Photoshop_User_-_February_2016

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 more

fun 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 Three

Step Four

Step Six

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