At the beginning let’s show what we want to mask. There is our beautiful teddy:

Before every picture is needed to think lil bit. The same is for this artwork. How we said in introducion, Photoshop has a lot of tools for masking. Which should we choose now? Look again at the picture. Edges (if we can call it edges) have very irregular shape, everywhere is something sticking out, twisting and disappearing. So it’s useless to think about Pen or Curves. Shade of background is very similar to shade of the edges and contrast is really low. Even if we can see where teddy ends and starts background, Photoshop can’t see it so well. Even thought we could try to use Magic Wand or to choose Color Range, but result wouldn’t be enough satisfactory for us. So we use Brush Tool (B) combinated with Quick mask and we’ll try to draw edges of our teddy as we think it looks like. It means to create brush, which shape is similar to edge shape of teddy. Are you ready? So let’s work!

We begin with simple standart brush. We resize it based on size of our final picture and Spacing we set to 1 %. With that t our brush will be much more denser.

Even thought brush isn’t too similar to edges of our teddy. Or more precisely it isn’t similar. Edge of brush should be a lil bit irregular and we need to remove empty spaces in the brush. This we can make with using second Dual brush, which we apply in Multiply mode.

We should set fit size and Spacing again to 1 %. If the brush isn’t dense enough, we can increase Count value. Let’s try to do few draws – and – this is what we exactly need. It’s useful to play with settings, until we are absolutely satisfactory. How much time we spend with settings brush, so much faster will be nice result finished.

Let’s turn into Quick mask mode (Q) and try to do few draws on perifery of our teddy.

If mask is similar to edge of teddy (it isn’t necessary for brush to be absolutly the same like edge, it even can’t be). Let’s continue in drawing. To the moment when teddy is completely catched in mask.

On this detail you can see, that the brush isn’t the same like edge, but it let very good shape of the teddy. And – that’s primary for us.

We aren’t gonna to spend our time for watching our perfekt mask. So let’s turn to normal mode (Q) and from the created selection we make mask of a layer. Under this layer we’ll make our own new layer, which we are going to fill with suitable color. Let’s have a look at our result. Here it is:

And detail:

Last thing, which we need to do, is to check mask. Probably while we were drawing mask with brush, somewhere appeared lighter place, which would by afterwards transparent. On the picture it shouldn’t be so much visible, but when we look at mask we find these places very quickly. Look at next picture:

Now we are finished. We can only change some little details. Touch up and tune colors. And than let’s start next picture

In case you don’t have it on your table, take a look how does the mouse looks like.

According to fact, that most of material is transparent plastic which is reflecting environment the mouse is at. Simplify the work by putting the mouse on a white background. So it’s gonna be almost all white.

Start with a new document and Rounded Rectangle Tool should provide base shape of a mouse. Set the Radius at 100 px. Radius should be greater then width of a mouse – so the top and bottom of a mouse is fully rounded. Color is light grey – #E5E5E5.

Add contour to our shape. Effect Outer Glow, set in light grey color #DBDBDB and size 3 px. Size is actually two pixels, because Spread is set to 47%.

To darken the contour as it goes down, add effect Drop Shadow. Set its Angle to 90°, Distance 1 px and Size to 1 px. Spread 100 % makes effect not to be blurred.

If satisfied, set the Opacity to 10 %.

“Transparent” sides of a mouse provides Inner Glow effect, Size 10 px, color white. It is not transparent, it is only white border. But it’s fine for us.

For plastic look start adding reflections and shadows. We can use layer effect on the first reflection, Gradient Overlay, Style: Linear, gradient from white to transparent should be fine. Set the Angle so the glow goes from left bottom corner to the right spot. Adjust the size if neccessary – property Scale.

Other reflections must be hand-made. Close the dialog, create new layer and draw two linear gradients as shown on next picture. From grey (#A7A7A7) to transparent.

