This week I primarily worked on print work in Photoshop, working on two panels for the digipak, one of the Eleanor's fangs and blood running down her chin, and one of the feather boa over her arm.
- First I used the clone stamp tool around Eleanor's left lip to remove the smudged blood. This proved more difficult than anticipated as the skin colour would often ended up warped in a way that looked very unnatural. As you can see from the first image, the skin tone around Eleanor's mouth is divided above the smudged lipstick between two colours of different shades. The solution to this was simply to use the clone stamp tool directly down the line of the two conflicting colours and then tracing the outline of the lip so that the right colour was used to cover the smudged lip stick.
- For this image, I changed the copied the yellow channel in CMYK mode, made it a separate layer and inverted it. I then changed the blend mode to soft light and reduced the opacity so that the effect wasn't too strong. I added a layer mask and painted over the skin I wanted to change to efficiently remove skin flaws.
- I duplicated the background layer and added a layer mask which I filled the contents with 50% grey and painted over the wrinkles and blemishes with a the brush tool on black and adjusted the opacity so that the edits blended in more smoothly with Eleanor's skin.
- I then converted all the layers I had used up to this point into a smart object which I named "Original" so that I could edit them further after airbrushing if I needed to.
- I had to use two layers for airbrushing. For the first layer, I duplicated the original layer and applied a surface blur and adjusted the threshold and radius values until I could just make out the skin detail in the preview. I then duplicated the original layer again for the second layer , move the layer to the top and applied High Pass, adjusting this value until I could see the skin detail and changed the blending mode to hard light. I grouped these two new layers and added an inverted layer mask and painted over the layers with a feathered brush set to white. I then adjusted the opacity of the group to make it look more natural.
- With no layer masks selected, I used the eye dropper tool and set it to sample all layers and chose an appropriate colour (which was on Eleanor's cheek to the right of her nose) that I would colourise the skin towards. I added a solid colour adjustment layer and changed the blending mode to colour. I selected the layer mask and inverted it and used the brush tool to paint over the parts of the skin I wanted to change the colour of. I then adjusted the opacity so that it blended naturally. This helped considerably in reducing skin discolouration.
- For dodging and burning I created created a new layer and changed the blend mode to soft light. I then set the fill to 50% grey and set the burn tool range to Midtones. I then used the burn tool to darken the shadows on Eleanor's face and used the dodge tool to add additional brightness to the parts of her face that were well lit, and adjusted the opacity so that it didn't look too extreme. Dodging and burning gives the image an additional dramatic flair that is hard to create through photography, particularly with the limitation we had to work with.
- Finally, I used curves to adjust the overall colours, making them look more soft and saturated in the case of Eleanor's lips, by isolating the reds and adjusting them individually.
- I applied the same steps as the previous image to remove skin discolouration on Eleanor's arm, which looked grey in the original image, and then performed a number of steps which I went back and applied to the previous image.
- I applied a Gaussian blur effect and erased it from the centre of the image to aid the focal point of the boa and the text.
- To help make the text more defined, I added a blank layer and painted a rectangle shape in the centre, which I overlayed over the curves and skin colouration layers.
- I used curves to improve the intensity of the colours but was careful to place them in way that did not interfere with the detail on the glove, as this adds a richness and nuance to the image that we prioritised in the digipak over the print advert.
- Note: the text is not final, the text in this image is a place holder before we perfect the text we were going to use.
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