2.10 Highlights and Bounce Light
In this lesson, we will start adding highlights and bounce light to our painting. We will also discuss using noise to create the illusion of textured skin, and to support what we painted with regular brushes earlier.
1.Introduction3 lessons, 19:07
2.Let's Start Painting11 lessons, 2:15:35
3.Conclusion1 lesson, 01:54
2.10 Highlights and Bounce Light
In this portion of the lesson, we'll be talking about how to add the final edge highlights to our painting, and how to use noise to enhance the textures in our painting. All right, so now we're going to just go ahead and touch up those highlights, make sure that our bounce light is nice and smooth. Let's go ahead and make a new layer. I don't have to name it. I'm just gonna go ahead and reinforce and bring in an even lighter color. So it's a hue of pink. And just run the edge around here, there we go. And underneath, with my basic airbrush opacity set at about 14. So, once again, I'd rather go over and over and over again than have to erase because it's too hard. So this is good. And I'm not exactly sure that I like the way that my lines are running. On the right side of the face where I'm working now but I need to just go ahead and put it down. And we can make corrections later if we have to. And wrap it right around the edge of the chin, the jaw line. And just clean that up, make sure that we're getting a nice mix of colors. So the red/brown with the pink works really well, and so I'm gonna go ahead and do a little bit to the earlobes and the ear. I don't wanna spend too much time adding detail to that in this case, just enough to make sure that everything stays in focus. I don't want the ears to be completely naked, but I don't really wanna focus on that. I just wanna keep the face together. So let's go ahead and put a little bit of light right around the nostril area, here we go. I'm getting a nice crisp clean edge here. And we'll bring in some more color in and so instead of doing just a generic white, the high pink is working really well. I'm gonna put a little color in the eye and here also. There we go. Same thing underneath here. Bring a little bit of that color to the teeth because the teeth should show color too, but not too much. Not enough that it's really noticeable. I just wanna break up the flat color of the yellows and whites. There we go. And let's bring that into the nose too, because we're getting light from this side it should wrap around the peak, the top of the nose. And let's bring a little bit into the eyelids. So, gonna bring that color and have it wrap around, make the brush a little bigger. And now I'm pressing very softly because I'm getting a bit of straight lines, too much of straight line, so, I want the color to wrap around. I don't want it to be too concentrated. And even still, I'm painting on top of the eyelashes. So, I can use that to help me or it can actually hurt me. Or I can go in and actually put some light bouncing off the eyelashes. We'll see how it turns out if I need to do that or not. Let's go ahead and clean this up here. Still wanna bring in more light. That area is a little too aggressive, so wanna just do a Gaussian blur, soften that up. There we go. Still not exactly happy with it, but when I'm gonna move on, keep moving and then I'll take a look at the end if I need to fix it or a little bit further on, gonna bring some color to the lips too. And let's break it up. I just don't wanna throw it down. I wanna still keep those creases and folds in the lip as we add the color. And take a look, take a step back. And the top forehead is really bothering me right now. So, maybe I have to address that. But let's go ahead and put a little more color here. Just have it wrap around the ear. And give it a good form. That's really all I need to do now. Okay, and right here at the top. And I'll probably add a little more shadow there to give it the difference. Wrap the light here. And it's really always gonna be a judgment call once we get to these parts. Like what looks good, what doesn't. I'm really bothered by the top part. As I look at this, as I take a step back, I can see that this isn't exactly what I want. So. Just looking, figuring it out. Is it too harsh, is it too soft? Something about this area isn't right, so let's go ahead and cut this out again and Gaussian blur it by hitting Ctrl+F. And that kind of cleans up some of it but I'm still not there, so let's go ahead and address that by cleaning it up. Turn every star to turn things off to get a good look at. What's working and what isn't. Yeah, that one piece is really bothering me still. So, let's go ahead and what I did was merge the layers by hitting Shift+Ctrl Alt+E, and it merged everything that's showing. So let's go ahead and just blur this edge a little bit to give us a better transition, it was still too hard. I have all those layers underneath. They're still open, they're still there. So I wanna go ahead and turn this into a symbol. So it's a smart object, now, and then I made a copy of the smart object and another copy, and I merged it together. There's nothing really special about it. All right, and so I need to clean this up. Now the reason why I took a layer and put it on top of the layer is if there's any layers, any portion that I didn't fully use a 100% and you can see through it. When I double the layers, it'll make sure that it takes care of that problem. And so, I also always like to keep a smart object there in case I've done something wrong, I made a mistake, forgot to do something, forgot to clean up, I have the smart object there, and the smart object will allow me to go back and fix any mistakes that I've made if I do something wrong. So, let's go ahead and use the sponge tool, the chalk tool again and try to just move some of the color and make it a little more fluid. And now I think this is all right. So now I'm ready to push this forward and start to add those little bitty things that'll help produce more of a textured image. So I'm just wanna copy this layer. I'm gonna go to my filters, and let's find Noise. Just hit Add Noise, leave it in uniform, and turn it up. Now if you look at the picture, you can see I'm starting to get a little bit of texture, so I click OK. Now, I can turn that off and turn it on and just look at before and after. And it's a little too intense, so I'll just turn the layer down. Now that's a little better. So I can see that there are areas I'm gonna wanna clean up where I don't want the texture on the teeth. Right, that doesn't make any sense. So I'm gonna add a mask there. And I'm gonna switch to bright color. Turn this up some, and get a flat paintbrush. And just start to clean that up. Clean the texture off of the lip. I'm trying to leave a little bit on the edge of the lip but not too much, not enough that we would notice. So it's a smooth transition. And just clean the teeth up, and the mouth up. Turn that opacity down. Turn the layer down even more because it's still very, very intense. There we go, that's a little better. And just thinking at the areas I have to go clean up obviously. I don't want that in eye area either. So let's just wipe that out really quick. Then do the same here. Clean that up, there we go. So, looks like everything is working out pretty well, I'm happy with this. The texture looks pretty good, the little noise that we added to give it a little more texture looks good. When we come back, I think I'm gonna take care of the mistake I made in the top forehead area. I'll clean that color up, and I'll show you how it take care of something like that, so let's focus on that when we come back.