Group this layer with the previous one using Ctrl + G (newer versions Ctrl + Alt + G) and shadows are here. Notice that the layer acts like it was under the layer effects before. It means it doesn’t touch places, where is Inner glow. That is why it’s better to use this than adding a mask to layer.

Not enough reflections? Add next layer we draw white to transparent gradient into (on next picture background set to grey just to see the gradients).

And again group it with previous layer. As shown below.

Mouse is completed, all we need is apple symbol. Easiest way is to find a font that contains this symbol – and it is font InterSymb. Color of apple is #A9A9A9.

Make the logo more visible by creating contoure and darker shadow inside. Drop Shadow to start …

…and continue with Outer Glow, as shown on next picture…

…well, maybe adding some Inner Glow makes the right effect …

…and finish at the Inner Shadow effect. Set to go from right bottom (as a shadow on a mouse). In left top part of an apple is created a little reflection – this provides us a strong feeling, it’s in the surface of a mouse.

Compared to the original picture, we are still missing a little something on a sides. Simulate it like that – soft white brush and click in the areas shown in the picture below. Select transparency of a layer – Ctrl + click on a layer – and delete this selection from our layer. Then again select transparency of mouse layer, widen the selection by 2 pixely (so the reflection is only on the contour), create transparency addon and delete selection again.

Copy this layer (Ctrl + J), invert (Ctrl + I) and move slightly downwards. You can turn down the opacity, if you want to.

Add a shadow under mouse. Into new layer draw an ellipse and fill with black color.

Blur the layer with Motion Blur set to 0 ° and then blur again with Gaussian Blur. Those easy steps bring some realistic effects.

We could think the work is done, but.. it’s not . At the beginning we said, that mouse reflects everything around. So let’s create at least one reflection, shall we? Ok, let’s create a Window reflection (ironic, huh), which is one of the most common reflection, but still – Windows are the most powerful source of light in dark room.

Use the Pen tool to draw deformed window shape, as shown below.

Add typical window details with Pen tool like shown on next picure and substract it from original shape.

Add a mask to layer and draw a gradient (black to white) in it. Exactly as shown below!

And now, the work is done. Good job. Good luck to you all !

Note: Next picture shows the mouse on dark background. It doesn’t look bad neither, huh? But it loses effect of a transparent contours.. so if you don’t have enough, figure out how to create transparent contours on a dark background …

Learn how to create a portable media player in Photoshop.

Step 1

In this tutorial you will learn how to design a product in Photoshop. The product is a RCA Lyra X3030 portable media player. Although the chances are, you are thinking “why would I need to make it?”, the reason for this tutorial is to teach people the techniques used for mocking up a product design.

Step 2

Start with a large black canvas. Choose the rounded rectangle tool and set radius setting to 20px. *** NEED BR *** In a new layer draw a #F6F5F3 round rectangle. (width: 417 x height: 268). In your canvas, marquee select your header size which will be filled with a gradient effect. Height of 60px and width of 800px. And then add the following layer styles: Inner Shadow

Inner Glow:

Color Overlay:

Satin:

Stroke:

You should have something similar to this:

Step 3

Choose Select located at the top of your screen then Load Selection > Default settings.

Set your foreground color to #FFFFFF then choose the brush tool with a large soft brush.

In a new layer, paint #FFFFFF on the layer, as shown on the picture guide below.

Step 4

Create a new layer set titled Button.

In a new layer draw a #323943 circle with the eclipse tool. (width: 95 x height: 95).

Step 5

Once again make a new layer and draw a #40454B circle. (width: 87 x height: 87).

Add the following layer styles: Inner Shadow

Inner Glow:

Stroke:

You should have something like this:

Step 6

Make a small #40454B circle. (width: 27 x height: 27)

Add the following layer styles: Inner Shadow

Outer Glow:

Inner Glow:

Stroke:

You should have something like this:

Step 7

With the pencil tool draw an arrow shape in a new layer.

Add the following layer styles: Stroke.

