Page 2: Lets Begin...

Select the parts which you want to edit and keep them all on different layers.

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Select the 'LEFT EYE' and free transform it 'CTRL + T'. Lock the 'Maintain Aspect ratio' and increase the width to 150 %



Repeat the same step with the 'RIGHT EYE'

Once done, Lower the opacity and place the eye in the proper location. Page 3: Cleaning Up

Using a soft eraser, clear out the unwanted parts from around the eye. You should end up with something like this.

We are not working much with the nose, so you can just enlarge it a bit. Page 4: Lip-syncing

Now comes the part where in we make the lips smaller and clear out the original lips. You can use any way you find best. I used the method mentioned below.

Copy a part of the skin from the main layer and paste it on a new layer. Using free transform and the stamp tool cover the original lips.

Once done, free tranform the lips layer and place it at the proper place. Page 5: Finishing Up

For hands, duplicate the main layer and use the liquify tool to make the hands look thinner. The Final photo will turn up like this:

The Aging Process

Age Progression of a Female Face

By Grumplebits Paginated View

Here's a little tutorial showing you how I basically go about aging a woman's face in Photoshop. Page 1 : Preface

I've been asked several times by different members to post a tutorial on how I age-progress a person. So, here it is!

Men and women age a little bit differently but since I've only aged female celebrities thus far, I'll just focus on women for this tutorial. I'll be using the image of Katie Holmes that I did for a past W1K contest, as an example. Page 2: Step 1: Choosing an Appropriate Photo

When deciding to age-progress a celebrity's face, I try to select a picture that is touched-up as little as possible.

In Katie's case, we can see very faint horizontal lines on her forehead, fairly obvious lines under her eyes and lines bracketing her mouth. Page 3: Step 2: Collecting Reference Material

Reference material is key in my method of aging. Keeping Katie's face in mind, I scoured the Web, looking for faces of old women who either resemble Katie and/or share the same facial expression. Here, Katie is smiling with her face positioned at a 3/4 angle so I tried to gather as many pictures of old women who are smiling in the same manner or close to that. I then opened up the picture of Katie in Photoshop and pasted the found images around her face on a separate layer, spread out to provide easy visual access.

Another kind of reference I like to use but is usually hard to find, is pictures of the subject's parents. I managed to find a couple of reference pictures of Katie's mother online and they really helped me to decide whether or not to give Katie a double chin. Since her mom has quite a bit of mass under her chin, I decided I would apply that to Katie too. Page 4: Step 3: Thinning Brows

Now the fun begins! The first thing I like to do is to thin out the subject's eyebrows and eyelashes. The older people get, the thinner their hair gets - either because hair falls out and/or because it dries out as it greys.

So to achieve this, I like to use the Clone Stamp tool at 100% with a relatively small brush size depending on the size and resolution of the image. I sampled the surrounding skin to thin and reduce the number of hairs. Page 5: Step 4: Mold the Face

Next, I like to add the basic sags to the skin. I do this in the Liquify mode. I tried to create sagging effects to the cheeks, jowls and the cliff just above the eyes by using the Push tool. For the eyes, I tried to be subtle; otherwise she may end up looking somewhat ghoulish.

From what I've learned about the aging process, I know that while bones cease to grow, and in fact shrink, cartilage does continue to grow. As a result, the end of a nose may appear larger as a person grows older. So while I was still in the Liquify mode, I used the Push tool to extend the length of the nose slightly. Then I used the Bloat tool to also enlarge it slightly, being careful not lose the essential quality or character of the nose. Go too far and it may not look like Katie anymore. Page 6: Step 5: The Aforementioned Double Chin

Page 7: Step 6: Wrinkle Up the Eyes

For me, the most important parts to get right are the eyes. They can make or break the project. Done wrong and the picture may no longer be identifiable as one of Katie Holmes anymore. I sought out the fine lines around the eyes and I tried to imagine how they would progress into wrinkles. I then extended them in length and width accordingly. Referencing the pictures of old women helped a lot with this step.

