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10 Retouching Beauty Tips on Photoshop

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									10 Retouching Beauty Tips on Photoshop



   1. Avoid sharpening before you retouch, but clean up the colors in Levels and Curves before you
      start retouching. This will make the pores and blemishes stand out, so you see them clearly as
      you’re working, and you don’t get a nasty surprise after spending lots of time on fine detail. Good
      color correction will also make the image look sharper in a natural way.
   2. Always retouch on separate layers, leaving the Background still intact. The Background layer
      below serves as a safety-net if the retouching really goes wrong, but more importantly, you see
      the before-version at any time. It’s important to have this reality check. Make sure the positions
      of the retouch-layers are position-locked, so you don’t accidentally move them.
   3. Avoid achieving excessive perfection in one area at an early stage of retouching, because you
      might commit yourself to a high degree of retouching in the whole image, which will often cause
      the image to look totally unnatural. Work in a loose way, moving around quite freely, and
      zapping the worst all the time. This sounds almost too obvious but I see many students making
      this particular mistake.
   4. Work on the skin first, because this will help you avoid layer conflicts later. The skin can be
      regarded as a canvas and the features can be treated as separate elements to focus on later. When
      the skin is cleaned up, there are less distraction, and usually a significant improvement in
      appearance. While you work the skin, you also get the chance to get to know the face, and note
      the other things to be refined.
   5. Don’t forget to retouch the area between the eyebrow and the eyes. I often see retouching where
      this area appears to have been totally forgotten. This also applies to the area between the nose and
      the lips and transition between hair and skin.
   6. Eyes can also take a bit contrast and brightness. This doesn’t mean that you should brighten only
      the whites. A well-designed Curves adjustment for the whole eye will usually do the trick. You
      can do a color correction based on the whites and the pupil, which gives great zing and still looks
      natural. Part of the secret lies in knowing what color balances the whites are supposed to have, for
      different ages and people.
   7. The difference between the Healing brush tool and the Clone stamp tool may seem subtle as you
      work on skin, but is actually quite major. The Stamp tool simply clones one area to another (with
      a hard or soft edge and a chosen opacity). If you try cloning a patch of blonde hair into a dark
      background you’ll get what you expect; a patch of blonde hair. The Healing brush used in the
      same way would give a dark patch with hair-texture in the background. If you’re observant you’ll
      notice that the color snaps to dark after you let go of the mouse/pen. He Healing brush is great for
      cloning texture.
   8. The above mentioned behavior is why the Healing brush often bleeds when you heal close to a
      contrasting color. Try to use the clone stamp tool in this case, or learn how to refine your
      technique. Speaking of technique, cloning and healing with too much repetition is the most
      typical retouching mistake. This is caused by using the same sample repeatedly and this causes a
      strange pattern because each part of the skin/hair/eye is unique. Breaking up subtle gradients in
      the background or skin using the Stamp tool can often be avoided by switching to the Healing
      brush.
9. Using the Blur tool on blemishes simply doesn’t work. Have you noticed that blurring a little
    makes blemishes worse? Blurring is something that should be applied heavily – usually as a filter
    – and used only very lightly. We use technique that give the skin a final veneer and keep it as
    natural-looking as possible. It’s easy to make a plastic appearance, and it takes a little bit more
    craft to give that smooth-but-sharp finishing.
10. While you do want to work in Layers to give you a safety net and stay in touch with the original,
    you may find the layer conflicts can occur towards the end, when you want to work on a joined-
    up layer. You may have to merge everything into a new layer on top of your layer stack for the
    finishing touches. Only do these when you’re sure that your retouching is all good so far. You can
    generate smoothing layers from this layer.

								
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