Set layer’s opacity level to 60% like below:

Now add arrows on all sides:

Step 8

Make a new layer set titled Screen.

Choose the rounded rectangle tool and set the radius setting to 2px.

In a new layer draw #7B7A80 round rectangle. (width: 259 x height: 195).

Add the following layer styles: Inner Shadow

Outer Glow:

Gradient Overlay:

Stroke:

You should have something like this:

Step 9

Choose the rounded rectangle tool and set the radius setting to 2px.

In a new layer draw #2A242E round rectangle. (width: 235 x height: 182).

Add the following layer styles: Stroke.

Like this:

Step 10

Choose the rounded rectangle tool and set the radius setting to 20px.

In a new layer draw black a round rectangle. (width: 96 x height: 25).

Add the following layer styles: Inner Shadow

Inner Glow:

Color Overlay:

Gradient Overlay:

Stroke:

Like this:

Step 11

Add the word “Music” using font Verdana, Regular, 14pt, Sharp and #FFFFF color.

Now add an arrow from the Webdings font selection. “4″ on your keyboard with 18pt, Sharp and #000000 color.

Step 12

Duplicate Tab layer-set. Remove the color overlay from round rectangle tab layer-styles.

Modify text to “Photos”.

Complete menu selections with Audible, Files and Set-up tabs.

Step 13

Add the following photo to your canvas:

Like this:

Step 14

In a new layer draw a #121921 round rectangle. (width: 11 x height: 12).

Add the following layer styles: Drop Shadow

Inner Shadow:

Outer Glow:

Stroke:

It should look like this:

Step 15

In a new layer, draw the pixelled image below, This will be a pattern for your speaker.

Once the pattern is in your pattern list, in a new layer draw a #FFFFFF round rectangle using the rounded rectangle tool.

Go to Select > Load Selection > Default Settings. This should add a marquee selection to the round rectangle.

While the round rectangle is marquee selected, in a new layer add the pattern using the paint bucket tool.

Step 16

The last touch, add the logo “Lyra”.

So it is centered like below:

This is what your final result should look like:

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Overview

This subject will be covered in steps as follows:

1. Removing or softening major flaws in the skin
2. Touching up undesired reflections and highlights
3. Apply a Gaussian blur to the skin to soften and blend it.
4. Spot sharpening

Note for MAC users: Substitute the Option key for the Alt key when specified in the tutorial.

Removing or softening flaws

There are many ways to remove flaws from the skin; however, I like to use the clone tool. I do not use the clone tool to remove and replace the skin but rather in a special way that will allow me to work slowly to hide the flaw or blemish on the skin. The beautiful young lady pictured here is typical of teenagers in that hormones may cause zits or other eruptions on their skin that are unsightly. As a photographer it is our job to lessen that and make the model look their best. You will note on the neck of this young lady a rather large skin eruption. This is not a normal mark and one that I am sure she wishes were not there.

On the tool bar on the left hand side of the workspace is the clone tool. Click on this tool. Now go to the mode setting at the top and select a soft brush that is near to or smaller than the blemish. Move to the right and click on mode, setting it to lighten. Move to the right and set the opacity to around 12% and the flow rate to 100% or less. You are now ready to begin hiding the blemish. Find a good patch of skin near the blemish, position your brush on it, hold down the ALT key and click your mouse once. Now begin to soften the blemish by doing a click and hold while going over and over the blemish. You will note that it begins to lighten. Continue until the blemish is gone. In the center of the blemish it is lighter than the surrounding skin. Set mode to darken, ALT click on the good skin and repeat the process above to darken this lighter area. The blemish is now gone as shown in the image. You might also note that I have lightened some of her permanent moles and fixed other light or dark areas using the same technique described above. I generally do not totally remove permanent moles on a models face.