I used a combination of the Stamp tool and Brush tool. I wish I could explain my technique at this point in a more clinical manner but mostly I relied on my artistic instincts. I emphasized the wrinkles around the eyes by widening and deepening the lines slightly and increasing the contrast by darkening the recesses and lightening the edges. Also, I extended wrinkles to the cheekbone areas. I then applied the same technique to the wrinkles around the mouth and to the forehead. Page 8: Step 6: Reducing the Lips

In this step, I work on the lips. As people grow older, the outline of the lips tends to recede. Using the Stamp tool, I sampled the skin surrounding the lips and thinned them out.

While I was at it, I also added a few vertical wrinkles above the lips to give her a bit of a "prune" effect. We just want a hint of that, so don't caive out deep lines, deep lines would only be necessary if she was puckering her lips. Page 9: Step 7: Planning Out More Wrinkles

Here, on a separate layer, I faintly outlined or sketched, with a relatively thin brush size, areas that I may or may not add more lines and wrinkles to. It's easy to get carried away with the addition of wrinkles. So, I stopped, took a step back and assessed where to take to image. For me, it's essential and a great test to see what best works. Page 10: Step 8: Touching Up the Wrinkles

Based on the previous step, I added wrinkles where I thought they were needed most.

Overall, I found that the wrinkles and lines seemed a little flat in comparison to the rest of Katie's features. They needed more definition so that they could pop out more. So, I highlighted the raised edges of the individual lines with the Brush tool and with a lighter skin tone. Page 11: Step 9: Hairy Lips

I tried to make it as subtle as possible. Hairs too thick or dark would draw the viewer's attention straight to her mustache and I didn't want that. I also added more wrinkles to the area below the corners of her mouth. Page 12: Step 10: Refining the Neck

I decided that the neck was too smooth for a woman of 75 years of age. So I added fir Page 13: Step 11: Adding Age Spots

A key component to effective aging of a face is the addition of age spots.

o, I added more mass and weight to her jowls with the airbrush by increasing the value of the tones in those areas thus creating more contrast between surface planes.

So at this point, I sampled one of the darker skin tones on her face, and on a separate layer that was set to Multiply and 30% opacity, I brushed them in and tried to create irregular shapes (there IS no perfect age spot). You can add as many as you like; the amount varies from person to person. I decided to b Page 14: Step 12: More Refinements

I took a little break from it and came back to it later to possibly get a better perspective on it. When I looked at it, at this point, I decided that certain areas needed refining and added detail. This is the beauty of working with a high-resolution file; I can zoom in real close and deal with a wrinkle up-close and pers

Unless their teeth were subjected to regular whitening, most people's teeth yellow with age. Gums also recede, showing less gum and more bone. And so with that in mind, I sampled a yellowish-bi Page 15: Step 13: Preparing the Hair id on a new layer that was set to Multiply and 30% opacity and painted that color to the teeth with the Brush tool. Her gums didn't show to begin with, so receding the gums here w

The finishing touch here is greying the hair. I began by creating a mask defining the area of the hair. I used the brush for this and tried my best to define as many loose strands of hair that I could.

to that with Katie

With this mask as a selection, I then created a Hue/Saturation adjustment layer and reduced the saturation to -63.

I then created a new adjustment layer based on the same mask and adjusted the Brightness/Contrast to brightness +9 and contrast-36. As a result, I found that the darker areas were too pale and cai Page 16: Step 14: Hair Raising

Page 17: Step 15: Greying the Hair

A lot of details of the hair were lost in the previous step so with a thin brush size at 80 percent opacity I drew in fine grey hairs, sparsely laid out.

Patiently, slowly, stroke by stroke I added more and more hairs until I was happy with the amount of grey I had added. Page 18: Step 16: Finishing Touches

Finally, I took a step back, refined a few wrinkles here and there ET VOILAI

ised a loss of depth and so to adjust that, I then selected the mask and scratched out the darker areas with a 5px brush size at 50% opacity so that they could show through from the original image

I hope this tutorial was insightful It may not be the most technically detailed tutorial but it gives you a good idea of the process I go through to get the job done Hopefully, it will help you create your own trophy-winning images for future Fountain of Age contests!

i (6 van 6113-6-2006 2317 21

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Page 17: Step 4: Convert

Page 18: Conclusion


Clicking the BLACK box next to "Shadows", that brings up a color picker. Fig. L3. Change the RBG value to R=12, G=12, and B=12. Then click OK. Good, I knew you could do it (all your friends were wrong). Now, let's define WHITE:

'Fig' L4 Changing the WHITE value to RGB 245245245. Make sure the "Save as Defaults" is checked or you will die.

