By now, you should be able to see the lightat the end of the tunnel.
That's because in just two exercises, we are goingto be done with this project.
I am working inside of the most recent versionof the composition which is called Swirling Background.
Psd found inside the 10_Advancedblend folder.
The next thing that we need to do in this exercise,we need to assign some shading to this image.
If you zoom in to the image, you will seethat we have this little strange highlight over here next to her mouth on theright side of her face; her left side, of course.
This little convex area,it might be her jaw.
Then I chose for a static reasons to go ahead and cut it outof my layer mask.
So I tucked the layer mask further in on her face here andas a result, the swirling background is interacting with this little bit of facehere to create this radical highlight.
We need to get rid of it, we needto paint it away using a little bit of shading.
That will also help to distinguishthe foreground image, her, the model with the goggles and all that stuff,from the background, from all these background elements that we have goinghere.
Also if you scroll down to the bottom, youwill see some strange highlights that work underneath her jawline and thoselook like little whiskers here, and over here on the left side of the neck, andthe right side of the neck, and so on.
We need to mask those areas away too,the parts of the mountains, the mountains that sits on the multiply layer.
So anyway, we are going to be doing all this shading, and masking, and generalclean up work inside of this exercise.
So here is what I want you to do.
Bring up the Layers palette and I want you to load the layer mask that'sassigned to the tiles layer, I want you to load it as the selection outline byCtrl+Clicking or Command+Clicking on that layer mask thumbnail; so that's stepnumber one.
Now let's create a new layer by pressing Ctrl+Shift+N orCommand+Shift+N on the Mac, and I am going to name this layer shading, and I amgoing to click OK.
This will be a hand shading layer, we are actually going tobe painting in the selection outline.
Now you might say, I will go ahead and Shift+Tabaway the palette there.
You might say, "Well, why don't we go ahead andcreate a drop shadow or take advantage of some automated layer affect?"The reason is because the drop shadow will trace along the top of the image,we would actually see a shadow coming down from the top of the image, andit would go into these beads over here, and it would basically be uniform acrossthe entire image; and we don't want that.
We want to be able to control exactlywhere the shading is occurring, so we are going to brush it inbut because we are working inside of the selection outline, Photoshop is goingto be automatically masking our brush strokes.
So it's going to be pretty easy todo.
Press Ctrl+H or Command+H on the Mac in orderto hide the selection outline, so you can better what you are doing.
Grab theBrush tool right here, which you can get by pressing the B key, if you areso inclined.
I am going to press the Right Bracket key in order to increase thesize of my brush and I am going for about a 150 pixel brush at this point.
Youcan, of course, work with any size brush you like.
Make sure, however, that it'ssoft, so the Hardness value should be set to 0% there.
The blend Mode is set to Normal, Opacity is set to 100%, so is Flow, the airbrush is turned off; my foreground color is set to black.
If yours isn't, goahead and press the D key for the default colors.
Then I am going to paintalong the left hand edge of the neck there and I am going to paint on the rightas well.
Don't worry, if your shadows are just too black.
If they look likethey are too black and too garish, we are going to soften them up in just amoment using the Eraser tool.
I will paint along this shoulder here, thisraised shoulder that's propping up her elbow, and I am going to go ahead andpaint at the top as well, above the goggles, and that's it.
That's the shadingthat I want to apply.
Now I want you to reduce the shading, justa little, because it is way, way too much.
I mean, obviously, now we have welldistinguished the foreground image from the background but I don't think theuser needs that much shading.
Let's try to be a little more subtle here.
So Iam going to go grab the Eraser tool and that is to say the standard Eraser tool;not the Background or the Magic guy, the standard Eraser tool.
Notice thatby default, the eraser has a hard edge associated with it.
Let's go ahead, after increasing the size of the brush by pressing the RightBracket key a few times, I am going to press Shift+Left Bracket four times in arow in order to reduce the hardness to 0%, so we have a nice soft brush.
I alsowant to reduce the opacity value, so I am going to press the 3 key to reducethe Opacity value to 30%.
Now I am going to paint over my brush strokesand I may end up painting multiple times in order to reduce them tomore of a normal levels, so that they are there but they are not quite so obvious.
I don't want them to be just screaming at the user, "Hey! Look what wedid; we just got them painting all over the place here.
" I want them to lookmore or less natural, like naturally occurring shadows, if such a thing is possible.
Now I think I went ahead and raised too much of the shadow down here underneathher jaw.
So I am going to undo that most recent erasing, and I am goingto press the 1 key to reduce the Opacity to 10%, and I am going to try it again.
I will go ahead and paint in there and I might paint twice.
All right,that looks pretty good to me.
Now then, let's take care of the problem withthe mountains and crouching on her neck line here and her shoulder, actually.
These are a few areas, so you can see some highlights along the left edgeof her jaw as well.
We are going to take care of that by bringing back up theLayers palette, clicking on the multiply layer in order to select it, andthen I want you to add a layer mask to the multiply layer.
So go ahead and clickon that layer mask icon, and Oops! Oh! Notice what I did.
I just went ahead andconverted the selection to a layer mask.
So I now have that same layer mask that'sassigned to tiles, it's now assigned to multiply as well.
That's way toomuch because notice, it got rid of the clouds inside of her goggles.
So thisis before I made the layer mask and this is after.
I could de-select the image and then make the layer mask.
So I can undo thecreation layer mask, de-select the image by pressing Ctrl or Command+D, andthen generate a new layer mask, and it would be empty; or as long as I havealready got a layer mask sitting here, I will just go ahead and press Ctrl+D orCommand+D on the Mac to de-select the image.
Then I will press Ctrl+Backspaceor Command+Delete on the Mac to fill that layer mask with white.
All right, so now let's go back to the Brush tool.
I will go ahead and click onthe Brush tool icon here inside the toolbox.
We should be working with theNormal mode, a 100% Opacity, a Flow of a 100% as well, the foreground color isset to black in my case; just make sure it is.
If it isn't, press D and X.
Dfor default colors and X to switch them.
The size of my brush is just finehere, the 150 pixels, I think that will work out well.
Now I am going to paint along the neckline and the bottom of the jaw.
Noticethat to get rid of those aberrant, weired, little highlights.
Then I am goingto paint along the left side of the neck, her right side; as if that matters.
Iam going to go ahead and paint up the shoulder because we had a lot weirededges going on in that shoulder, that made the shoulder look less smooth than,I think, it are to.
I am going to paint along the side of her face as well.
Very important to paint over her lips, even though the clouds aren't supervisible on her lips, they are there and I would like to get rid of them.
I amgoing to paint up the side of her goggles a little bit to get rid some of theweired reflections that we are seeing there.
Then finally if you want to, this totallyup to you, you can paint away the highlights up here at the top of the hair.
I happen to like those highlights, so I am not going to paint them away.
I amgoing to leave them intact but whatever you decide to do, it should looksomething like this final version of the image right here.
When I say final, Imean there is one more thing to do.
It's almost done; we just need to add thecapillaries to the flesh.
Doesn't that sound like a great thing to do? Thatis what we are going to do in the next exercise.