Touching up undesirable highlights and reflections

The end of nose is a particularly onerous place for reflections and burned out highlights as you will note on the model above. Removing them is just as simple as removing a blemish. The difference is that you set the clone tool mode to darken. Select a patch of skin with the appropriate color and do an ALT click. Now go over the highlight until it looks good to you. Be careful not to go too far a field from the highlight itself as you can make the nose look flat in that area instead of rounded as it normally is. If you make a mistake, it is simple to go back a step in the history palette and redo that step. Don’t hesitate to switch between darken and lighten if need be. At this stage do not worry if everything is not perfect as the Gaussian blur will take care of minor imperfections in your work.

Apply a Gaussian blur to the skin to soften and blend it

Much of the information in this part of the tutorial was gleaned from Scott Kelby’s great book entitled The Photoshop Book for Digital Photographers, which I recommend highly to everyone new to Photoshop.

I will attempt to keep the “how to” part of this tutorial as detailed as possible so that those new to Photoshop will be able to follow along. This is an advanced technique so stay with me. First thing to do is to open the picture that you want to apply the Gaussian blur to. Create 2 additional layers of this image in the Layer’s pallet. An easy way to do this is to hold down the Ctrl key and click on the J key twice. You should now see three layers of the image. Hide layer 1 copy by clicking on the Eye icon next to it in the layers pallet. Highlight the middle layer by clicking on it and your layers pallet should now look like this:

In the drop down box on the Layer’s pallet change the blend mode from Normal to Darken. Next go to the menu at the top of the screen and click filter/blur/Gaussian blur and then apply a 35 pixel blur to the image. Don’t worry that your image looks bad at this stage.

On the Layers pallet, click on the little Eye icon beside the middle layer to hide this layer and then click on the top layer to make it active. Now change the blend mode from Darken to Lighten by clicking on Lighten in the drop down box. Next run a 50 pixel blur on this top layer (Filter/blur/Gaussian Blur).

After you have applied the blur, click on the middle layer to make it the active layer and then lower the opacity to 30%. Hide the background layer from view by clicking on the Eye icon beside it and then create a new layer by clicking on the New Layer Icon at the bottom of the Layers pallet. This icon is on the bottom right just next to the little garbage can. When the new layer is created click and drag this layer to the top of the stack as shown.

Next, hold down the Alt Key and with your mouse go to the top and click (hold) on Layers and while holding the mouse button down go to the bottom and release the mouse button over Merge Visible as shown here.

This creates a flattened version of your document in the new layer. In the layers pallet, make the background layer visible with the Eye icon and hide the two middle layers by removing the Eye icon from them. Make sure the top layer is the active layer and then lower the opacity to 37%. This is a subjective adjustment and you should set it at the point that your image has the right amount of blur to suit your taste. All that is left now is the removal of the Gaussian blur from the hair, eyes, eyebrows, lips, jewelry, clothing and anything else that you don’t want blurred.

Click on the layer mask icon at the bottom of the layer pallet (third from the left). Insure that your foreground color is set to black. You can change the background/foreground easily by clicking on the small x while watching it change on the leftmost tool pallet. Select a soft edged brush from the tool pallet and paint over everything that you do not want blur on (eyes, mouth, hair, etc.). Generally this is everything except the skin. Change the size of the brush so that it is easy for you to do that without getting over into the skin. Your layers pallet will now look like this.

At this point you may flatten the layers and discard the unused layers (Layers/Flatten Image). If you feel a little touch up for the brightness of the image is needed, do that with levels or Brightness/Contrast.

Spot Sharpening

Select the spot sharpener from the tool pallet on the left hand side of your screen and quickly go over the eyes, mouth, and anything else that you want sharpened.

Applying a final sharpening is up to you but in any event do not over sharpen. Watch the eyelashes and hair especially so as not to create artifacts or halo’s. Here is the final product:

Don’t be intimidated by this tutorial, once you run through it a few times it is quite easy. One last caution, it is better to error on the side of too little blur than too much. It is easy to make the skin look plastic and unnatural. The goal is to accomplish the softening but yet not have it noticed. If you remove all traces of texture to the skin you will have failed for most types of portraits.

