your brush options here, and we will move that back up to 100%, and then, I am just going to click once to add some blush Now, another thing with this, is you might want to change the blending mode to multiply, which will put that color in those highlight areas. Let me show you again, see in normal mode, see how they are sort of a white snowy look in the highlight part of the cheek. So, if we change that to multiply, it is going to interact or react with the underlined pixels in a darkening fashion, so that we can see that blush on there. And then, we are going to lower the opacity of this, and I might come in here, I will click X, and click on my title bar to get my brush to obey my commands again because sometimes it sticks. And, all you have to do is just click on your title bar, and it will start behaving again, so I will just come in here and clean that up a little bit like this. Next, a little bit on here, so just back and forth. X to take put on or black to take off and white to put on by switching your X keys here. And then control it. Let me take a little off here, and lower that opacity a little bit. Now, I do not really need to put any blush on this side because it is so much in the shadows, you know, just a little bit here, did fine. The next thing we want to work on—let us see, we will go up here, let me Control minus, Command minus to look at the image so far. And, that if we want to see it before and after, again come down to this background layer and Alt Option click on the visibility icon of the background layer. And, that shuts off all of the other layers except for the background, Alt Option click on it again and it will turn everything on as it was previously. Continue to part nine of this series.