Just click the WHITE box next to the "Highlights" and, in the color picker, change the RBG values to =245, G=245, and B=245. Then click OK. Fig L4

TURN ON THE "SAVE AS DEFAULTS"! Remember, we only have to do this once. Then click OK. Page 3: Still (sigh) setting the BLACK points and the WHITE points

Actually, we just redefined what BLACK really is, and what WHITE really is. We redefined BLACK to be "almost black" and WHITE to be "almost white". Why? Good question. In BLACK, or in WHITE, there's absolutely no detail. None. And those shades that are close to BLACK, or close to WHITE, are by default, too extreme to contain any detail whatsoever either. So, now we've set the extremes so that shades near black or white can now display detail. For example, when that Cop shines his thirty-cell flashlight in your eyes at night, it's really hard to read the printing on the bulb. We're gonna turn down Bubba's flashlight just a little so we CAN read the bulb maker. But, still, no donut jokes, they hate that. Whew, finally back to our picture! Now that we've told our computer how we want BLACK to appear and how we want WHITE to appear, lets find a place on our image that should be black and let's find another point on our image that should be white.

This next technique is secret, an undocumented feature of Photoshop, so please don't tell anyone. With our levels dialog box still open, place your mouse cursor on the little slider on the LEFT side (I labeled that slider as BLACK above), hold down the ALT key (YES, your picture will disappear), click and hold the mouse button and SLOWLY drag the slider to the right. Fig L5.. You'll start seeing very small parts of the image reappear, STOP! Notice the location of the FIRST "glob" that appears. Release all the buttons your holding down. The first little black glob that appeared is the darkest area of your photo.

FILTER > SHARPEN > Unsharp mask

General sharpening settings using the Unsharp Mask. Now, be stingy with the settings, you can turn Granny's face into a Rand-McNalley Road Atlas.

You'll see three sliders, Amount, Radius, and Threshold. I'll leave the descriptions of these to the HELP button, and just suggest a setting that's good for general sharpening.These settting will also leave your breath minty fresh.

Amount = 100 to 130% Radius = 1.0 to 1.5 Threshold = 0 Press OK

With sharpening, less is more, if you over sharpen, you'll create ghastly halos around all your dark edges. So, be cool... Page 7: Step Four: This image looks just a little tilted to me,

To straighten an image, I think best results are obtained when we can define a line on the image that should be either horizontal or vertical, and let the photo editor adjust the straightness from there.

In Adobe image editors, you find, hidden under the eyedropper tool, a handy little gizmo called the MEASURE TOOL. Usually, it's for measuring distances and angles, as for text and stuff, but this little guy "talks" to the ROTATE command. Lemme show you.

The Measure Tool is hidden under the eyedropper. Find a line on the image that should be horizontal (or vertical). With the MEASURE TOOL selected click one side of the line, id move the mouse to the other side of the horizontal (or vertical) line and release the mouse button.In our example image, we've got choices, but the edge of the pool looks like it's level (or the water would be pouring out), so let's drag our

Dragging the Measure tool. Drag across something exactly vertical or horizontal. The yellow highlight was added for visibility and it makes me look good because I know how to do it.. I guess we now can see that this image is quite titled. But we can fn Go directly to IMAGE > Rotate Canvas > Arbitrary

The exact angle derived via the Measure tool is automatically entered. Just click OK!

The exact angle derived via the Measure tool is automatically entered. Just click OK!

Wow! Notice that the exact angle for the tilt, which we determined with the MEASURE TOOL, is already inserted! Just click OK. Now, our image is straight. Just CROP off the corners, and PRESTO! We're straightened. Cool, but then again, Page 8: Stick a Fork in Us, We

OK, let's do a side-by-side (below), whaddaya think? After you get a grip on these steps, they'll take literally only a couple of minutes and greatly improve your images and increase your popularity with the opposite sex. Well, it'll improve you images anyway.

e. Better, huh? These steps take ielps you improve your image, your family has been getting concerned...

e. Better, huh? These steps take

If you have questions, please site message me (click on my user ielps you improve your image, your family has been getting concerned...