Portrait image by Dan Stainsby

The first secret step must be completed before you even press the shutter on the camera. Your number one essential step for success is to first shoot your model against a white backdrop, sufficiently illuminated so that it is captured as white rather than gray. This important aspect of the initial image capture ensures that the resulting hair transplant is seamless and undetectable.

The post-production is the easy bit – simply apply the correct sequence of editing steps and the magic is all yours. This is not brain surgery but follow these simple steps and you will join the elite ranks of Photoshop gurus around the world. Celebrity status is just a few clicks away.

Step 1
The initial steps of this tutorial are concerned with creating a mask that can be used in the final montage. Start by dragging the background layer to the New Layer icon to duplicate it. Choose ‘Remove Color’ from the Adjust Color submenu found in the Enhance menu (Enhance > Adjust Color > Remove Color).

Drag this desaturated/monochrome layer to the New Layer icon in the Layers palette to duplicate it. Set the blend mode of this new layer (now on top of the layers stack) to ‘Overlay’ mode.

Step 2
From the Layer menu choose ‘Merge Down’ to create a single high-contrast monochrome layer. Select ‘Black’ as the foreground color and the ‘Brush tool’ from the Tools palette. Choose a large hard edged brush and 100% opacity from the Options bar and set the mode to ‘Overlay’ (also in the Options bar).

Painting in Overlay mode will preserve the white background and darken the rest of the pixels. Accuracy whilst painting in Overlay mode is not a concern when the background is white or is significantly lighter than the subject. Avoid going anywhere near the tips of the hair at this stage.

Step 3
Even the bright tones of the white shirt can be rendered black by repeatedly clicking the mouse whilst using a large brush in Overlay mode. Again it is important to avoid going anywhere near the hair.

Step 4
Darken the body of the hair near the scalp but avoid the locks of hair that have white background showing through. Painting these individual strands of hair will thicken the hair and may lead to subsequent halos appearing later in the montage process.

Performance Tip
Switch the blend mode of the brush in the Options bar to ‘Normal’ mode when painting away from the edge of the subject. This will ensure a speedy conclusion to the mask making process. The mask is now ready to use in the montage.

Note > If any of the background has been darkened in the process of creating a black and white mask switch the foreground color to ‘White’ and choose ‘Overlay’ in the Options bar. Paint to render any areas of gray background white. It is again important to avoid painting near the edges containing delicate hair detail.

Step 5
With the Remove Color layer selected add a Levels adjustment layer. Without making any adjustment simply select OK. This Levels adjustment layer has a layer mask that we can use to house the mask that we have created in the previous step.

Step 6
The next step relocates the mask you have just created into the layer mask of the adjustment layer. From the Select menu choose ‘All’ and from the Edit menu choose ‘Copy Merged’. Hold down the Alt key and click on the layer mask thumbnail in the Layers palette. The image window will momentarily appear white as you view the empty contents of the layer mask.

From the Edit menu choose ‘Paste’ to transfer the contents of the clipboard to this layer mask. Click on the layer below to select it and then click on the Visibility icon of this layer to switch it off. This mask layer serves no purpose now that it has been successfully transferred to the adjustment layer mask.

Step 7
The new background is placed on its own layer above the figure and mask layers. Drag the thumbnail of this new file into the image window of your project file from either the Photo Bin or the layer thumbnail in the Layers palette. Group this new background layer with the adjustment layer beneath (Layer > Group with Previous). Alternatively you can hold down the Alt key and click on the dividing line between the two layers to group them.

Step 8
Grouping the new background with the adjustment layer will mask the background in the region of the figure but the quality will not yet be acceptable. Setting the blend mode of the adjustment layer to ‘Multiply’ will bring back all of the fine detail in the hair. The background will be not darkened by applying the ‘Multiply’ blend mode as white is a neutral color. The subtle detail in the fine strands of hair will however be preserved in all their glory.

