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how to get perfect transition with face?
Hi all, I've learned tons of tuts, but the following effect is never talked in those tuts. Here's an example (from MM forum): ![]() Please look at her forehead, the transition is so smooth that makes a perfect ball surface. This may not be the best example, but I do see this effect often in MM forum. Guess this is mainly acchieved with D&B, but I just can not make it. Any technique, tool or trick? Even better is there any tuts about this? Thanks. May 26 17 10:37 pm Link Overdone May 27 17 12:38 am Link EDMONAM wrote: I don't know, maybe, but still want to learn the technique. May 27 17 01:29 am Link I agree that it's overdone, but if you can't achieve this with D&B then it means your skills aren't up to scratch. When you're learning the skills, overdoing it till it's absolutely perfect is a good mistake to be able to make. Later, as your taste develops, you'll learn to back off. If you're finding it impossible, then try using help layers and zooming in and out to assess the tone values. Controlling tonal values by dodging & burning is the key master-skill for a retoucher. There's no way round that. May 27 17 02:43 am Link a k mac wrote: Thanks for your advice. With help layers, do you mean those check layers like invert, B&W and solarize? May 27 17 04:01 am Link Usually two help layers are all you need. One to view in b&w, and one to increase contrast or darken. For example, you could use two Hue/Saturation adjustment layers. 1/ Saturation slider at zero and in Color Blend mode. To view accurately in b&w. 2/ In Multiply mode. To make the flaws easier to see. A crucial thing is to view your work at different zooms. Experiment with this, but beware the tendency to keep zooming in to increasingly small details - It's important to be aware of the difference between the natural (and desirable) tonal variations at a textural level, and the larger sized flaws that you aim to reduce. May 27 17 04:39 am Link a k mac wrote: Thanks a lot! I'll do some exercise. May 27 17 05:53 am Link |