Desaturate. Again, adjust the brush dynamics
as they work for you; I like small, soft brushes
set to low Opacity. You can always brush
over again to build up the effect, not unlike a
toothbrush in this case. Notice how close I’ve
zoomed to get the teeth, but not the gums. If I
did misstep, I have a Restore brush and several
levels of Undo to lean on.
STEP FOUR: You can use Color for digital
make up, changing the tones in a sunset, the
color of hair, or in this case, my eyes. My tip
here is to select a very diluted version of
the color you like and set Opacity at 50% or
less. With one eye colored, you can see the
difference before and after. The Color Picker
shows how the selected color can be a bit
misleading—remember Undo and Restore are
your friends.
STEP FIVE: Clearly, I could spend a lot more
time on my tired, old, face, but the last thing
I’ll do is apply a vignette. Note that these can
be applied off-center and you can control the
shape and even color of the overlay.
STEP SIX: Here’s the finished product shown
with some of the options I now have. Send-
ing to Photoshop will translate the image into
individual layers, masks, and adjustment layers,
and a full-resolution PSD file will await you in
Photoshop CC.
Liquify is one feature that’s much morefun to try than describe! Take a picture of
yourself or a friend, bring it into Fix’s Liquify,
and click on Face. Points are auto-magically
placed on eyes, nose, chin, jaw, etc. I’ll
warn you now, this is addictive! All opera-
tions in Fix are layers under the hood. That’s
what allows you to revisit and edit each at
any point, except for Liquify, which flattens
your image. For that reason, I recommend
Liquifying first.
Step ThreeStep FourStep Six› ›kelbyone.com059