Jangled Nerves

Did your strokes have some variation in complexity or "tangledness"? The amount of Jitter responds to the speed of your stroke, with slower strokes producing dense tangles, while faster strokes stretch and smooth out the tangles. Are you guessing that the Expression variable for Jitter is Velocity? Then you'll be as surprised as I was when I saw None in the Expression field. Caffeine would have made more sense than that, but it's not an option.

The Eyes Have It

Eyes offer excellent opportunities for creative treatment, as shown in Figure 7.12.

Figure 7.12

Eye chart.

Figure 7.12

Eye chart.

The two samples at the top of Figure 7.12 were painted with no special effects, if you don't count the Scratchboard Rake eyelashes. The middle row shows some of the fun that can be had with eyeglasses. If there are no leaks, the Paint Bucket can be used for gradient fills, and it's not necessary to give both lenses the same treatment. The big yellow lenses on the right also have Scratchboard Rake strokes around a "beady" eye to suggest a wild or confused expression.

In the bottom row, you'll recognize the sushi eyes from an Image Hose nozzle. The sand dollars and tomato slices were made in a very different way with a Painter feature I haven't mentioned until now. Open the Image Portfolio from the Window menu. Like the Selection Portfolio we used in Lesson 6, it is a library of items that can be dragged onto the canvas, but these items are images that create their own layers. The default collection is shown in Figure 7.13. You can easily make a new item for the Image Portfolio by dragging any selection from your canvas over to it, where you'll be prompted to give the new image a name. As usual for all Library collections, the Mover utility in the popup menu lets you create new libraries and swap items between them. Use the Open Library command to load the custom Portfolio Rhoda Favorites from the Palettes and Libs folder for the next project.

Figure 7.13

Your tomato slice is ready.

Figure 7.13

Your tomato slice is ready.

Figure 7.14 shows a photo of Nick, a good-looking young fellow even without the spike under his lower lip, and the first stage of my caricature. This photo is available in the People > Heads folder on the CD, so open it now and follow along. You can imitate my style if you wish or (even better) use your own approach. But I invite you to practice using some of the Image Portfolio items as you work.

Figure 7.14

Nick line.

Figure 7.14

Nick line.

By the time we get to Figure 7.15, I've added pink lips and bluish five o'clock shadow on the color layer. A marble has been dragged into place from the Image Portfolio, automatically creating its own layer. Now you can see why I include the Scale command on my custom palette. It saves time navigating through Effects > Orientation > Scale. This command allows you to type in the size percentage you want or drag a corner of the bounding box so you can (um) eyeball the amount of change.

You can use Create Drop Shadow to enhance the 3D look of the marble. The Layers Palette has created a group for Marble and Shadow, so the shadow occupies its own layer and can be manipulated independently. This feature (which is not available in Photoshop!) will come in handy very soon. For the second eye, all I have to do is switch to the Layer Adjuster tool (same as Photoshop's

Figure 7.15

Marble eyes.

Figure 7.15

Marble eyes.

Move tool), hold down the Option/Alt key, and drag a copy of the Marble and Shadow group to its new location. A size reduction (85%) creates a forced perspective, moving the second eye back in space.

The Pencil in the custom Image Portfolio is an excellent shape for adding that lip spike, and it's especially appropriate because Nick is an artist. Use the Scale command to reduce its size to about 25% and change the angle of the Pencil with Effects > Orientation > Rotate. Now create a drop shadow. The top left section of Figure 7.16 has the Pencil in position, with just a little erasing done at the blunt end to simulate insertion (yechh!) into the flesh. The Layers Palette at this stage has the Pencil and Shadow group opened, with Shadow selected. Now you'll see how useful it is to have the shadow on its own layer. Use the Rotate command to change the drop shadow into a cast shadow for a much more convincing effect, also shown in the figure.

Figure 7.16

Shadow effects.

Figure 7.16

Shadow effects.

Plug In That Earring

The only thing missing now is Nick's earring. By now it shouldn't surprise you that Painter has a feature for creating realistic metallic brushstrokes, and here's the perfect opportunity to use it. We'll explore another unique set of special effects, the Dynamic Plugins. They reside in the Layers Palette and have an electric plug icon. Choose Liquid Metal from the Dynamic Plugins popup list (glance at some of the other choices for future reference). Figure 7.17 shows the Liquid Metal dialog box (which must remain open while you are creating Liquid Metal effects) and the new layer to accommodate those strokes. Practice making some strokes with the Brush icon selected, and switch to the circle icon to make metallic droplets. Notice the tendency for droplets to attract each other and run together! The Undo command won't work here, so if you want to remove a stroke or a droplet, use the arrow icon to select it and then hit the Delete/Backspace key. Strokes are actually made up of a sequence of droplets. You can see them individually by enabling Display Handles. Even after you click OK, a Plugin layer remains dynamic; that is, you can access the original controls by simply double-clicking the item in the Layers Palette. You can use Convert to Default Layer if you need to apply other brushes and effects. Figure 7.18 shows some test strokes and droplets.

Liquid Meta!

Make drops-Select dropsMake strokes o 7]

Amount Smooth Size Volume Spacing

10095 0.808

Map: Standard Metal

_Display Handles Surface Tension

Figure 7.17

Dynamic duo.

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▼ Layers

S ►

Norma;

i ; \ Ignore

UJ i™

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10095

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0 Pick fjp Underlying Color

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Liquid Metal Floater

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Dynamic Plugins

Figure 7.18

Droplets and strokes.

Figure 7.18

Droplets and strokes.

The finished caricature in Figure 7.19 took longer than five minutes, I admit. That background was done with a Pastel variant and a texture not included on my custom palette, Square Hard Pastel with Pebble Board paper. How did I get the two-tone effect? Good question. I chose a dark pink sampled from the lips to roughly fill the area around the head, then I used the Invert Paper command in the Paper Palette popup menu. (Invert in this case means the light and dark areas are swapped). Yellow sampled from the pencil is the color used on the second pass.

Figure 7.19

Nick, your face is ready!

Learn Photoshop Now

Learn Photoshop Now

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