Step 9
The accuracy and quality of the edge of the mask will usually require some attention in order for the subject to achieve a seamless quality with the new background. Make a selection of all of the edges that do not include any hair detail using the Lasso tool with a small amount of feather set in the Options bar. With the adjustment layer mask selected choose the ‘Gaussian Blur filter’ (Filter > Blur > Gaussian Blur) and apply a 1- to 2-pixel Radius Blur to the mask.

Click OK and then from the Enhance menu choose a Levels adjustment from the Adjust lighting submenu. Move the central Gamma slider underneath the histogram to realign the edge of the mask with the subject edge (no dark or light halo should be visible).

Performance Tip
If the mask is too soft the edges can be sharpened by moving the black and white sliders in towards the central Gamma slider a little. Select OK when perfect alignment has been achieved.

Zoom in to 100% Actual pixels whilst working to accurately assess the quality of your mask.

Step 10
In most instances the hair is already looking pretty fabulous but to modify and perfect the hair even further you will need to inverse the selection (Select > Inverse). Choose ‘Levels’ once again and move the central Gamma slider to the left to increase the density of the hair and eliminate any white halos that may be present. Moving the White slider to the left a little may help the process of achieving a perfect blend between subject and background. Select OK and choose ‘Deselect’ from the Select menu.

Performance Tip
Any localized refinement of the mask can be achieved manually by painting with a small soft edged brush directly into the layer mask. Paint with white at a reduced opacity (10-20%) to remove any fine halos present in localized areas. Several brush strokes will slowly erase the halo from the image.

Step 11
The true test of an accurate mask for a subject that was photographed against a white background is when you place the subject against a very dark background. Grouping a Levels adjustment layer with the new background layer can darken the background image used in this project.

Hold down the Alt key when you select a Levels adjustment layer from the Layers palette. Click on the Group with Previous box in the New Layer dialog box and then select OK to open the Levels dialog box. Move the Gamma slider to the right in order to preview your subject against a darker background in the image window.

In this lesson I will explain to you some main principles of creation of a collage, as “The Arch”. We will use photos which we have found in the Internet.

Resources:
Planet: http://absolutehalo.deviantart.com/

Arch: http://Mehrunnisa_stock.deviantart.com/

Arch texture: http://lady-dementia-stock.deviantart.com/

Background: http://jesuisautre.deviantart.com/

Step 1. The background is basis to all. Therefore the photo with background should be of a high quality and the suitable sanction. We open it in Photoshop and we start to work.

Step 2. As our landscape will be more fantasy, than real – that we will make the image softer and bewitching. For this purpose we will copy a layer, and we will apply to the copy filter Blur – Motion blur (the picture should be smeared exactly horizontally).

Step 3. Then we use filter Blur – Gaussian Blur and we will smear the picture even more strongly.

Step 4. In adjustments of the layer we will lower Fill up to 50%.

Step 5. By means of the Eraser tool we will erase area, which covers clouds to return to them initial clearness. As a result we should receive a picture, as on picture, with soft and a gentle luminescence. We Merge Down the layers.

Step 6. We pass to the sky. Into the center of work we insert a picture with the image of a planet.

Step 7. Let’s change Blending Mode of the layer to Screen. The background became transparent, but because of a dust and stars the picture seems pasted. We will correct by means of Eraser tool.

Step 8. We choose Dodge tool (Highlights, 100%), and clarify the bottom part of the planet.

Step 9. Let’s add a little radiance. We’ll take a simple brush of white color, and on a separate layer we will draw a white spot.

Step 10. With Smudge tool we will smear it on a circle of a planet. Not on all circle, but only by that part on which rays of light fall.

Draw this shape with the pen tool at the top of the first shape. Choose #0A2461 to fill the shape:

Draw another shape with the pen tool and choose #4F628A color for filling the shape:

Add an inner shadow as shown:

Image after applying inner shadow:

Draw this Red color shape with the pen tool.