Turning people into statues

Fattening Folks

By DerAH Paginated View

My attempt to help beginners get familiarized with various approaches to fattening people.

When attempting to fatten people there are several options available. While I'm by no means an expert in this area I am aware that there are choices of methods. In the few that I've worked on I've found that usually you will need to use more than one of the techniques. I think the obvious one is the liquefy tool. This is particularly useful when fattening smaller areas like the contours of the face, arms, fingers etc.

Larger areas can be effectively fattened by isolating the particular area on a separate layer and using the Transform>Distort tool. Cutting and pasting body parts from a source image of a fat person can work well too. if the lighting, color and texture are within the workable range of your image. Cloning the body part larger is also an option but I feel that is fairly laborious and useful on certain features only. Rendering portions of the body is another option that can work very well and it's very useful in restoring areas that are in need of repair from the artifacts of using the Liquify or Clone tool.

In this example we'll use all of the above in some form and we'll take this image of Elizabeth Hurley and add some poundage. Note that all steps taken are on separate layers. We'll go from here

To here.

The white piping has been trimmed to fit the outer curves and completed by drawing in whatever was missing. A small suggestion of the piping was added at the lower left area of bra to add to the illusion of size. All remnants from the previous steps were removed by either erasing them on the other layers or retouching them out with a small soft brush using the local colors at 10% opacity and adding 1.55 of noise for skin texture. Painting with a brush at low opacity takes longer and requires many more strokes but it results in a more natural blend.

Beginning work on the outer breast we start with isolating a copy of the original on another layer.

On the right image, again using Transform>Distort, the breast was enlarged to conform as close as possible to the guide sketch. Obviously, by itself, this doesn't quite do the job. Some retouching and rendering will again be necessary to improve it. Page 11

The left image shows the retouching/rendering. The distracting white highlight on the breast was removed, the white piping was narrowed to conform to the rest of the bra and a shadow was added to the cup for dimension and to imply more heaviness to the breast. The bottom of the breast is unimportant since it will be covered by her stomach in the next step. The right image is an enlarged view with noise added for matching texture.

The best way to add an enlarged stomach, in this instance, is the use of an appropriate source image. The pregnant belly I found is a bit over the top but for this illustration it works well. In an actual job you may want to find something a bit more realistic but the application will be similar. I removed the background from the belly shot, did a minor resize and rotated it to a logical position.

Using the erase tool with a soft brush I removed portions of the belly, keeping the edges very soft to help the blending step to follow. When I had this edge finished I reduced the opacity of the belly layer so I could see through it and used a hard edged brush to remove the lower portion of the belly to conform to the bathing suit line I wanted.something that would indicate the belly pushing it down.

ffle//CjWorth10CCC/24.htm (4 van 6)13-6-2006 23:17:35

The belly was finished off and blended into the body by brushing some of the darker body colors over the edges at low opacity with a soft brush. A shadow was added on the lower area to enhance the roundness and help the blend. A shadowed white piping was rendered in by brush on the upper edge of the bathing suit with some color picked from other shadowed areas of piping. A shadow was also added under the left breast.

The forward leg is perfect for simply resizing/distorting. Isolate the leg on it's own layer and use the distort tool to shape it to make it look fat. It's the best way to enlarge a body part when possible. It retains all of it's textural characteristics unless the distort is extreme. Unfortunately this works well only in areas where the entire selection is to be affected. A slight trim was made on the leg where it touches the chair edge. Page 15

The next step is working on her back to further the fat illusion. Again I duplicated and isolated a portion of the back as in the left image and using the liquefy tool used the same technique of carefully "pulling" the outer edges of the back to create some bulging around the suit back, some on the bra strap and a bit near the waist area. I also used the liquefy tool to enlarge her other leg, mostly on the underside.

ffle////C|/Worth1C0024.htm (5 van 6)13-6-2006 23:17:35

Doing an Invisible

Bv DerAlt Paginated View

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