Select this auto shape and draw this shape with selecting yellow as foreground color.

Draw 2 white color 1 pixel lines with the line tool.

Add some custom images of your choice:

Add some custom text to finish the drawing of your new e-book cover

2. Create a new layer named Drop1 and select the Elliptical Marquee Tool and make a selection which looks like a drop on the leaf.

3. Next set press D on your keyboard to set the foreground color to black and the background color to white, or you can do this manually. After reseting these colors, select the Gradient Tool from the Tools Palette. In the tool options bar at the top of the screen, make sure that the first button, linear gradient is selected and that the foreground to background gradient is selected.

Now that the proper Gradient Tool settings have been selected, drag the mouse from the left side of the selected oval to the right.

4. With the Drop 1 layer selected, change this layer’s blend mode to Overlay in the Layers Palette.

5. Next right-click on the Drop 1 layer and select Blending Options. Apply the following Drop Shadow settings: Opacity 50, Angle 158, Distance 7, Spread 0, and Size 5.

6. Apply the following Inner Shadow settings: Opacity 75, Angle 158, Distance 5, Spread 0, and Size 5.

7. For the Glow Effect, create a new layer named Glow and set the foreground color to white. Then select the Brush Tool and make a small dot in the drop. Here is the final effect:

Note: For making the curved drops select the Drop 1 layer then go to Filter > Liquify and make appropriate shape and click OK.

Step 1: Today I am going to show you how to digitally paint a sketch of any kind. I have made my own sketch of a face which you can also use if you would like but do not have to.

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Step 2: We will start by opening this sketch in photoshop. Once you have it opened go to layer/ new layer. Once you have a new layer created you will go windows/layers. The layer menu will pop up. You will change the settings of this layer to multiply.

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When the layer is at multiply you can color it and do what ever you want to it but the layer under it will still show. So we are going to start coloring in the face now. I am going to use a 17px brush and the main color of the face will be, “FFBA00″ and thats excluding the hair, lips, etc.. Thats just the face its self. So start coloring in and dont worry if you go over the lines. This is what you should have so far.

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Now color the eyebrows brown, and the hair brown, color the lips in pink, and the eyes could be blue.

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Step 1: Now this is where the cool part comes in. We will use brighter and darker colors in order to shade in correctly, so it gives it that realistic look. Look it the image to see where your gonna use darker shades and lighter shades.

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So now when you put in the shadings you should come up with something like this. Once again it dosent have to be perfect right away.

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Step 5: Now what you have to do is select the first sketch layer again. We are going to have to make it a little bit darker. So go to image/adjustments/brightness and contrast. Leave the brightness the same but change the contrast to about 50.

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Now that the sketch is darker we are going to use the smudge tool to smudge it out and make it part of the painting. The sketch will mostly be smudge so it looks like it is part of the shading. The smudge tool can be found right under your eraser. Make sure you have the 17px brush, and that your strength is at about 50%. I will start with the hair and will go down. This is the hair finished.

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Now you can move on through the rest of the head. Use smaller brushes where needed and zooming in helps alot.

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Step 5: This is the last step to our great project. Once you have everything smudged out you will want to merge all the layers. So go to layer/merge visible. Now we will use the burn and dodge tool for the finishing touches. The dodge tool should be on highlights and the burn tool should be on shadows. They should both have an exposure in the 20-30 range and the brush size is up to you but around a 35 would be fine.

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So now we get to the burning and dodging part. The burn tool will make areas darker, the dodge tool will make the areas lighter. once again you can use the diagram I made from the earlier steps where it says where to go dark and where to go light. So do the same thing as we did before with the smudge just go over the areas you need to. I will first do the burning part.

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Then the dodging part.

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Step 5:The only thing left to do now is to use the smudge tool to make everything smooth again. So just use your smudge tool to go over any rough parts that were left by the burning and dodging. Once you do that you have your finished product.

Click Image to Make Bigger.